#some spoilers for the latter part of the game

[jinxedshapeshifter]

the promised Ryulock/Homumiko essay

So a few days ago, I made this post as a joke about the fact that there's just as much evidence for Ryulock as there is for Homumiko and left it on "In this essay, I will" because I thought it would be funny. I have decided to follow up on that joking comment because I feel like it (but also I'm with everyone who questions how/why Ryulock isn't more popular, you have two games' worth of content. I also mentioned at some point that I wanted to analyze the similarities between Sholmes's dynamic with Ryunosuke and his dynamic with Mikotoba). So, here's a Ryulock and Homumiko essay. Spoilers for both The Great Ace Attorney: Adventures and The Great Ace Attorney 2: Resolve will be present here, you have been warned.

Part 1: Ryunosuke's Role in Sholmes's Life

From their first meeting in The Adventure of the Unbreakable Speckled Band, Ryunosuke has fulfilled a specific role in Sholmes's life. The role of John H. Watson. This isn't as obvious as Mikotoba's dynamic with Sholmes (in fact, I never really acknowledged that Ryunosuke was fulfilling the role of Waston until after I finished the duology, and posted about Sholmes and Mikotoba's dynamic reminding me of Sherlock Holmes and John Watson), but it's still notable enough that The Watson is a trope under Ryunosuke's tropes on the TVTropes page for The Great Ace Attorney's main cast.

We can go even further and compare the third Dance of Deduction in The Adventure of the Unbreakable Speckled Band to the last Dance of Deduction in the duology (the former involving Ryu and Sholmes and the latter involving Sholmes and Mikotoba). In both, Sholmes is taking the situation seriously; he just found out that Kazuma was Ryunosuke's best friend in Speckled Band and so wanted to find the truth about what happened so Ryunosuke couldn't be incriminated anymore, and he was on a time crunch to find Jigoku in The Resolve of Ryunosuke Naruhodo because Jigoku was on his way out of Europe. Both have Sholmes taking the deduction incredibly seriously compared to his other deductions, and they involve Ryunosuke and Mikotoba essentially filling in the blanks for Sholmes, instead of correcting him like the other deductions in the duology.

Ryunouke keeps this role throughout the rest of the duology. Sholmes shows up at the scene of a crime Ryu's client is accused of, they investigate the crime together and do a dance of deduction, and they figure out what happened; this usually (always) seems unrelated to the case, before it gets revealed that it is related to the case. The primary difference between Sholmes's dynamic with Miktoba and his dynamic with Ryunosuke here is that Sholmes's dances of deduction always benefit Ryunosuke in more ways than one, and they're usually important to his case. Basically, Ryunosuke being a lawyer slightly changes his dynamic with Sholmes, because one of the purposes of Ryu and Sholmes's dances of deduction is for Ryu to develop his abductive reasoning skills, which helps him in court.

Ryunosuke and Mikotoba effectively serve the same role in Sholmes's life (that being, they're both his investigative partners at different points in time) but they have different benefits from doing so.

Part 2: Sherlock Holmes and John Watson Dynamics Are Always Gay

This is one of the most iconic parts of Sherlock Holmes. To be clear, I haven't read the original Sherlock Holmes stories. However, I am 100% comfortable saying that, based on the excerpts I have read, Watson and Sholmes have one of the most homoerotic dynamics in fiction. This always carries over into adaptations, and The Great Ace Attorney is no exception with Mikotoba or Ryunosuke (although I would argue that the dynamics are still a little different).

On Mikotoba's end, it's both confirmed in official art and implied in dialogue that between Mikotoba helping deliver Iris and him going back to Japan, Mikotoba and Sholmes were raising Iris together, and he says that he left Iris with Sholmes because he couldn't take her back to Japan. This can be read a few ways, but I thought it was worth mentioning here.

Outside of what's mentioned/referenced, we also have what is seen in real time in the last two cases of Resolve. Sholmes and Mikotoba have kept in contact via telegram for a decade, Sholmes tells Mikotoba that the sight of him is "making his mouth water" (which I'm convinced is a reference to Ryunosuke saying "So you'd eat your friends. I'll remember that." but it also definitely comes off as very gay). Mikotoba also refers to 221B as "our home", referring to himself and Sholmes. I also think it's notable that Mikotoba regains consciousness and is immediately dragged off by Sholmes to do an investigation.

On Ryunosuke's end, dear god there's a lot (to be clear, there's more on Ryunosuke's end because he spends more time with Sholmes on-screen than Mikotoba does, not because one is inherently more canon than the other or anything). Let's go through a non-comprehensive list (because I'm thinking of most of these off the top of my head), in no particular order:

Sholmes claims Ryunosuke not being in handcuffs throws the balance off, because he'll always imagine Ryunosuke with handcuffs (The Adventure of the Unbreakable Speckled Band)

Susato teases Ryunosuke about being excited to dance around with Sholmes during the first dance of deduction, and Ryunosuke looks happy with himself from the beginning of the first dance of deduction (The Adventure of the Unbreakable Speckled Band)

Ryunosuke seems only slightly less excited to be seeing Sholmes again than Susato (The Adventure of the Clouded Kokoro)

This entire conversation that is implied to have happened right after Ryunosuke got out of bed and downstairs (The Memoirs of the Clouded Kokoro)

Sholmes putting all his weight on Ryunosuke in that commemorative photograph that was taken before Susato left England (first shows up in The Adventure of the Unspeakable Story, shows up on Ryunosuke's shelf later)

Sholmes putting his hands on Ryunosuke's neck because "Blood loss has made my hands cold, Mr. Naruhodo! Have a feel!" (The Adventure of the Unspeakable Story)

Ryunosuke calling Sholmes in drag "stunning" (The Adventure of the Unspeakable Story)

Sholmes referring to Ryunosuke as "something of a manservant around here" because he hasn't been doing much other than helping around the flat since being disbarred (The Return of the Great Departed Soul)

Ryunosuke referring to Sholmes being knocked out during a dance of deduction as Sholmes "leaving him alone on the ballroom floor" (Twisted Karma and his Last Bow)

And that's not even all of it, I can guarantee it. Those are just the ones I remember best because they stand out to me. Sholmes's dynamic with both Mikotoba and Ryunosuke are incredibly gay.

Part 3: Sholmes's Relationship to Dances of Deduction

This is an interesting topic to cover, and this topic is going to be more an analysis of Sholmes than statement of canon fact. We know Sholmes is perfectly adept at accurate deductions, and it's indicated as early as The Adventure of the Unbreakable Speckled Band that he's purposely making bad deductions. We see how his deductions usually work when he's not goofing off in The Unbreakable Speckled Band, in fact. So that then begs the question, why is he so adamant about pretending to be bad at deduction, even when Ryu proves his own ability to make accurate deductions? Sure, helping Sholmes allows him to practice those abilities, but the more serious dances of deduction where Sholmes's "dance" partner is filling in the blanks would serve the same purpose, and it's something literally anyone could do.

I'd also like to clarify something here: Susato doesn't get directly involved in a dance of deduction until Sholmes is unavailable, and even then Ryunosuke treats it like a solo act (specifically stating "He's left me alone on the ballroom floor, so I'm going to have to do this next part solo"). Susato assists Ryunosuke during dances of deduction, sure, but her involvement doesn't go beyond that with the exception of when Sholmes gets knocked unconscious.

So back to the question at hand, why does Sholmes do dances of deduction seemingly exclusively with Ryu and Mikotoba? I don't think it's a coincidence. I do think it's because dances of deduction aren't platonic for him. Sholmes and Ryunosuke's especially come off as a couple's dance to me, although part of it does come from Ryunosuke indirectly comparing it to a ballroom dance, the most popular of which for pairs in the Victorian era was the waltz (which is traditionally a couple's dance). So I do think that, for Sholmes and very probably Ryu at the very least, dances of deduction are either romantic, erotic, or both.

This leads back around to the original question. I've already established that Sholmes's dynamics with Ryunosuke and Mikotoba are both incredibly gay. I also just established that Ryunosuke indirectly compares dances of deduction to a ballroom dance, in this case a waltz. Dances of deduction are always a partnered thing, and Sholmes is only ever seen doing them with Mikotoba and Ryunosuke. I don't think it'd be a stretch to claim that Sholmes makes them gay on purpose. For what purpose you ask? Male companionship, obviously.

I'm kidding about that but I do think Sholmes does it to have another companion that isn't Iris, at least in Ryunosuke's case. In Mikotoba's case, it likely came from wanting companionship at all. We know Sholmes is an attention whore, and I feel like being as important a part of someone's life as he was to Mikotoba while Mikotoba was studying in England strooked that a bit. I also wouldn't be surprised if Ryu reminded Sholmes of Mikotoba on some level (both are Japanese students studying in Britain for the time Sholmes lives with them).

Part 4: Conclusion (AKA I'm tired so I'm stopping myself before I pass out on my keyboard)

In conclusion, there are so many similarities between the Ryulock and Homumiko dynamics that I feel go unacknowledged. It is not a coincidence that Sholmes's dynamics with these two specifically is so fucking gay. Like I don't know if it's just me but playing as Mikotoba in the last dance of deduction didn't feel much different than playing as Ryunosuke, besides slight differences in dynamics because Mikotoba's known Sholmes longer than Ryunosuke has. Aside from that detail, if Mikotoba hadn't been clearly who Sholmes was with, I would've absolutely thought he was with Ryunosuke. Sholmes has a type and that type is quirky guys who are fun to tease.

[baileys-writing-desk]

His life depends on you

The Thunder Dragon’s condition has deteriorated rapidly, and Link must hurry to save him.

drawing | AO3

Master Link, please hurry…Lanayru’s life is in your hands.

The chimes of Fi echo through Link’s mind as he rides his Loftwing through the sky, the fruit from the Tree of Life tucked safely into his magical pouch. He keeps his eyes on the yellow beam of light cutting through the sky, opening the path to Lanayru Desert.

Faster, Crimson. Faster.

The bird squawks as Link whistles, performing its spiral charge to propel the two forward, and Link’s head spins from flipping through the air. They need to get to the desert, and fast. Lanayru is weak, so weak…Link isn’t sure how much time the Thunder Dragon has left.

He must not fail. He must revive Lanayru. For if not…he doesn’t even dare to think about what would happen.

Finally they reach the yellow beam, the light nearly blinding Link’s eyes, and he throws himself off the Loftwing, spreading his arms and legs out as he freefalls through the cloud barrier.

Fi pops out of the sword and floats in front of him. Normally she would ask him where he desired to land, but this time Link’s mind fades to white as magic encircles him. She knows to take him to Lanayru Gorge; he has no other choice. Going the long way would take so much time, precious time that Lanayru may not have.

Seconds later, he finds himself floating over the grassy plain of the time-shifted gorge, and he quickly pulls out his Sailcloth for a smooth descent. As soon as his feet touch the ground, he looks ahead where the dragon resides…

Oh fuck. Oh Hylia.

Link’s heart nearly stops in his chest.

The mighty Thunder Dragon, who once had his head up with his arm resting on a small circular ledge, is now lying flat on his back, too weak to hold himself up any longer. His arm lies limp by the ledge, he's not moving, he's not moving-

SHIT SHIT SHIT.

“LANAYRU!!” Link shouts with all his might, letting the Sailcloth drop to the ground and making a mad dash across the gorge. No no no this can’t be happening this can’t be happening this can’t be-

The dragon still lies there, unresponsive, and from this distance Link can’t tell if he’s even breathing.

I was too late.

GOD DAMNIT, I was TOO LATE!

He had failed them all. He failed Lanayru, he failed to complete the Song of the Hero, now he just lost his last chance of finding the Triforce, and he won’t be able to defeat Demise and the wretched beast will kill Zelda, he’ll kill them all and-

Tears threaten to spill from Link’s eyes as he moves closer to the dragon.

“Lanayru…” he tries, nearly out of breath from the running.

…No response.

“LANAYRU?!?”

Wake up Lanayru please PLEASE wake up-

Now he can see a couple LD-301 robots, one of them standing by Lanayru’s arm, his back to Link. They don’t even seem to acknowledge the hero’s presence.

“Hey, Lanayru? Thunder Dragon, can you hear me?”

…Oh Hylia, Oh Zelda, I’m so sorry…I failed you, I did everything I could and it still wasn’t enough-

He sinks to his knees as Zelda’s beautiful face comes to mind…fast asleep in her crystallized slumber, and now she may never wake up. All because Link wasn’t fast enough to get this fucking piece of fruit to a fucking dragon-

“He’s still alive, voo-weep.”

Link slowly raises his head. “…Huh?”

The robot has turned to face him now, and he gestures to the dragon’s large belly. And now Link sees it, he sees the rise and fall of Lanayru’s chest he had failed to notice before in his panic, the dragon is breathing.

“Oh, thank Hylia…” Link chokes out, wiping the tears from his eyes. “Thank the Golden Three…”

Lanayru’s alive. Incredibly exhausted, and sick to the point of near-delirium…but alive nonetheless.

Link hadn’t been too late after all.

“Nggghhhh….mmph?” Lanayru groans, eyes fluttering open. His chest heaves and he hacks up a cough, the booming sound nearly hurting the small hero’s ears.

“I’m here, it’s me, Link! I have the fruit…you’re gonna be okay!”

“Wh…wha…?”

“Yeah, I’m gonna save you! Fucking Hylia, Lanayru, you scared the living shit out of me!”

Slowly, the dragon turns his head to meet Link’s eyes, and the hero reaches into his pouch, summoning the magic to hold the large, heavy piece of Life Fruit in his hands. He grunts from the effort, but manages a smile as he holds the fruit close, making sure nothing happens to it.

“Is-is that…the…” Lanayru wheezes, in between dry coughs. “You…brought that…f-for me?”

“Of course! I just need you to eat this, ok? You’ll feel so much better, I promise.”

Ever so slightly, a glimmer of hope shines in Lanayru’s bleary eyes. And Link lets out a sigh of relief. You did it…you really did it.

Once the dragon eats the fruit, he will be back to his energetic self, and the Song of the Hero will soon be complete.

Don’t worry Zelda, I’m coming.

[theminecraftbee]

Just reread the whole scs tag and now I want to see Three's first meeting with Etho (Iirc the clip of Grian being scared of Etho sneaking around and then seeming to teleport outside the ice shop is Grian's first meeting with Etho? (And it was season 7.) And I think the "two nervous animals stare at each other" vibes could fit.)

Three is nervous.

It has heard of Etho before. Etho is very high on the threat rankings it had memorized; Etho is considered more of a threat than is currently worth taking out; Etho is, apparently, a legend even around Players who do not understand quite how much of a threat he is. There are standing orders and plans still programmed into Three on how to take him out in a way that would not make a martyr of him. Three thinks many of these plans are stupid.

Three--

Three is nervous. It has heard of Etho before, and it does not know if Etho would have heard of a Blade before, or if any of that would get in the way of it conversing with Etho. Three is relatively confident it could beat Etho in a fight. For all Etho is a threat, he is merely a Player, and Three is a Blade. That had never been why Etho is a threat. That had...

Mumbo had promised Etho was not mean. Three had asked Mumbo what that had to do with anything. Mumbo had mumbled something about how, well, if Three was worried about Etho yelling at it, then Etho wouldn't. Etho would actually also worry, Mumbo assured Three. Etho seems cool at first, but he's actually kind of awkward, Mumbo assured Three.

Three had commented that 'seeming cool at first but actually being kind of awkward' is, apparently, a common problem. It can understand why.

None of that really solves why Three is nervous, but going over the ways Etho is a threat, and the plans it has to mitigate that threat is... nice. It should not use them, because Mumbo has promised that Hermitcraft is safe. Three finds it does not want to be the reason it is not safe. Three will not mitigate the threat of Etho. Three should not have to mitigate the threat of Etho.

Three is nervous because it wants something from Etho, and doesn't have anything to offer in return.

It stands in the jungle and waits. It sees Etho arrive, because it is watching for him, but Etho seems surprised, backing away nervously on seeing Three.

"Oh. Um. Hello there. You're Mumbo's scary friend. The new one he brought here. That one. That needed help? Um, I'm Etho."

"I know. Does Mumbo describe me as scary?"

"Not usually?" Etho says.

"Oh," Three says. It does not give away its disappointment. Etho is not a handler and not another Watcher, but it is best not to give away emotions like disappointment when it wants something from him anyway.

"Is there a reason you're, uh, lurking in my base?"

Three does not fidget. It is too well-trained to. "I am here to ask a favor."

"Shoot, uh, I guess I can hear it," Etho says.

"You are making your base out of interiors, you said, in the meeting," Three says. "I--I want. I want to do that. I want--I want you to show me how to do that." The words are harder to pull out of its mouth than it thought they would be. "I do not have much to offer you. I could take care of one of your enemies, but Mumbo says Hermitcraft is safe, and I do not know if I want to do that, I just know that I want..."

Three trails off.

"Apologies. I am unclear. Will clarify," Three says.

Asking for things it wants is--hard. It's still hard. It is not good at reporting on what it wants. Etho is staring at it. Three stands perfectly still, because it is well-trained.

"Most builders aren't a big fan of interiors," Etho says slowly, "let alone a base entirely out of them. That's, uh, a big favor you're asking. Can I ask why?"

Beneath the mask, Three opens its mouth. It closes it again. It does not know how to say: because I am the thing that replaced someone who built big empty shells. Because I filled one of those empty shells. Because I could have been one of those empty shells. Because I do not want to leave behind empty shells. Because if I am gone, I want the things to leave to be knit socks and cozy rooms and laughter, not a big empty temple with a farm in the middle. Because I am Three, and I am a person, and I want the world to remember that.

What Three says instead is: "I can pay you back. I am useful."

Etho looks at Three. He rubs the back of his head. "You know, normally no one is dumb enough to give me an IOU this early in the season?" He laughs almost nervously. "Sure, man, I can teach you to make a base out of interiors. Why not."

"Thank you," Three says, and its shoulders do not slump, because it is well-trained.

"No problem. Say, what do you think about pranks?"

"I would like to learn to do those too," Three says promptly.

Etho also wears a mask. This does not stop Three from being able to tell the man is smirking.

"You know what? We're gonna get along just fine," he says. Strangely, Three believes him.

[a-bad-case-of-the-stephs]

Let’s talk about the significance of how Stephanie Browns first ever appearance is tied directly to a TV broadcast about Batman, and how it perfectly explains why she's such a remarkable character.

Detective Comics #647

The full sentence the TV broadcaster says is “It’s not up to some masked vigilante to protect our citizens …. No matter how good his intentions…No matter how noble his cause”.

This scene asks us to compare the characters of Batman, who the statement is textually about, and Stephanie, who is viewing it and (presumably), being inspired by it. The panel itself seems to encourage use to try to apply these lines to Steph instead of Batman, framing the latter proclamation directly above her head, almost like a text box telling us this information about her. If we apply these lines to her, we can see an idea emerge.

There is this figure, who is not only not necessary, but unacceptable on the face of it, “…No matter how good [her] intentions...” / “…No matter how noble [her] cause…”

The first time we see Stephanie brown, she is being showcased alongside a condemnation, which is followed by her disregarding the message of this broadcast, and appearing for the very first time as Spoiler.

Dismissal and Stephanie ignoring this condemnation continues on to be one of the central facets of Stephanie’s character. In the same introduction arc we already see the dismissal/disregard dynamic established.

Batman and/or Robin tell her to Fuck Off, she chooses not to:

Detective #649

This pattern continues on for some time. She is dismissed by Batman

Robin #16, Robin #26, Robin #50 (1993)

And by Tim Drake/Robin:

Robin #25, Robin #35, and Robin #26 (1993)

And by her own mother:

Robin #71 (1993)

When she finally becomes an official part of the team in 2001, there is a break in this pattern. But, as always, Stephanie is eventually pushed out again:

Gotham Knights #37 (2000)

But, as always, Steph says “fuck that”, and refuses to stop.

Even in the face of dear friends agreeing she should give it up.

Batgirl #38 (2000)

And when Steph is brought in as Robin, she is again dismissed, in this case “Fired” soon after. She doesn’t quit of course, leading to the disastrous events of War Games.

Robin #128 (1993)

And when she comes back from being “dead” she is dismissed again, by Robin.

Robin #182 (1993)

This isn’t every time someone tells her to quit being Spoiler, but instead a showcase of how prevalent the Dismissal/Disregarding dynamic is for her character.

I am working on two other posts, one which will explain in depth Why the way she was “fired” as Spoiler has everything to do with Bruce Wayne’s own hangups and emotionally manipulative quirks and very little to do with her own skill level. The other will analyze why she feels the compulsion to be keep being Spoiler even after having Every reason to quit and being told to do so hundreds of times.

However, for the purposes of this post, all that matters is that this Dismissal/Disregarding dynamic exists and is a huge and reoccurring part of Stephanie’s character.

Whether or not you think she “deserved” how often she was rejected, and whether or not you think her disregarding the rejection was “good” or not doesn’t come into play here.

For now, let’s focus on the implications this dynamic has for her character in a meta sense, as a character who is used and discarded.

A character who is for all intents and purposes, the narrative punching bag. She endures character dismissal and belittling, three separate backstory instances of sexual harassment as a child and teenager, teenage pregnancy, abuse, taking care of a parent struggling with addiction, brutal and (debatably) sexualized torture, character assassination, death, retconned death, and further character assassination until 2009, where she finally gets her own solo comic, and a modicum of respect. The thing that separates the horrible shit Stephanie goes through and the bad things that happen to other characters is only rarely are Stephanie’s struggles treated as significant on their own, and almost always her narrative is used for drama or to prop up Robin Tim Drake’s plot. Very rarely does she get treated with the care and attention her character merits.

But let’s go back to that news broadcast, all the way back in Detective #647. How does she take it, when we are told, when Stephanie is told, first thing, straight out of the gate, plain and simple: No matter how good your intentions, no matter how noble your cause, you is not enough, or you’re too much, or your just not right?

It is met by a triumphantly tragic: “And?”

Stephanie hears from the VERY start the same refrain she will hear for years and years: she is not good enough, she needs to go home, she needs to quit and she does the exact thing she will continue to do every following time she is told this: she puts on the damn Spoiler outfit and she still tries anyway. Again and again.

The next time we see Stephanie Brown after this, the second time we ever see her character, she has donned the Spoiler costume, and she’s got to work. “And?” She seems to say. “As if!” She seems to shout. What a perfectly awe inspiring thing, and what a perfect summary of what makes Stephanie Brown so damn cool.

For better or worse, you cannot keep her down. I love Stephanie Brown so much.

And if you want to read a comic which understands this, which treats the terrific character of Stephanie Brown with respect and love, and which for the first time maybe ever lets her stubborn refusal to give up go her way? Read Batgirl (2009)!!

Batgirl #3 (2008) & Bruce Wayne: The Road Home - Batgirl (2010)

[wileycap]

So, uh, Netflix Avatar, huh? Yeah. I guess I'll make a really long post about it because ATLA brainrot has is a cornerstone of my personality at this point.

So.

It's okay. B, maybe a C+.

That's it.

Now for the spoilers:

The biggest issue with the Netflix version is the pacing. Scenes come out of nowhere and many of the episodes are disjointed. Example: Aang escaping from Zuko's ship. We see him getting the key and going "aha!", and in the next scene he's in Zuko's room. And then he just runs out, no fun acrobatics or fights, and immediately they go to the Southern Air Temple where he sees Gyatso's corpse, goes into the Avatar state, and then sees Gyatso being really cheesy, comes out of it, and resolves that conflict. Nothing seems to lead into anything. The characters don't get to breathe.

The show's worst mistake (aside from Iroh fucking murdering Zhao) is its' first one: they start in the past. Instead of immediately introducing us to our main characters and dropping us into a world where we have a perfect dynamic where Aang doesn't know the current state of the world and Katara and Sokka don't know about the past, thus allowing for seamless and organic worldbuilding and exposition, they just... tell us. "Hey, this is what happened, ok, time for Aang!" There's no mystery, no intrigue, just a stream of information being shoved down the audience's throats and then onto the next set piece.

The visuals are for the most part great, but like with most Netflix productions, they just don't have great art direction. It feels like a video game cinematic, where everything is meant to be Maximum Cool - and none of the environments get to breathe. It's like they have tight indoor sets (with some great set design) and then they have a bunch of trailer shots. It's oozing with a kind of very superficial love.

Netflix still doesn't know how to do lighting, and with how disjointed the scenes are, the locations end up feeling like a parade of sets rather than actual cities or forests or temples. As for the costumes, Netflix still doesn't know how to do costumes that look like they're meant to be actually worn, so many of the characters seem weirdly uncomfortable, like they're afraid of creasing their pristine costumes.

The acting is decent to good, for the most part. I can't tell if the weaker moments come down to the actors or the direction and editing, but if I had to guess, I'd say the latter. Iroh and Katara are the weakest, Sokka is the most consistent, Zuko hits the mark most of the time, and Aang is okay. I liked Suki (though... she was weirdly horny? Like?) but Yue just fell kind of flat.

The tight fight choreography of the original is replaced with a bunch of spinny moves and Marvel fighting, though there are some moments of good choreography, like the Agni Kai between Ozai and Zuko (there's a million things I could say about how bad it was thematically, but this post is overly long already.) There's an actually hilarious moment in the first episode when Zuko is shooting down Aang, and he does jazz hands to charge up his attack.

Then there's the characters. Everybody feels very static - Zuko especially gets to have very little agency. A great example of that is the scene in which Iroh tells Lieutenant Jee the story of Zuko's scar.

In the original, it's a very intimate affair, and he doesn't lead the crew into any conclusions. Here, Iroh straight up tells the crew "you are the 41st, he saved your lives" and then the crew shows Zuko some love. A nice moment, but it feels unearned, when contrasted with the perfection of The Storm. In The Storm, Zuko's words and actions directly contradict each other, and Iroh's story gives the crew (and the audience) context as to why, which makes Zuko a compelling character. We get to piece it out along with them. Here - Iroh just flat out says it. He just says it, multiple times, to hammer in the point that hey, Zuko is Good Actually.

And then there's Iroh. You remember the kindly but powerful man who you can see gently nudging Zuko to his own conclusions? No, he's a pretty insecure dude who just tells Zuko that his daddy doesn't love him a lot and then he kills Zhao. Yeah. Iroh just plain kills Zhao dead. Why?

Iroh's characterization also makes Zuko come off as dumb - not just clueless and deluded, no, actually stupid. He constantly gets told that Iroh loves him and his dad doesn't, and he doesn't have any good answers for that, so he just... keeps on keeping on, I guess? This version of Zuko isn't conflicted and willfully ignorant like the OG, he's just... kind of stupid. He's not very compelling.

In the original, Zuko is well aware of Azula's status as the golden child. It motivates him - he twists it around to mean that he, through constant struggle, can become even stronger than her, than anyone. Here, Zhao tells him that "no, ur dad likes her better tee hee" and it's presented as some kind of a revelation. And then Iroh kills Zhao. I'm sorry I keep bringing that up, but it's just such an unforgiveable thematic fuckup that I have to. In the original, Zhao falls victim to his hubris, and Zuko gets to demonstrate his underlying compassion and nobility when he offers his hand to Zhao. Then we get some ambiguity in Zhao: does he refuse Zuko's hand because of his pride, or is it his final honorable action to not drag Zuko down with him? A mix of both? It's a great ending to his character. Here, he tries to backstab Zuko and then Iroh, who just sort of stood off to the side for five minutes, goes "oh well, it's murderin' time :)"

They mess with the worldbuilding in ways that didn't really need to be messed with. The Ice Moon "brings the spirit world and the mortal world closer together"? Give me a break. That's something you made up, as opposed to the millenia of cultural relevance that the Solstice has. That's bad, guys. You replaced something real with something you just hastily made up. There's a lot of that. We DID NOT need any backstory for Koh, for one. And Katara and Sokka certainly didn't need to be captured by Koh. I could go on and on, but again, this post is already way too long.

It's, um, very disappointing. A lot of telling and not very much showing, and I feel like all of the characters just... sort of end up in the same place they started out in. I feel like we don't see any of the characters grow: they're just told over and over again how they need to grow and what they need to do.

To sum it up: Netflix Avatar is a mile wide, but an inch deep.

[leahswife]

where do we stand

summary: you're tired of aitana's mixed signals and someone on the spanish team loves to get you all flustered. aitana is definitely not jealous.

spoiler alert: that someone is none other than jenni hermoso.

a/n: more like fulfilling two fantasies in one

prequel, part one, part two, part three

this national break had come in handy for you and lucy. england was set to play a few matches in spain, so you were able to sneak in a break between trainings to go see your club teammates and you managed to check in the same hotel as them for the time being. 

you were both getting antsy as the game was approaching its end and spain was in the lead by one goal. 

when the referee blows the final whistle, you exhale in relief and lucy stands up, cheering, quickly pulling you up to celebrate with her. 

it takes some time for the stadium to start clearing up, with both teams doing their laps around the pitch to thank the fans, but once it was empty enough you and lucy walked down to the field to congratulate your teammates.

you ran up to ona, the girl grabbing your waist so she could lift you up and down with excitement, "ayyy oni!!" you laughed at being manhandled, when you noticed aitana.

her smile was radiant as she was cheering with salma and mariona. you didn't know if you should approach her or not, your situation a bit complicated as of now. explaining it was no easy task either. 

you were shy around everyone when you first transferred to barça, although over time they managed to crack your walls and gain your trust. especially aitana, the girl getting closer and closer to you each day. you eventually became best friends, until one night aitana drunkenly confesses she wants to kiss you. so then, your friendship changes into a… situationship? the next day you talk about it, aitana doesn't know what she wants but doesn't want to lose you either. you go back to normal as if nothing happened. but something does happen. during movie night at mapi and ingrid's for team bonding, you and aitana are in the corner of the couch whispering to each other, in the dark, when the catalan tentatively kisses the corner of your mouth. when you drop her off at home later that same night, you kiss her. she brings you inside, which turns one kiss into multiple. what could be defined as innocent kisses in each other's houses eventually become not so innocent make out sessions behind closed closet doors at training. but you're not dating. aitana whispers into your secret kisses that she can't date, she doesn't have time, she needs to focus. so you wait, and wait, and wait. until she's pulling away again and national break comes and she barely messages you, apart from the friendly "good luck" message.

so now here you were, in close distance to her again. you were friends, right? so friends congratulate friends. that's what she wants, so that's what you'll give her.

you turn your attention back to ona and squeeze her shoulders, "best defender in the making! just you wait until you have to face our lessi russo." you tease her by patting her cheek. ona rolls her eyes with a smile, "voy a estar preparada, tonta. what did you think of the game?" she now asks both you and lucy, as the latter approached, having been talking to alexia. "ehh, más o menos." lucy answers, banter present in her voice. ona mocks her and you chuckle, leaving them to it as you walk over to aitana.

"nice goal, bonmatí." you lightly kicked her butt with your foot to get her attention. she turns to you and immediately launches herself into your arms with an infectious smile. it must have been the adrenaline of the win, you think, a bit surprised. nonetheless, you hold her in your arms. "i saw you in the stands." she affirms once she let go of the hug to look at you tenderly. "hm, i might have been your lucky charm then." you shrugged nonchalantly and whipped your hair over your shoulder. "sí, obvio." aitana went along with your joke, nodding with a fake serious expression. 

suddenly a body slammed into you both, one tattooed arm being wrapped around your shoulder and the other around aitana's. "entonces, chicas, vamos a celebrar la noche entera?" you look up to see jenni hermoso flashing you a dazzling grin.

you had met jenni a few times before, with her visiting alexia every now and then, but you were never brave enough to start a conversation with the tall woman. truth was, she was extremely intimidating to you, probably because she was also extremely hot. however, you had to admit that, as an opponent, she was in addition, extremely annoying. you'd had some interactions in the field whenever england had to play against spain and jenni knew exactly how you worked. it's like she would previously study your every move so she knew how to push your buttons. if you were trying to get the ball, she wouldn't leave your side, if you were getting ready to receive a corner kick with your teammates, she would stand behind you and place her hands on your waist, if she tackled you she would offer her hand with a smug smirk.

you were terrifically infuriated with how easily she could mess with your head on the field and outside the field after a game, often leaving a dm on your instagram saying she couldn't wait to play with you again, followed by a winky face emoji.

right now, her strong arm around you and the way she was grinning at you only managed to redden your cheeks as aitana took the lead in answering her question with a laugh, "pues claro!" jenni ruffled her hair in approval and turned to you, "can i count with you as well?" she asked with challenge in her eyes. "aren't you a bit old to be partying all night?" you challenged back, forcing yourself to keep a straight face and not smile with amusement. that only prompted her grin to grow even wider and her hand to relocate from your shoulder to the side of your neck, playing with your hair. your breath hitched and suddenly you weren't playful anymore, far too aware of jenni's touch and her gaze. "so you do have a mouth." jenni remarked, the stupid smirk never leaving her face. 

aitana caught notice of this flirty interaction between you two and felt something boil in her chest, an ugly feeling she couldn't quite tell what it was but didn't like at all.

–

the club was already full when you got in with lucy and ona later that night, music blaring and people filling the dance floor. you noticed aitana dancing with some of the girls, a little too close for your liking. but she didn't want you like you wanted her, that's what you needed to remind yourself of. therefore, you might as well find a way to have fun tonight without her. you three reached the tables where most of the girls were gathered to greet everyone. 

you swiftly made your way to the bar, ready to start your fun. you were waiting for the bartender when you felt a breath on your ear, "you know, standing behind you outside of a football field can be even more exhilarating than i thought." you recognized jenni's voice right away and a smile slowly formed on your face. this, whatever it was, could be part of your fun, right?

you turned around and ignored your instinct to take a step back out of surprise, given how close jenni was to you. your eyes naturally scanned her body before your brain could even scold you for it and force you to put on a nonchalant mask. they finally looked up at her face, blush already visible on yours. the always present and annoying smirk she had on when talking to you turned to the bartender to order you two a drink.

"you know, i always wondered when you were going to finally talk to me, princesa."

"why would it matter to you?"

she cocked her head to the side, eyeing you curiously.

"i like corrupting pretty innocent girls who look like they could rip my head off in the field but then avoid me like the plague." she bit her lip, trying to hold off an amused smile when you roll your eyes.

"why have you never done so before, then?"

"alexia doesn't let me get too close to her players – and it seems she's not the only one." she points her head towards aitana, who's been watching you two interact from the dance floor with a frown on her face. 

you turn back to the bar to grab your drink and begin gulping it down, trying to keep your mind off of the catalan that up to that point had you wrapped around her little finger. "maybe you just have a bad reputation." you bite on the piece of lemon it was given to you and lick the bitter taste off of your lips. you noticed that had caught jenni's attention and asked, now with a small smirk, "should i be wary of that?"

her eyes never left your face as her strong hand carefully moved up your neck to your jaw, pulling you closer. you could feel her breath on your lips when she goes "i want to do bad things to you but i think it's something you should test yourself." 

your heart starts beating faster, blood rushing to your cheeks and your thighs pressing together involuntarily. just one move and your lips would be touching hers.

all of a sudden, your body is jerked away abruptly from the bar and jenni by a hand grabbing your arm and leading you in the direction of the club's exit. you look up to see aitana and let yourself be dragged outside where you pull back your arm, making her face you. "what exactly do you think you're doing, aitana?!" the rush and amount of emotions you had felt in the span of a minute made you question her with annoyance in your voice.

"that's what i should ask you. que haces con jenni?" aitana looked at you incredulously, an angry scowl visible on her face. you had only seen her angry on the pitch, and even then those moments were rare. but now she was pissed at you? for what? that only aggravated you further.

"what do you mean 'what am i doing with jenni'? you and i are nothing. you made it clear yourself multiple times. you can't have me whenever you want me and expect me to wait when you don't feel like it anymore. so do not tell me who i should or should not hang out with."

"but it's not just hanging out, is it?" she puffs air out of her nose, the frown never leaving her face.

"do you actually care or are you just jealous someone other than you is getting my attention?" you bite back.

"i'm not jealous. i'm just curious." she mumbled, crossing her arms and looking away, doing everything now to avoid your furious gaze.

"oh, so you're just curious. that's why you dragged me away from her like that." you say, sarcasm on the tip of your tongue.

she finally looks at you with an exasperated sigh, "and i'm worried. of course i care about you! and i know jenni isn't looking for anything other than–" she cuts herself off for a moment, knowing what she would say next would make her sound like a hypocrite.

"well, then that makes two of you, doesn't it?" the anger in your voice subsides but your tone is still bitter. aitana furrows her eyebrows together, a sad frown taking shape in her face at your words.

"the difference, aitana, is that if you tell me, right here, right now, that you want something with me, that you're not going to rush into my arms one minute and act like nothing happened the next, i'll stay. i won't go back in there to jenni or anyone."

"i–" aitana stutters, you can see her eyes begging you not to go back but her voice can't say the same. "i--i'm sorry. tú sabes que no puedo hacerlo." she whispers, almost as if she's ashamed to say it. 

you nod, fighting back your tears. silence looms between you both before you finally answer back, "that settles it then." you clear your throat before your voice can betray you any further for showing so much vulnerability in that moment. you turn around and start walking away, picking up your phone to call an uber when you see a message.

"28A 3rd floor. i expect to see you there ;) - jenni"

you seriously couldn't understand how this woman was capable of exuding cockiness even through text.

–

you managed to stay in your hotel room for about 30 minutes before temptation and frustration got a hold of you and you marched your way to jenni's.

you take a deep breath and knock on the door.

immediately you can't resist the urge to roll your eyes when jenni opens the door with a smug smirk on her face, crossing her arms and leaning against the door frame.

"took you long enough."

"shut up." you pushed at her chest and made your way inside.

[revacholianpizzaagenda]

97 Poets of Revachol pics!

HERE THEY ARE, courtesy of the event's official photographer, Zuzana Šubrtová. The Elysium-based LARP took place in two runs in Terezín, Czech Republic, in the latter half of September. These are from the second run!

I can't possibly describe what it was like to inhabit the rundown tenement of La Cage with more than a hundred other players, bringing to life a whole slice of society: immigrants, barflies, petanque players, sewer people, Union gang members, Wild Pines mercs, disco people, sewer people, looters, street artists, an inevitable mass of fascists, anarchists, communards (or so I'm told), communards (proper), communards (it's complicated), councilmembers, hustlers, taxidermy enthusiasts, the also-inevitable mass of pale-fried strugglers, journalists, Moralintern creeps, RCM chucklefucks, and so on and so forth. The old military hospital burst to life with small human moments and grand revelations happening in every corner at all time, as the gears of history moved toward our inevitable trial run of Le Retour.

We really had it all. Politics, drugs, creeping mold, more drugs, unseen voices steering us toward our best and worst natures, a metaphysical rave, entroponetic anomalies, precognition (scripted), precognition (just kind of happened?? Several times over?), suzerainist coffin deliveries, sweatshop politics, old reckonings, radiant sacrifices (accidental-ish), three-way divorces (one-upping one HDB), strikes and strike-breakers, political dance-offs and political orgies, and did I mention the drugs, under the greatness of history and the pale.

Thanks to the organizers for the colossal effort they pulled off like it was nbd, and to all my fellow dwellers of La Cage.

A few favourites:

First off, this was basically the entirety of my game:

...with a central heartrending tension between that abandon, that 'something beautiful is going to happen', and my character's earthly loves, the family she loved so much. It was really really fascinating and emotionally moving to get to play out that central conundrum in full (and go die on the barricades for an independent Revachol following the push of History) (and also of Franconegro pulling my strings like a marionette in a chilling scene) (but mostly History)

Case in point: me in the back, the Unseen voice/spirit/skill "Doomsayer" to the left, dear husband Tai in the middle. Sorry Tai!

Moralintern mission

Sweatshop workers strike

Both sides of the barricades, right as the game ended (this is not a spoiler, it said up front on the website that that's where the story would end): independentists (feat. His Fuckery Franconegro with the black wings in the background, but also the Unseen of if it sucks hit da bricks, the street martyr and idk who else) and globalists (Dolores Dei, Doomsayer et al)

speaking of those two - here's them in full rave regalia. I love that two of the collective skills of this place are flat-out "Dolores Dei" and "Franconegro", it's so fitting. Can't have current society without them, so here they are, as a molecular part of it.

RCM peeps predictably being serious, professional individuals

Designer drug guy talking to Corrosion who's kind of the local version of Electrochemistry. I'm sure this was a completely hinged conversation that reached sensible conclusions

Wild Pines mercs +1

Disco downtime. The set design for The Bearded Vulture club and The Second Club was out of this world. I hope my own pics can convey some of it.

sweatshop power dynamics (there were accidents, Union leverage, strikes, corruption... you'd think there would be barely time for anything else to go on AND YET)

possibly my fave pic of the whole thing (go Doomsayer!!!). we had specific graffitable areas on the wall and made VERY good use of them. Well, everyone else. My character wasn't much of a graffiti artist, her greatest contribution was turning "Revachol for revacholians" into "Revachol for mold"...

LARP^2

fascist campaigning at the Democracy Picnic

Petanque club...

...actually playing petanque? I never saw them ingame, I was starting to wonder if it wasn't a front for something else

Pictured - no scheming, plotting or quadruple-crossing here as you can clearly see by "Kras Knezhinisky"'s super normal demeanour and unassuming name, which I can totally believe was on his legit birth certificate)

I mention Kras because here's the theatrical taxidermy show with him in the middle narrating the adventures of his antifascist ferret Kommissar Kunixet. Nice pic, I take the shot. Five seconds later, superstar Frittte clerk Jamie Delaney joins in, and what can I do, NOT have Jamie in a shot? Absolutely not, so I take the same exact shot with Jamie in it as well.

And by sheer twist of technology (and of course the pale, and of course vile censorship in defiance of the Romangorod convention)... Kras Knezhinsky of all people gets kommissar-no-kommissar'd. "Kras, the pale is erasing you from our memories, from images," I warn him, showing him the two pictures. One hour later, he gets taken behind the waste disposal facility and shot.

Hm.

(LARP's haunted. These things KEPT HAPPENING. In the first run, that version of my character went "YOU MURDERER" at the specific merc who'd turn out to be connected with her background, a couple of hours before getting that reveal in-game. What's Elysium without some good old-fashioned precognition after all!)

Poor Flowerseller (red dress here) was kind of my Empathy - many valiant attemps were made, however. Uphill struggle.

HARDCORE anodic club leader Konrad Nilsen doing something not so hardcore here, idk what was going on exactly but then again I never even noticed we had a morgue and I had a plot right next room, so what do I know. I know that the end is near. That much for sure. And that the resolution of history's contradictions goes through the pale. But corpses? Nah.

||||||| 😎

[oneknightstand-if]

A Completely Normal Rest Stop

Update 4: Chapter 2 Part 2 - The Rest Stop

Featuring...

Merlin's Guide to Minor Enemies

A bucketload of owed texts & e-mails to the MC

Decisions of great import... just where are you sleeping in that motorhome during this Among Us game?

Shopping? Fleeing? Stalking Merlin? Chapter 2 wedding proposals? ̵S̵a̴b̷o̴t̸a̷g̵e̵ ̵t̷h̴e̶ ̷m̸o̵t̵o̴r̷h̸o̷m̷e̶/̷ Actually having a completely normal time because you sidestepped all the spooky shenanigans? (But what fun would the latter be?)

A ton of branching everywhere in the second part of this update, so try replaying again with a few different choices.

A̴ ̴C̴o̶m̴p̷l̷e̵t̷e̴l̴y̵ ̶N̴o̷r̸m̴a̶l̵ ̵G̴a̴s̸ ̶S̵t̵a̷t̷i̶o̷n̸ ̵S̴t̸o̷p̷

Nothing to see here but a completely normal gas station & convenience store at a completely normal rest stop. Moving along now.

Play the Updated Beta Test

(Since there were bugs & typos reported throughout Chapter 1 & 2, your current saves are probably going to reset to the beginning of each section of the game. If things get too wonky, you might want to try restarting from the beginning.)

*If you're getting error messages or the start screen isn't showing Version 0.22, please clear your browser's cache.

Additional Word Count (Sans Code): 200,000+

Additional Word Count (With Code): 285,000+

New Total Word Count (Sans Code): 815,000+

New Total Word Count (With Code): 1,120,000+

Average Playthrough: ~65,000+ words

Note: You can view the game code on my site the same way you do on Dashingdon just add /scenes to the end of the URL.

Next Update

Merlin's Guide to Minor Neutrals

MC may appear on TV! This might not be a good thing. And they aren't the only one, cameo appearances from a future RO

Get hit with your first mass spell of nondemonic origin

Counteract with participation in your first multiuser spell

Attempt to summon Cthulhu. Dance the macarena. Have the consequences of your own inaction potentially bite you in the arse-- I mean what?

RO #4 finally appears.

Also quick reminder that the Alpha Build of the game on Patreon updates as I complete each section, so is currently on Chapter 2-3.

Link to New Polls on the Update (Which don't auto close in a week like the Tumblr ones)

More (Fiddly) Info on the Update Behind the Spoiler Cut...

The Update Also Includes...

Added section where the devil's mark is found if you change into short sleeve clothes right before packing up to leave

Added more neutral way of deciding not to claim dibs on a past Camelot incarnation

Added more flavor text regarding the vending machine in the fencing club route

Fixed continuity bug regarding your mask while exploring the empty city

Fixed continuity bug with Adrian's text messages in the Fencing Club route (Again!)

Added Fou and Petit Cru as default names for the Arthurian lore references to the default pet names

Fixed reference to nonexistent pet at the start of the book club route (which won't be finished for awhile)

Fixed some behind-the-scenes bugs with variable incrementing

Changed brave_sir_robin & merlin_warn to numerical variable instead of true/false (might cause bugs with prior saves that triggered those flags)

Fixed a bunch of typos and smaller bugs that I've completely lost track of at this point, but pretty much guarantee every section got re-edited

[ohwormwood]

breaking down over in stars and time's use of tarot cards

[woe, spoilers be upon ye!]

[no seriously, this contains spoilers for the entire game. proceed with caution]

BECAUSE IF I HAVE TO BE TORMENTED BY THIS KNOWLEDGE, THEN SO DO YOU.

Act 2

Six of Swords

Transition, change, rite of passage, releasing baggage

Siffrin is, in the start of Act 2, beginning a new journey. This card is pretty self explanatory, but also is a form of major foreshadowing. Six of Swords has a heavy implication towards evolving and bettering yourself as a person, going on a journey that is absolutely essential to growth. Whether or not this journey is at all pleasant is entirely left up in the air, but given the rest of the game, it’s more of an indication of hard-won lessons.

Siffrin asks “How does the boat not sink?”, which is kind of hilarious, given that they end up almost sinking into complete despair by the end of the game, only saved by getting help and changing, completing their journey and starting a new one.

The Star (Reversed)

Lack of faith, despair, self-trust, disconnection

Stars play a huge part in this game (it’s literally in the name), so this card felt kind of inevitable. The most important part of this card is that it serves as a sort of omen for what is to come. In Act 2, Siffrin is blissfully unaware of the overall impact this will have on his psyche, of the turmoil it will bring him. But the most important part of this card for me is the idea of loss of faith. The very first line in the reference site’s description is this; “The Star Reversed can mean that you’ve lost faith and hope in the Universe”. This is likely indicative of the gradual crumbling of Siffrin’s hope over the course of the game. The site also notes that “You may be desperately calling out to the Universe to give you some reprieve but struggling to see how the Divine is on your side”. Siffrin pretty much does this in the latter half of Act 3, as things become more and more hopeless. This is, for lack of a better term, a test of faith. Given how the Change God mocks Siffrin for the Universe never talking to them directly, this is nailed home pretty hard. But, in Act 2, a lot of the concept of The Universe and Wishcraft isn’t introduced, so this serves more as a premonition than anything else.

Another note: Loop. Loop is a star. Or ate a star. Either way, they have a deep connection with stars (and The Universe as a result). I bring this up because of the general meaning behind the UPRIGHT version of this card, which is a sign of hope, faith, and guidance. Loop serves this purpose throughout the game as Siffrin’s “helpful companion~”, so the connection here there is nice. But the entry states this; “When confronted with a challenging situation, you can either crumble like The Tower or stand firm in your conviction that the Divine is everywhere”. Because of the 2 Hats situation, we know that where Siffrin eventually overcame the challenges of The Star/The Universe, Loop did not. Instead, they made one last plea to the Universe for help, and The Universe listened. But we know the obvious twist of fate here is that Loop is literally helping themself by helping Siffrin. They gave in, crumbled, and lost their faith in the end, only to be the thing that helped Siffrin keep theirs and eventually free themselves. 

Ace of Wands 

Inspiration, new opportunities, growth, potential

Most of Act 2 Siffrin is spent with this idea in mind. At this point, Siffrin is pretty lax about the true meaning of the loops, believing them to be an opportunity to beat the king, each loop full of potential to achieve their goal. But the twist here is that for the Ace of Wands, there is always potential but never a guarantee of success. Siffrin experiences this first hand at the end of Act 2. 

Eight of Pentacles

Apprenticeship, repetitive tasks, mastery, skill development

Another nod to Siffrin’s frame of mind in Act 2. The slow mastery gained through the overall leveling system in the game actually accomplishes this card’s meaning pretty well- you repeat everything, over and over, and it is only when you master it that you are able to defeat the king. Siffrin notes a lot that in a couple of loops, he will likely be able to remember interactions by heart, and some he actually does recall completely, like when the very first interaction with Mirabelle in Dormont at the start of each loop. He’s essentially memorized the script, mastered the actions, the choreography, and now is faced with the fact that he has to do it over and over again. It will turn into monotony by proxy of being so familiar and easy. 

Siffrin also notes that “they seem happy to be working”, which is another nod to how he sees the loops towards the start of the game, less of a curse and more of a boon that requires effort to properly utilize.

Act 3

Two of Swords

Difficult decisions, weighing up options, an impasse, avoidance

There are a lot of hard choices to be made in Act 3, so this likely isn’t referring to any one instance. This is where the Eight of Pentacles card comes back into play, in a sense- there is still more to learn here, more to master, but a lot of that requires decisions that have greater weight than those in Act 2. People’s lives are at stake. However, it is only by doing this and making hard choices that Siffrin eventually learns more about Wishcraft and the way things work in the loops. 

Interestingly, when Siffrin describes this card, they describe someone holding scissors. An intersection of 2 blades, but the thing here is that no matter which side you’re on, they can still cut you. Alternatively, this could just be a representation that Siffrin, who is the main Scissors Craft user of the party, is the one stuck with these decisions. 

Six of Pentacles (Reversed)

Self-care, unpaid debts, one-sided charity

Siffrin is the king of never giving themself proper self care. They are also the king of tearing themselves apart to give everything they have to the party. They are willing to sacrifice everything they have for a “perfect ending” where everyone is happy… everyone but themselves, that is, because they do not receive the same fulfillment in return. They give and they give and they give, but the party does not give in return, not in the way they need. Not soon enough to prevent them from falling apart at the seams over it. 

The note here mentions that it shows “someone walking on the sky and offering flowers to sky people”, but then when flipped shows “the man is touching the ground, and giving flowers to normal people”. This kind of struck me as strange, as no matter what orientation the card takes, they will always have their feet on the ground. This also isn’t the last mention of sky people, but I haven’t really delved deep enough into theories about that to understand what that really means in the context of this card.

The Hermit

Soul-searching, introspection, being alone, inner guidance

Hilariously, this is something Siffrin completely lacks for most of the game. They avoid thinking about themselves and their own sense of self for a vast majority of their character arc, and it isolates them. While this card means well in its message of introspection, it’s also key to note that this withdrawal from the outside also can lead to being alone with your own thoughts, something that Siffrin experiences more as the game continues. And their refusal to acknowledge what they want almost breaks them. 

The loneliness aspect of this card is further hammered home by the fact that Siffrin says “they look sad and alone”.

Five of Wands

Conflict, disagreements, competition, tension, diversity

Misunderstandings and miscommunication is at the heart of this card. And oh boy, does Siffrin deal with a LOT of that in the loops. My brain immediately goes to the whole “touch therapy” arc and Siffrin’s refusal to clarify that they don’t dislike touch, which eventually leads to Memory of Touch. It’s also a bit of foreshadowing of what is to come, especially in Act 5 and the breakdown of the party’s trust in Siffrin because of their break in communication and understanding with each other. 

Siffrin asks “Why are they fighting?” when this card is drawn. The answer is that they don’t really understand themselves. This is conflict driven by a lack of communication and understanding of the other parties at hand. As the description for this card says, “No one is listening.”.

Act 4

Eight of Swords

Negative thoughts, self-imposed restriction, imprisonment, victim mentality

Act 4 starts with Siffrin experiencing quite possibly one of the worst endings to the loops he can imagine, so it’s safe to say that at this point, their deterioration is rapidly worsening. They begin to spiral, and the idea that there is no way out begins to appear. However, the main crux of this card’s significance is that there is a way out, but it lies in freeing oneself. There is a gap in the swords, and if one was to take off the blindfold they could get out. The description of this card calls this “imprisonment”, which ties in pretty nicely to one of the screens you can get when you loop back; “You are in a prison of your own making”. The description for the card also reads “You surrendered your power to an external entity, allowing yourself to become trapped and limited in some way. You may feel that it isn’t your fault – you have been placed here against your will”. This is heavy foreshadowing for the idea that Siffrin’s own wish to The Universe that got them trapped in the loops, not the wishes of The House or The King. 

Siffrin asks “Why is he alone?” when drawing this card, which kind of projects onto themselves. They feel alone, they feel trapped, and they believe that there is no one who can help them, but that isn’t true. They have the ability to change things, but they are afraid. 

Ten of Swords (Reversed)

Recovery, regeneration, resisting an inevitable end

There are good aspects to this card, but the main focus in this case is likely the idea of resisting the inevitable. This is pretty much what the whole deal with the Head Housemaiden is, the repeated attempts to find some way to change something that, by the nature of the wish, cannot be changed. And yet, Siffrin is unable to let go of this. It’s also noted that this card represents past trauma that is still being carried around and still hurts the bearer. Siffrin spends this Act searching into their past, tearing up painful memories (or lack thereof) in the process. They carry the burden of being without a true geographical/cultural home to go back to. They cannot let go of this, nor do they want to. But the card’s description notes that “these old pains need to be dealt with once and for all. It may be difficult to delve back in, but it's the only way to release yourself of this pain and allow it to pass from your life”. In a lot of ways, this nods to the avoidance of pain that Siffrin displays when they are unable to cope with their trauma from the past and the loops. It is only through promising to tell the party their wish and deal with the pain and fear of their trauma that they can move on and begin to heal. This card pretty much represents the whole crux of the story’s meaning. 

Five of Pentacles

Financial loss, poverty, lack mindset, isolation, worry

Loss is a major theme of Act 5. The loss of memories, the loss of a home, the loss of faith, and, perhaps most importantly, the loss of hope. The card’s description says “You no longer feel safe because it has all been stripped away from you in one blow”, and this is pretty much what happens. Siffrin is in a crisis. They are exhausted, they are alone, and they are profoundly terrified of what that means. At this point, they are searching for help desperately, but are unable to ask for it. This card explicitly deals with fear of rejection and reaching out for help- the situation is dire, but, as seen with the card’s depiction of lit church windows, there is help nearby. The issue is that one must be willing to accept it. There is fear that you may lose something important- in Siffrin’s case, his found family- but there is no telling if that will actually come to pass. 

To further nail the loneliness aspect of this card home, Siffrin says that the figures on the card “probably don't have any friends”, something he starts to believe in the latter loops as the group loses their identities to the script. The in-game card also is different from the real card, and is said to show empty glasses, a pretty on-the-nose reference to Siffrin’s “glass half empty” mentality as they lose hope later in the game.

The Hanged Man

Pause, surrender, letting go, new perspectives

The Hanged Man gets a pretty bad reputation if you don’t really understand what it means. It’s a card about acceptance, pausing, and entering a new phase in life. But this change is heavily implied to come via unfavorable circumstances, situations outside of one’s control. The description says that when a person is unable to pause when they need to, unable to stop their actions, “The Universe will probably put things on hold for you, in the form of continued obstacles, ill-health, and breakdowns”. And this is pretty much what happens in Act 5. Siffrin is ground to a screeching halt by their own body, exhausted, starving, and mentally/physically fatigued to the point of actual sickness. On the topic of “surrender” and “giving in”, things get more pointed. Siffrin gives in to Mal Du Pays (very ‘L'appel du Vide” style), almost dying as a result, but then conversely gives in to the party’s urges to tell them what they wished for, to let go of their fear and stop looping. 

Siffrin notes that the Hanged Man “Look(s) like they're about to die, but they're smiling”. This is more of a connection to the end decision of Siffrin to let go of the loops and tell the party about their fears. They are facing down something that they are terrified of, something seemingly insurmountable, but rather than continue to fight and avoid letting go like Loop did, he instead chooses to surrender and tell the party.

Act 5/6

The Fool 

Beginnings, innocence, spontaneity, a free spirit

There are two versions of The Fool, technically. In Act 5, if you take the card and inspect it immediately, Siffrin will give a manic laugh and tear it to pieces. In a lot of initial interpretations of the card, some people will assume The Fool to be what the card says they are- a fool, someone stupid and tricked and hopeless, about to send themselves to their doom. But the reality is that this card is not really about that- it’s about new beginnings and the start of a new journey, but specifically through a leap of faith- a leap of faith that Siffrin has to take at the end of Act 5. While he is going through The House during this act, however, he is unwilling to accept this advice, either because it is misinterpreted or consciously, and instead tears it apart.

When the card is examined after the game, rather than during the final loop, Siffrin seems to recognize the card for what it actually means. He says “It's a traveler. He seems to be starting a new journey”. Siffrin’s title in the Profiles is literally “The Traveler” (alongside having the Traveler’s Hat), so this is a direct statement of new beginnings for the party and Siffrin’s life, a new journey they are taking with their family rather than alone. 

-

annnnd that does it for me, i've spent no less than two hours writing and researching for this post so ima go take a nap now, gnight

[inhuman-obey-me]

Trouble in Gambler's Paradise

What's this? We actually got a little bit of political intrigue in Nightbringer Lessons 51 + 52 amid all the usual shenanigans? In our OM?! It's...not as likely as we wish, but we did get some!

(spoilers for NB Lessons 51 and 52 below the cut)

A quick recap: Our entire cast is going to Meowcao to fulfill Mammon's wish after he won in the RAD Science Fair for Devildom Geography. They have the entire town reserved for three days thanks to Diavolo, as he is a major shareholder for the Three-Legged Crow Group, which powers most of the technology in Meowcao. Him being the Demon Prince is probably also part of it, though what we find out makes this all the more interesting.

MC, the brothers, and the Purgatory Hall gang all arrive in Meowcao and end up getting roped into a game -- they have to gamble their souls. While that sounds about right for the Devildom, it's quickly made clear that this is an unusual request and we're now in danger.

For once, this particular situation is not due to some curse but happens because Meowcao is actually home to a considerable number of demons that oppose the Demon King. We find this out from Diavolo himself as he travels with Barbatos, Thirteen, and Mephistopheles to catch up with the others in Meowcao.

Thirteen and Mephistopheles point out that this makes the trip open to danger, and sure enough, none of them can get in contact with the rest of the cast as we're all trapped in a life-or-death situation.

Something we have a constant gripe with in OM is that we have a very powerful cast, yet somehow they end up in situations that they should all easily be able to get out of -- but thankfully, now and then, the game does give us a logical reason, and this is one of those times. In this case, the reason the magic worked on our cast is because it was originally Diavolo's. He had used magic to set up a fun welcome game for everyone using the three mascots of the Three-Legged Crow Group, but it was then hijacked by the hostile demons.

We were able to escape with our lives thanks to some clever thinking by Belphie, and after reuniting with the entire cast it seems we can all just go and have some fun.

Right?

We're then given the choice between shopping, the theme park, or the casino. Each scenario puts you with different characters, but they all include a similar situation -- a random demon showing up to attack.

In all three scenarios, MC is fortunately able to quickly use their magic to stop the demon. Notably, if you choose shopping, Solomon hones in on the fact that we were able to do it without having to recite an incantation. The demon then gives up and disappears, and we resume doing our fun activities like nothing ever happened.

It's only when MC brings it up the next day that anything gets addressed -- but it's just focused on MC's magic. They note that MC's power is getting stronger, making them susceptible to magic sickness and the potential to lose control. Solomon says he'll be mindful of that in his trainings with you, and tells everyone that they need to keep MC's growing magical power in mind.

You know what we don't talk about though?

The actual attacks!

Sure, the demons were quickly taken care of by MC's attack spell, but you would think there would be a bit more conversation around the fact that our cast was attacked multiple times by hostile demons! And in all three cases of the latter attack, the mystery demon specifically calls out their relationship with "the future Demon King" as the reason for targeting them. Will we see that get addressed in later lessons? The naming of "Demon A" does seem to imply the existence of a "Demon B", "Demon C", etc...so maybe! But given OM's track record, we also wouldn't count on it.

Over the course of OM's story, it's been reiterated that Diavolo's RAD Exchange Program is not heavily favored. Some demons at RAD have slowly come around as they've gotten to know the exchange students, but he is still fighting a constant uphill battle as he tries to forge peace among the Three Realms -- and these recent lessons show that there are still some demons who are ready to take more drastic actions to bring it all to a halt.

[aniihera]

Ok. I’ve been compiling my thoughts on the pathologic 2 endings for a while now, and I’ve finally pinpointed my feelings on them (enough to share at least). I’m desperate to hear what others think about them too.

Lengthy Kin-themed rant oncoming? Perhaps.

More under the cut.

CW: Spoilers for Pathologic 2 (of course).

- - -

To preface: As I am Māori, not Buryat or of the other cultures I have heard the Kin to be based on, my perspective is more from *my* understanding of what it means to be Indigenous than anything else. There are probably many things I’m missing. But I’d like to throw in my two cents, however relevant they are.

Suffice to say, my feelings are complicated. Stylistically and narratively, there was a lot that I enjoyed. From a reconnecting/ mixed Indigenous perspective, however, I still feel unwillingly bisected, torn.

At the culmination of everything, Artemy Burakh and the player are roped into a cruel, two-pronged choice. Destroy the Polyhedron along with the miracles of the Steppe, or let the plague devour the town as you lead the Kin back to its heart. In these scenarios, you either assimilate the Kin into the town, which many of them will despise you for, or push out the nonindigenous townsfolk by force, letting nature run its course. Any third option has already been amputated, beyond your will. You cannot protect the Kin completely either way, some will likely die from the plague in the latter, and the more fantastical will in the first, by being cleaved from the earth’s dying magic.

Diurnal, or Nocturnal. No matter how you look at it, the kin cannot thrive in either. For it to be a choice at all, hurt, to say the least. After playing the bachelor’s route in the first game, I’m sure that was deliberate in an anti-utopian sense, perfection is impossible etc, etc. But the first lens I saw it through, stuck with me.

When I initially read Isidor say this after Artemy’s trial in the abattoir:

“Facing the Future is the way of Love. Facing the Past is the way of Love. But the two are incompatible, and it broke my heart.”

I was devastated. The hopeless dichotomisation of future and past… and I could only construe it as assimilation or death in some manner (but I could not see what role it took yet). That feeling festered for a while, but I wanted to see it from another angle. I think it's natural to be sensitive to the words “progress” (which is usually linked to “civilisation” and colonisation) when anchored against Indigenous culture, but I didn’t want that to blind me completely.

On its own, I do like this line. It’s weighty. And I think it articulates aspects of Indigenous struggle well, to some degree. Going back to the “past” is somewhat impossible for many reasons. Decolonisation is needed but I don’t believe it means restoring the “past” fully by any means. Culture is not stagnant, and neither is the future. To say they are incompatible though pains me. Especially when contextualised inside the divide between the kin and the town. It is an intentionally agonising line, and successfully so. Pitting the themes of Past/Future, against, Kin/Town, is something I find hard to reconcile with. Even just the first part irks me; personally the past walks with me at every step, the future is void and useless without it in full view. But I wouldn’t say a line from Isidor (or Artemy’s subconscious) necessarily defines the game more than it does his perspective. For me, it is the patterns that follow and precede it.

Aspity is a very obvious portrayal of what it looks like to “face the past” completely. Visiting her sanctuary, It becomes very evident that her opinions of the non-Kinfolk sway towards genocidal. They must “flood the town”, as she put it. Considering their treatment on the Bull Project and well… everything else, It’s not unfounded. During the night visits, we develop a growing understanding of what is at stake for the kin. Their language, legends, arts, and traditions, and too many Kin are dying from pest and persecution (Its a familiar story). Herb brides are forced to sell their cultural dance to get by (another familiar story for Māori, kapa haka and tourism, our culture has also become a commodity out of necessity). Legends like the shabnak adyr too are warped by the townsfolk (as it is used as an excuse to target Kin women). Assimilation means these things for them too.

There's also the case of how the Kin are depicted as more animalistic than the “more human” townsfolk. Oyun, Big Vlad, and even Artemy have a long history referring to them as such. To make the Kin less than human is inherently othering (as is any case where the empire views us as inherently more primitive or unevolved). The importance placed on Aurochs and being one with nature in Kin culture paints this in a less hostile light (Big Vlad’s view not so much). But I fear the effect this might have on player perceptions of the Kin will be negative regardless. I’ve seen a few statements about the Kin being a “hivemind”, I can't say I entirely agree. Many are divided on how they view Artemy, as well as what they desire for the future. I’ve also seen this in reference to when a few odonghe gift you organs for your tinctures, but at this point everyone in the town is desperate for a cure no matter the cost. Their more violent practices appear to weaken many fans' empathy for the Kin, painting the Nocturnal ending darker and darker. Getting rid of herb bride “marriages” would be a good thing at least right? Assimilation might be a good thing then? Nothing good comes without cost, and for the Kin this cost is too steep. Survival doesn't have to mean losing yourself piece by piece.

I will say that despite liking the non-Kin townsfolk, I do wish there was a larger Kin presence among the main roles. While we have Nara, Aspity, Oyun, and Taya, I understand how their presence does little to assuage the dread of seeing the rest of the cast wade out into the Steppe. For me, seeing Murky and Sticky in such a lost state during the Nocturnal ending, made me unable to see it as anything but a mistake.

Two other alternating themes are present through the endings. Childhood (miracles and dreams) and adulthood (waking up and walking forward). The dominant presence of children in Nocturnal, and the fact that walking through the near empty town really does feel like a nightmare, showcases this. The impossible has been made possible, the earth sleeps, sated. The endless cycle of responsibility, from father to son, from parent to child... Children rule the future here. In Diurnal, this cycle, at least, has some room to be broken. Responsibilities are weighed more evenly. Letting go of miracles and childhood dreams, that is the only future in this end. I’m not sure If i have to discuss how problematic it might be to place indigenous revival in the realm of childishness, and assimilation in the realm of growing up, but i thought i'd leave the notion there regardless.

Leaving how you view the two ends aside, it's obvious that Nocturnal has a heavier, gloomier tone.

Maybe having a third ending would’ve been reductive, to have one person so easily find a solution to unifying the town. But, it hurts so deeply to have that choice wrenched from your hands. The choice might have been severed by Isidor, but it felt like so much was possible for Artemy. With one foot in both worlds, the potential of true reconnection, i thought we could move past what was possible for his father. It felt like that was the direction Artemy was moving in, seeing the choices before him and bullheadedly trampling through the middle. Just like he did with the cure, finding the impossible connection.

As it stands, the endings are brutal. Survival for the kin is held by a thread, regardless of the direction you look. They either die a physical death, or a cultural and spiritual one (the two could very well be interpreted as present in both depending on how you look at it). By your conversations with Aspity, even if they survive, the Diurnal end is hinted to lead to an essential “dissolution” of the Kin as they know it. Wherein the differences between the Town and Kin will become so negligible that the two are no longer distinct. Which from my perspective is its own, however voiceless tragedy.

Ok, that was a lot of negativity but I’d like to be candid. Even despite all that, Pathologic is still one of my favourite games of all time. I saw someone say on here that Pathologic 2 is most interesting when allowing the player to decide where love takes them (even if they are led to extremes). Love being at the forefront, regardless of the choices you make, no wrong answers, that's what I appreciated most when playing as Artemy. Whether you chose to kill the three odonghe for Rubin, begged him to stay despite everything, killed Oyun, the Oglimskys, or the pest, it was for the love of something. The internal strife of having a mixed identity too, the rejection and affection from both sides, is something I related to even if the circumstances were miles apart from my own. I wish that Nocturnal aligned with that energy, that the nuances there were a little less stark. That opposing assimilation felt like less of a mistake.

There's a lot more I could delve into but this is pretty long already. This post could all read like nonsense/surface level, but I’m curious to see what other people think! Especially other indigenous folk, I’m dying to know how others interpreted the endings regarding the Kin.

[oneverydelululemon]

SXF MANGA SPOILERS, READ AT YOUR OWN RISK!

Hi! It's me again!

I want to thank all of you wonderful people who have read the first fic I did, The Conversation. I love and appreciate every single one of you! <3

Since that post gained a bit of traction, I decided to write down the prequel, aka how Damian even realised Anya can read minds. (Un)fortunately, this fic got a bit long so I'll be posting the first part for now. I hope you enjoy!

The Revelation - part 1

Damian was sitting on his bed in the dorms, his legs crossed. He had spent almost the entire day studying in the library, his nose in the books until Ewen and Emile dragged him out. After forcing Damian into the dorm, the boys went to get something to eat. Since Damian wasn't hungry, he chose to go to their room instead and have some well deserved rest. However, once he snuggled into his bed, he couldn't fall asleep.

Damian had been struggling with insomnia for a while, and the causes of his lack of sleep were always one of two things. If he wasn't stressing about his academic status, his mind liked to drive him crazy with all the memories he has about that shimp-haired commoner. The latter frustrated Damian to no end. He hated his own mind for toying with his heart in such a manner, for having chosen to give so much of its precious attention to someone so undeserving of it. If he'd paid as much attention to his studies as he did to Forger, he'd have already become an Imperial Scholar. A part of him wished he would come to his senses, but a small part of him hoped it could be like this forever.

So Damian did what he always does when he needs to relax and stop thinking about that girl - he took one of the many "The Serpent's Orb" comics he owns and began rereading it.

"The Serpent's Orb". Oh, how he adored that comic. He started reading it during the Dark Preschool Ages. He would read it whenever the halls of his mansion felt too empty and the rooms too big. Damian cringed thinking about the time he spent reading and reenacting the story to Jeeves. He cringed even harder when he remembered he would sometimes tell the same story to his old plushie whenever he'd be too scared to sleep at night, believing there were monsters in his closet. By the time he moved into the boys' dorm at Eden, he already knew every line in all the volumes, every episode of the show. Damian was ecstatic to hear Ewen and Emile were fans of the show like him, but they were never as enthusiastic about it as he was. He never blamed them for not loving it as much, though. For them it was just another cool show, but for Damian, "The Serpent's Orb" was a lifeline.

He took one of his favorite volumes from underneath his bed and began reading the first page. He usually reads through an entire volume in the matter of minutes, but he found it hard to concentrate during school break. His mind had been too occupied reliving the last time he saw that peanut-obsessed stalker. He did his best to call the night of the gala anything but magical, even if he did spend a good portion of it arguing with her.

Damian rubbed his eyes in hopes of erasing images of Anya dancing with him. He reread the page he stopped on. The main character read the mind of his best friend to find out what happened on the planet he visited. Damian hadn't really found this scene as interesting as many other fighting scenes up until that moment.

Mind reading, huh? - he pondered. It reminded him of the joke that dummy made at the gala. Damian knew better than to believe such an ability exists. This is the real world, not some cartoon or a comic.

I mean, imagine what life would look like if telepathy was real. You would know exactly what the other person thinks. If i could read minds, I'd have perfect grades! I would win every game of Old Maid and excel in every quiz! There's no one I wouldn't beat in every single football match! Bazooka Bill would fear me!

He kept daydreaming, chuckling to himself.

Until it hit him. He felt his stomach sink.

Didn't Anya make Bill cry when she dodged his every single throw, as if she knew what he was about to do? Didn't she know about some of the most embarrasing moments in Damian's life, like when Max pushed him into a pond on accident? Wasn't it Anya who won the first round of Old Maid, before she agreed to play another round because it seemed like she cheated? Didn't she somehow find out the bombs around their necks were fake in that damned bus, despite nobody ever hearing any of the terrorists say it?

Damian's mind was racing, going over every single interaction he's ever had with Forger. He stared wide-eyed at the pages in his lap, his face turning paler by the second. He dropped the comic from his hands as they were too shaky to hold it anymore.

In that moment, he was rethinking his entire existence. Is this life real? Is Anya real? Is he real? Is this all just a bad dream or some sort of a fictional simulation? Does he live in an actual cartoon?!

Damian didn't sleep that night. He barely managed to sleep every other night after that, counting the days before the beginning of the second semester.

He had some investigating to do.

And that's it for this one! I heard somewhere Damian imagined he's on a planet in Dragon Ball Z when he was "training" for the dodgeball match, so I took that fun fact and ran with it. That being said, I've never watched the anime or read the manga, I just searched up if it involves any telepathy. It's why I tried to keep it vague. I hope I didn't get anything wrong but let me know if I did!

I'll make a part two that will revolve around Anya finding out he knows.

Let me know what you think! Any feedback is appreciated! And thank you once again for reading my delulu little stories! Love you to the moon and back!

Byeeee <3

[that-ari-blogger]

This Is About Relationships (Hell's Greatest Dad)

I feel like we are seeing more and more stories that draw on horror elements as of recent times, with mixed success.

Critical Role, for example, has put some heavy emphasis on body and cosmic horror in their most recent campaigns, and I think that has worked really well. They are telling a story about feeling powerful in the face of adversity, and so having villains who are either unknowable or far too knowable really works for that idea.

On the other hand, the horror elements of Doctor Strange and the Multiverse of Madness actively took me out of the story, because they didn’t fit with the rest of the franchise at all, and I found that rather jarring.

Then there is Hazbin Hotel, which isn’t scary, but it definitely draws on some of the tools of writing horror. Although it doesn't do that in the way you might expect. Specifically, it uses the character of Lucifer to both embody and subvert the very nature of Gothic horror itself.

Let me explain.

SPOILERS AHEAD: (Hazbin Hotel, Ratatouille, Paradise Lost, Frankenstein)

I have made my stance on genre extremely clear in the past. I think it exists, but I think it is bollocks, and Hazbin Hotel kind of proves my point.

Because, yes, you can boil Horror down into however many constituent parts as you would like in order to organise a bookstore, but however you spin it, Hazbin Hotel fits that, with the exception that it isn’t scary.

Then again, being scary is entirely subjective. For example, I am completely fine with ghosts and ghouls, so the only thing that gets me about games such as Phasmophobia are the jump scares, and Jump Scares aren't horror. By the same score, I am incredibly squeamish, so Hazbin Hotel itself was more difficult for me than a few of my friends.

Which leads me to gothic horror, which has a distinct aesthetic to it that isn’t actually essential at all.

The name actually comes from its aesthetic. Gothic fiction got started in the 1700s when Gothic architecture was popular but gained traction in the early 1800s when authors such as Edgar Alen Poe and Jane Austin got involved. The latter of whom wrote Northanger Abbey in 1818 to parody the overdramatization of the genre in a book that I personally despise.

Austin’s book comes across to me as incredibly insincere. I have an infinite respect for Austin’s work, but there is a deep sense of contempt in Northanger Abbey that drives me up the wall.

I want to be clear here, this is not me saying the book is bad. It is incredibly well written. I just hate it with every fibre of my being.

To me, Northanger Abbey missed the point of the gothic genre. Gothic isn't about the emotion, it's about the humanity. The fallibility, the force of will, the instability and resilience that come and go like the wind.

Gothic horror turns that into fear, specifically the fear of morality. It’s the Ratatouille genre. Any angel can sin, any demon can rise. Or in other words:

“Anyone can cook.”

Gothic horror is the fear of inconsistency. That someone you trust can betray you, or spiral into awful deeds, or that someone you despise might be right. It’s the fear of redemption, and conversely, the terror of good motives leading to bad ends.

Other subsets of horror draw on the fear of the unknown, or of not knowing. Gothic fiction is steeped in the terror of what you know being wrong.

Case and point, Frankenstein is both the archetypal science fiction book, and a phenomenal Gothic story. The terror is derived from the fact that it’s titular character can be so great and yet such an absolute monster, as well as the horror of creating a conscience.

The creature is intelligent, and its intrinsic morality is up for debate the entire time. Frankenstein calls it his "Adam", for Pete's sake. It kills multiple people, but as a reader you are unsettled by how much you agree with its motives.

Gothic horror is the fear of absence. There is no good or evil here, just people.

There’s a reason I brought up Ratatouille. The conflict of the series is derived from Skinner’s visceral fear that someone he despises as much as Linguine can actually be competent, combined with a field rat rising from the gutter to run a restaurant. “Anyone can cook” is a threat in this movie, but it gets better explained by Ego in a way that I really like.

“In the past, I have made no secret of my disdain for Chef Gusteau’s famous motto: ‘Anyone can cook.’ But I realize, only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere.”

According to one of the greatest fanfics ever written, Paradise Lost, Lucifer rebelled against G-d’s vision and fell, which can be taken any number of ways. It’s written so that you sympathise with the main character, who is, may I remind you, the literal devil.

Worth noting, Frankenstein's monster reads Paradise Lost. I wonder if there is any significance to that.

Lucifer from Hazbin Hotel is nominally the same character as his biblical counterpart, except that he is blissfully unaware of any of the themes surrounding him. Kinda.

He has grasped the fact that anyone can fall, but the reverse of that hasn’t quite registered to him yet.

Case and point, he doesn’t understand people at all. He has sought escapism through “stuff”. By which I mean the ducks, but I also mean his song, Hell’s Greatest Dad.

Part of the gothic theming in Hazbin Hotel is that people aren’t static, and that relationships are more important than anything else. Angel Dust and Pentious don’t become better people through trust falls, the find it through love and companionship, both platonic and more than platonic.

To demonstrate this, we contrast Lucifer with Alastor, who once again doesn’t sing his own song but steals it off someone else. Alastor’s relationship with Charlie is so obviously sinister, and that will be better explained two episodes down the line, but at least he has a relationship with her.

The agony of this is that Jeremy Jordan is a phenomenal voice actor, who, along with Lucifer’s stellar writing, endears the character to you from his first scene.

Alastor is a villain; Lucifer is an absent father. Who do you side with here? That’s gothic fiction.

“Sailors fighting in the dance hall, Oh man, look at those cavemen go. It’s the freakiest show. Take a look at the lawman Beating up the wrong guy Oh man, wonder if he’ll ever know He's in the best selling show. Is there life on Mars?”

This is the chorus of a David Bowie song called Life On Mars. It centres around someone seeking escape through television and storytelling. It points out the futility of this, but the fact that it works. It’s a stable dynamic that doesn’t go anywhere.

Remind you of anything?

“Who needs a busboy, now that you've got the chef? Michelin tasting menu, free à la carte I'll rig the game for you because I'm the ref Champagne fountains, caviar mountains, that's just to start!”

Lucifer is offering Charlie anything she could dream of. Any thing. But Charlie doesn’t need an object. She needs a father, and she needs her relationship with Lucifer.

Enter Alastor, who, up to this point, has been generally benevolent to Charlie. He’s basically the embodiment of that old Tumblr textpost that described someone as “chaotic gay. I haven’t done anything evil yet, but my general aesthetic and demeanour tell you that I will, any day now.”

Side note, I know this post exists. I have seen it, I have screenshots of it. But Tumblr’s search function is so legendarily awful that I cannot locate it. Tumblr’s search function has beaten the FBI before, and I don’t have that much patience.

In any case, Alastor offers up his own curriculum vitae in the form of this:

“Who’s been here since day one? Who’s been faithful as a nun? Makes you chuckle with an old-timey pun? Your executive producer.”

He’s pitching himself via his relationship with Charlie. But what I wanted to point out specifically was how the two characters relate to the beat of the song.

This song is inspired by Friend Like Me. I know it's subtle, but I'm onto something, and I can pick out the clues. If you look closely at his moustache in this shot...

Lucifer is clicked to the rhythm, or rather, his backing music is. The band hits ever downbeat as one, looping back to play the same thing every few bars. It is incredibly stable. The one thing that isn’t, is Lucifer.

The man misses every single beat by a fraction of a second. Not much, but when you contrast him with the entirely of the rest of the song, you notice that tiny imperfection, especially when Alastor doesn’t share it.

Alastor starts singing by matching the beat perfectly with his opening sounds, then going free within the restraints. Later, when he co-opts the song, the band begins playing along with him and matching his melody.

The Radio Demon understands people incredibly well, and he works on relationships. As such, his music has a much more symbiotic relationship between each of the parts. Lucifer’s feels like a creation, Alastor’s feels like it was created, if that makes sense. There’s a human element to Alastor’s take on this song.

Which brings me back to the gothic stuff going on here, and the relationship between Lucifer and Alastor. Alastor is, of course, a manipulator. He takes issue with Lucifer because he wants Charlie isolated. But Lucifer has no reason to get upset by Alastor, right?

Alastor shakes up Lucifer’s entire worldview, to the point where I find some of the double dad dynamic between them rather compelling. Most of it.

Alastor is risk incarnate; he stands for the idea that anyone can do anything. A radio presenter can be a cannibal, and have parenting instincts take over with Nifty and at times Charlie. But he is unsafe. Because he is such an unknown, he is untrustworthy. You don’t know where you stand.

Lucifer, meanwhile, is terrified of this fact. He likes the safety of knowing where he stands, he can protect himself there, but he can also protect others. In my eyes, that’s why he was so absent with Charlie. He found something he could understand and kept it because he didn’t want to shake up the rhythm. But that was futile, and he realises this over the course of this episode.

But you might say “wait, Alastor is ace, he can’t be with Lucifer,” and my answer is twofold. First up, I am ace too, that doesn’t prohibit relationships. I’m not even talking about romantic stuff here, Alastor is the poster boy for being aromantic, but more importantly, parenting isn’t just about the other parent.

The two can both be dads, joined by their mutual care for their daughter, rather than affection for each other. I find that compelling. Charlie needs both the security and the sign that everything is possible. She needs someone to lift her up, but she also needs someone to catch her when she falls, and Lucifer and Alastor both play different roles in that dynamic.

Any angel can sin, any demon can rise. Anyone can be a dad, anyone can cook.

Final Thoughts

Jeremy Jordan is a global treasure and even if this series doesn’t stick the landing with its next season (we will see), Lucifer will be amazing.

Do I have a crush on this man? No. No, I do not. Why do you ask?

In all seriousness, I think episode five should have been two episodes. One for this song, and one for the next. Lucifer would join the Hotel’s crew for a few days, befriending Pentious and co., being utterly disrespected by Husk, and being eased into the fact that morality isn’t binary.

I don’t even mean this from just the pacing perspective, I think the series would have so much more thematic weight if it devoted more time to the literal devil learning the thesis of the series and becoming on board with redemption. I think that would be cool.

I'm also just now realising that this is a Gothic Horror musical, so of course Alex Brightman got cast in it.

In any case, next week is More Than Anything, which is yet another case study in why Jeremy Jordan is amazing. Stick around if that interests you.

Previous - Next

[gotouhitori]

Okay, so. I'm in Love with the Villainess. Watashi no Oshi wa Akuyaku Reijou. WataOshi. Whichever title you want to refer to it by.

Before reading or watching it, I wondered why the hell people were holding up this random villainess isekai light novel with an over-the-top masochist main character as a landmark yuri title. Okay sure I don't doubt there's yuri going on, but how can it be so special?

Then I watched the anime. "Huh. The series and its main character are clearly and unambiguously lesbian in a way that so many other series can't bring themselves to be. And it has the most frank discussion of queer issues I think I've ever seen in anime or related media. Yeah, I think I see now, it is a cut above." And both because I've heard the novels get into a few things a little more and because the series now has its hooks in me enough for me to want to read the novels anyway, I read the first novel. And yeah, that does add a bit.

And then I read the second novel. The latter bit of the anime does cover the first bit of the second novel, but it's mostly new territory for an anime-only or anime-first such as myself. And holy fucking shit. Spoilers under the cut.

For one thing, the anime/first novel dropped some trans hints about Yu, and that turns out to be a whole transfem allegory - which isn't unheard of by any means, but it's not especially common in a work where that isn't the main focus. And not only that, but there's an actually explicitly textual transmasc in Rae's past life, who forms part of Rae's motivation to make considerable effort and take considerable risk (up to and including treason) to make sure Yu can live as a girl - once Yu states that is what she wants, it is important to note. Random yuri villainess isekai light novel says trans rights, and will absolutely stand by it.

And then all of the stuff about class and inequality comes to a head, and remember how the game that Rae's in the world of is titled "Revolution"? Yeah. One of those happens. Various hints have been dropped about what happens, largely centred on Rae making efforts to save Claire's neck in the most literal way possible when things really go down. But holy shit does that turn out to be more effort and a much more complex endeavour than it appears at first... or for most of the time while it's going on, for that matter. Ultimately she arranges things so that while the revolution still happens (it is basically inevitable), overall loss of life and suffering is minimised, and the general situation is as good as it possibly could be. By the time the proverbial smoke clears, Rae and Claire are openly living as a couple, which is a lot more than you usually see - one of the things Rae comments on is how in per previous life, too much of the yuri she read ended with at least one of the girls either dead or winding up with a man, which annoyed her enough to write fanfic based on series she likes with unsatisfying endings to fix that. And though the game did have a yuri spinoff, the original - the events of which she was living through and manipulating - was het. The character she winds up with was never supposed to be a romanceable character to begin with.

And that's just the first two of the five novels. Living through and changing the course of an actual revolution and settling down with her partner is just 40% of the whole story. (And less if more novels get published.) I've just started the third novel, and it's certainly looking like the rest is going to be at least as much of a ride as the first two were.

This really is an outstanding series. It's Dungeon Meshi levels of "I cannot stop thinking about it" to me, which if you've seen how much I post about that, says a lot. And I haven't read even half of it yet.

[emrylurkeroftheloch]

DRK Thoughts - A Solid B At Best

This write up will naturally include spoilers for all of the Dark Knight questline from 30 to 60, so please be warned. It also includes spoilers for the end of post ARR, so please be cautious! With that said, let's begin, shall we?

Dark Knight is often heralded as one of the best quests in Final Fantasy 14. Indeed, this is how it was introduced to me - highly recommended, suggested to be done the moment it was unlocked. I was told it was an incredible storyline, one that had to be experienced, and was best experienced as soon as possible. It was with this context, and precious little else, that I went into this questline.

I found myself disappointed.

I commented to my dearly beloved, who had recommended this questline to me, that I found it a worse version of the rogue's guild. It is at its request that I am performing this write-up of my thoughts, and that I am sharing them with you all. She also encouraged me to push forward, to complete it up until level 60, and see how I felt after that. And so, I did! Here are my thoughts, and my insights into the Dark Knight Questline, and why I personally find it to be a solid B Tier at best.

Before we delve deeper into the matter of the Dark Knight Questline - Shortened to DRK questline from here on for our convenience - I feel it is important to provide some insight into who I am, and my experience with this game. So, hello, my name is Piralos, I am from the north of England, and I think people should be nice to each other. I knew of final fantasy 14 before beginning this, of course, you'd be hard pressed to find someone online who didn't. However, before beginning the game, I had no knowledge of the story, or the ideas there within. The Bloody Banquet, as I've found out it was called, took me entirely by surprise, and it is off the back of this that I engaged in the Dark Knight storyline.

However, at the beginning of this storyline is not where we shall begin. As those who have played the story well know, the DRK questline is split into relatively distinct parts. The first covers level 30 to level 50, whilst the latter covers level 50 to level 60. These will be abbreviated to 30-50 and 50-60 respectively, for convenience. Our focus shall be on the latter portion of the storyline for the first part of this write up. Now, let us begin.

DRK 50-60: A Dad, A Daughter, And A Stranger Walk Into A Bar

As those who have played, during this portion of the story, you are accompanying the dark knight Sidguru and his ward, Rielle. It plays out as a rather classic story - a father figure and a girl bereft of parents, naturally leading to found family dynamics. A well loved archetype, seen in a number of popular pieces of media - Logan and The Last of Us spring to mind especially as recent examples of this done exceptionally well. We join them on this journey as they battle against Ishgardian knights, and ultimately discover the truth of Rielle's origins, and her legacy.

Now, with our stage set, let's move to our analysis! First, I'd like to begin with some of the things that I quite enjoyed about this questline.

Rielle, as a character, was downright exemplary. Her story arc of her finding her voice was stirring and delightfully well executed - to see her grow from a meek girl to someone willing to stand up to her own mother was a delight. Indeed, she carried the story for me - not only in so far as she was the driving force for it, but her characterisation and growth were a delight to experience. Her anger and frustration towards Sidurgu for simply using her to facilitate his own vengeance, her anger towards her mother, her learning to speak for herself, it was a delight.

On a similar note, I found the ending scene to be downright gorgeous. From a shot composition perspective it was incredible, and Rielle finally standing up to her mother, this woman who has caused her so much grief, and to find her own voice? To reject her mother's world, her mother's vision, and to speak for herself? It was incredible! Indeed, so to was Sidurgu's character at the end of this. His mercy, mirroring his lack of such earlier in the story, out of a desire not to have Rielle suffer the same trauma he knew was incredible. At first, I wasn't a fan of this ending, but it was pointed out to me by my beloved that, in his execution, he was prioritising Rielle's wishes over his own, showing his own growth. This only serves to further elevate an already gorgeous scene - one that, at time of writing, is easily among my favourites from this game.

However, this also elegantly brings us to some of the features of this story that I was less fond of. Most critically, I found Sidurgu abbrasive, rude, and I found his shift at the end abrupt and frankly rushed. Furthermore, the execution of the ending, with Sidurgu stating that they will be going back to Ishgard, I found to undermine the growth just shown. Sidurgu is so full of rage throughout the story - indeed, his arc is about learning what it means to be a Dark Knight, and where that power is drawn from. Whilst this seems like it would set up a compelling narrative, I find it suffers from a critical issue - one that becomes all the more obvious when we compare the DRK 50-60 questline to other pieces of media that cover a similar archetype.

Compare, if you will, the characterisation of Sidurgu to that of Logan in Logan, or Joel in The Last of Us. They are both father figures, thrust into the lives of their young wards, the only one who can protect them from those that would harm them - and forced to commit incredible violence in order to do so. However, our latter two protaganists have something critical that Sidurgu lacks. They are shown being soft. Joel demonstrates this in the incredibly well known opening of TLoU - a gut wrenching scene in which he attempts to get his own daughter to safety as the appocalypse breaks out, and she ends up dying in his arms. This moment of softness from him, paired with his open grief, endears us to him. We see him not just as a gruff arsehole, but a man who has suffered, and has hurt. We know his suffering as though it is our own. This is a pattern we see again in Logan. Our titular character spends the early portion of the movie looking after an aged Professor Xavier, who is losing control of his psychic powers. We see him hurt and harmed, and yet still be kind. He is old, and worn, but he still makes efforts to be kind despite it all. Once again, this endears us to him, especially in the later portions where he has to fulfill the role of a gruff father figure. We understand his pain, we know his history. We know he has this depth to him, we have born witness to it, and so we come to appreciate his gruffness as the facade it is.

Not so for Sidurgu. Certainly, that softness could be inferred, but it is never shown. I would go as far to say as it is never even implied. The only Sidurgu we ever see is a gruff, shouty, angry arse, who's main focus is delivering retribution upon those who hurt him before. He has anger, and that anger is certainly justifiable, but we never see a level of softness to him. I understand this is something the other translations fix, but we are discussing the English version - and in this version, the version of Sidurgu we get is abbrassive and angry. The closest we get to softness is the scene in the inn, where he offers Rielle another apple - which reads more like a fumbled attempt to apologise, than any actual display of kindness or softness. If the softness is there, it is like a shot of a city populated with faceless figures. It is implied to be there, but never explored. Never given any depth beyond the promise that it exists, never truly shown.

This, I find, leads to Sidurgu feeling abbrassive and frustrating to deal with, without any of the softness to endear us to him before this occurs. Instead, he is simply aggressive and angry at all times, until there is a sudden switch at the end.

"But Piralos", I hear you cry, "what about the moogles?! What about the moogle scene?" Let's talk about the Moogles.

Moogles, Bathos, and Tone

The moogle portion of this questline is one that I find equal parts frustrating and incredibly entertaining. The latter is due to the quests that they have you departing upon - collecting flowers, defeating monsters, and ultimately facing them to rescue Rielle. It is a delightful little jaunt, one that would be well at home in the early portions of ARR - which is exactly the reason I take issue with it.

I'll not keep you in suspense, dear reader - the moogle section undercuts the narrative tension of the piece, and throws the tone completely out of the window. I personally drew the comparison to the Trolls scene in Frozen - those who are familiar will recall it takes place during what is meant to be a time of incredibly high stakes. One of the main protaganists is about to die unless they find how to save her, and so they go to these mystical trolls! Except the trolls break out into song, and it's all joyous. All the tension the narrative had just built up was shattered in a single moment. So to did I find the moogles - in a critical moment in the story, where we're aiming to find out the truth behind Rielle, and what it means to be a Dark Knight, we go and visit… The fluffy idiots.

Now, I must note, I have no dislike for moogles! Indeed, I find them incredibly entertaining, and endearing in their delightful stupidity. The King Mog quest was one I took much joy in fulfilling, and I find that moogles are often sources of naught but joy. Which is exactly the issue with them, in this moment.

The moogles undercut the narrative tension of the story, by interrupting this escalation with their rampant silliness. They perform something known as bathos. Those who have seen modern marvel movies will know it well, the undercutting of tension with a quip or a joke or such. It oft speaks of writers lacking confidence in their own writing, in their narrative tension, and so they seek to undercut the jokes the audience makes by making mockery of their own works.

Now, I don't believe that this is the case here. Rather, I feel like the inclusion of the moogles is simply what can be generously called a mistake. They undercut any weight the narrative holds, and ultimately undermine the story being told.

Consider, perhaps, if instead of heading to the moogles as the third visit, had we visited them second? The tension of the narrative had not been put so high, and so instead we find ourselves enjoying this brief moment of levity before things become more serious. Perhaps we visit them, and they direct us to Gridania, which then leads us to the ultimate escalation, and the ultimate danger: Visiting the dragons. Here, perhaps, we finally discover the truth, and finally learn what it truly means to be a Dark Knight.

This kind of escalation, I feel, would have both used the moogles better, and enabled the narrative to keep its tension as it escalated. Reaching these draconic heights, risking it all to gain this information, and then having to face Rielle's mother? Having these beliefs put to the test? It would, in my humble opinion, far better use the narrative tension of the story.

However, despite all of these critiques, and the numberous issues I draw with the DRK 50-60 questline, I do still hold that it is a decent story. Far from the best, but it is a far cry from the worst thing this series has produced. The base narrative is enjoyable, Rielle is a fascinating character, and there are the bones of an incredible story within this piece. Overall, whilst I don't believe the story deserves the praise it gets, I do believe that it is a very solid questline - it would be at home alongside other pieces such as the Miner's Guild questline, or the Thaumatuge's guild questline.

Of course, this is only half of the story. Let us delve deeper into the darkness, dear reader, and discover what is required to reach this point.

DRK 30-50: Don't You Want To Go Apeshit?

Ah, here we are. The Dark Knight 30-50 questline. The one people seem to be oh so fond of, the one that introduces Fray, the Dark Knight slain by the temple knights. We begin by collecting his spirit stone, and then begins our communion with him. As I understand it, this is the portion of the story which hooks people, which draws them in, and keeps them interested.

I hated it.

Now, perhaps that isn't fair. Hate is a powerful word, and I don't honestly believe this quest is deserving of that title. It was, however, an incredible slog to get through. The questlines were at best frustrating, and Fray as a character was edgy, hateful, and all around more of an annoyance to converse with than an excitement. Were it not for assurances that things got better, that this storyline was worth sticking with, I don't believe I would have ever finished this questline. As much as I would love to dive straight into the issues I had with it, some context is first required.

This questline shares an overarching theme: These people are weak, they are taking advantage of you, and you should be angry about it. This is an idea that comes up multiple times within the storyline - most obviously in the Little Ala Mhigo quest, where you are asked to slay some monsters that are terorrising the locals, and in the La Noscea quest, where a merchant asks you to retrieve his stolen merchandise. In the former, Fray - your mentor on this journey - critiques the people of Little Ala Mhigo for being weak, and mocks them after being terrified when you return, covered in the monster's blood. In the latter, the merchant complains after you destroy his merchandise, covering it in blood, and demands you pay 50%. Fray viciously insults him, and the guard standing nearby has to calm you, saying he's certain the merchant has learned his lesson.

Now, both of these quests share another feature as well - both are the result, not of personal failings on the part of the quest giver, but that of the society around them. The merchant in La Noscea tries to petition the guards for help, but they are all spread too thin, due to mismanagement. It is their job, but there are none to do it. In Little Ala Mhigo, the refugees have been rejected by the city of Ul'Dah - something which comes up in an earlier quest, where you have to save some of the young refugees from getting themselves killed in an ill thought out rebellion. Had these people not been failed by their govenments, neither of these quests would be required.

However, does Fray ever acknowledge this? Indeed, does the questline ever acknowledge this? No. It simply says that we should be angry at them for being weak, angry for not being strong enough to simply solve these issues themselves. Now, this belies an issue I find throughout this whole questline, but I'm getting ahead of myself. The issues I draw with this questline are two fold, and they must be addressed as such. One regarding the metatexual context around it - that is, how the questline intersects with me, the player - and one regarding how it interacts with the player character, the Warrior of Light.

The Issues: Metatexual - No, I'm Not Mad

The DRK 30-50 questline seems to be attempting to draw upon some resentment and anger within the player - resentment towards the game, towards the quests it has asked of you. This I found confusing in the first, and all the more frustrating as the quests continued, and you were forced to agree with Fray, forced to engage in this resentment and hatred. This, in hindsight, is deeply amusing and rather ironic - the questline most meant to address frustration within the player base, causing deep amounts of frustration!

This does, of course, beg the question - what frustrations is it attempting to draw upon?

At first, I had no real answers to this. After all, nothing in this game had caused me all that much frustration - if it had, I would have simply quit before reaching this point. However, discussion with others enlightened me - people found the sidequests frustrating. Collecting flowers, defeating enemies, being asked to do these with no real seeming purpose behind it. These are, apparently, often regarded as chores, tasks one simply must do.

This baffled me. After all, we are playing the "doing tasks game". Why would you complain about doing tasks, in the doing tasks game? Is this not what you signed up for? Apparently, for many, the answer is no. No, they view these quests as chores they must do, in order to engage with more of the narrative. This is honestly wild to me - after all, if it is just the narrative you are after, why not simply watch a let's play, or a stream? Or simply read the story?? Why spend so much free time doing something you hate, when you could do something you enjoy?

The other frustration people seem to often express is with the Titan questline. For those unfamiliar - or who have simply purged it from their mind - before you are able to fight Titan, you have to do a series of quests for the Company of Heroes. They are the only other people who have ever faced Titan and lived, and have no desire to send an adventurer they don't know to their doom. Y'shtola complains of these pointless tasks - something I have been informed echoed the views of many of the players - but I never truly understood the levels of frustration people express?

The first quest was fine, though nothing memorable. The same is true of the second, though it did begin to tickle at frustrations. However, upon being assigned a third, seemingly pointless, quest, it became clear. This was simply this game's version of the Karate Kid "Wax on, wax off" part. A series of seemingly pointless activities, all ultimately designed to test and train you, and ensure you are ready to face Titan. Indeed, the game confirms this! This makes sense, from a narrative perspective. These heroes, who were among the strongest of their time, and at their peak at the time of the fight, barely survived. Why would they be willing to send an untested adventurer to face Titan, with nothing but assurances that you're able to do it?

Additionally, this series of quests both introduces you to the former members of the company, and to the perils of facing Titan - it escalates the stakes, by showing you what happened the last time someone dared to face this primal. By showing you this, it serves to raise the stakes higher and higher - why would someone be frustrated by this, when it only serves to hype up the upcoming fight all the more?

Of course, this was explained to me as well - apparently, people regarded these quests as pointless filler, wasting their time whilst Titan was a threat. A notion I cannot agree with, but a perspective I can see. Indeed, the game even acknowledges it, with Y'shtola's insistance that you are wasting precious time.

So, with this lack of frustration established, where does this leave us with the DRK 30-50 questline, from a metatexual perspective? Well, it leaves us with the game trying to reach for resentment that isn't there - and, upon not finding anything, forcing it to exist there instead. It removes agency from you as the player, it forces you to agree with Fray. You're given dialogue options, you're given choices, but both are naught but agreement. You're given a false choice, forced to agree, forced to go along with this resentment you never felt.

It leads to it feeling forced and contrived, drawing upon resentments that never existed, bitterness that isn't there. It feels like the story has suddenly taken a turn for no purpose other than to simply engage in what can only be described as being edgy. It asks the player, aren't you tired of being nice? Aren't you tired of these weaklings bothering you with their problems?

Of course not. I signed up for exactly this. Once again, this is the doing fetch quests and killing monsters game. Why are you mad about doing these quests, in this game?

Indeed, it does bear mentioning, that this makes the Moogle section deeply entertaining. The questline spends all of this first half addressing this apparent frustration people have with doing pointless gathering and monster killing quests, and then, what does it have you do, at the height of it's narrative tension? Why, pointless gathering and monster killing quests, of course! It does entertain to no end that this apparent best quest holds such a contradiction within itself - I'd like to believe that the writers recognised this as well, but I find myself doubtful. Alas.

The Issues: Textual - Why Did You Join?

So, we have discussed the metatexual issues, but what of the in universe ones? What of the issues with the story itself?

Well, for this, let's look at the things that Fray presents your frustrations with. These 'weaklings', demanding your time with their menial tasks, tasks others should be sorting. However, as we've already addressed, these aren't isssues caused by the people in need! They're structural failings, caused by lack of government organisation - explicitly in the case of the merchant, and implicitly in the case of Little Ala Mhigo. Indeed, the story has already covered how Little Ala Mhigo is full of suffering, abandoned and failed by Ul'Dah, and deeply wary of strangers, given how many have brought them harm.

Why would our Warrior of Light come to resent these people for their struggles? Why would we hate them for being weak?

The answers I have recieved to this are two fold. The first, and most common one, is that they feel entitled to your time, when you have more important matters to attend. Indeed, you are the great primal slayer, the warrior of light, a force beyond any other. You've faced the Ultima Weapon and an Ascian, and have survived both. Why do they bother you with their little problems?

To this, I find, the retort incredibly simple. For one - what more important matter do you have to attend? If it is the main story, are you not neglecting it already, to perform these acts with Fray? And, for a second, if you come to resent them for asking these things of you - why did you become an adventurer? Was it for fame? Fortune? Simple wanderlust? Did you not sign up to perform such tasks, to help those in need? Indeed, is your name not known throughout the land? Are your coffers not richer than that of the greatest king? Have you not gotten to journey to distant lands, seen corners of the realm that you otherwise never would have?

Why did you become an adventurer? Was it not to help people with matters such as this?

The second answer I hear often is that it is that these people feel entitled to your time. That they feel entitled to demand your help, demand your strength. That, even if you are happy to help, doesn't it become tiring, to help so often?

To this, I find a different answer. First and foremost, you are able to refuse. You're able to ignore quests, you're able to walk away - hell, you're able to simply focus on doing the main story and dungeons if you so wish, and never engage in any of the side content! Secondly, to the notion that it becomes tiring - the Warrior of Light is one of the strongest forces to ever exist upon this world. They were able to face an Ascian and not just survive, but defeat them, banish them from this mortal realm (for a time). These mere monsters that terrorise others are child's play for them. The game even acknowledges such, with Fray making note that such pathetic monsters offer no challenge!

So why, then, would the Warrior of Light find frustration with this? The Warrior of Light, who for so long, has been happy to help others? Where would this resentment towards the people come from - people who are hurting? Who are suffering?? People who are just doing their best to survive? People for whom defeating these monsters is a herculean task, where facing them might demand a squadron of guards, and yet you dispatch them with the ease of kicking a football back to some playing children?

I find issue with this resentment because I find no resentment - not towards these people who are hurting, these people who are suffering, just as you are. These people who you fight to save.

No, if the resentment is anywhere, it is towards the governments. Towards Merlwyb, for not managing the yellow jackets better and ensuring that merchants weren't being robbed. Towards the syndicate, who would let the refugees of Little Ala Mhigo suffer so that they might have another coin within their coffer. The resentment is not towards the individual, but towards the systems that mistreat them - just as those systems mistreat you.

The Redeeming Part - Sucker For The Classics

Of course, I'd be remiss to discuss the DRK 30-50 questline without mentioning the ending. For all of my issues with this storyline, the ending unambigiously rocks. Facing off against your inner darkness, against this resentment that has built up, in a "battle inside the mind" esque moment? Especially with your friends coming out to support you and back you up? I'm a sucker for that kind of thing, and this fight is no exception. Despite all my issues, this ending absolutely rocks - and is honestly one of the only parts, if not the only part, of the 30-50 storyline I found enjoyable. I don't have much commentary to put here about this, it's just a really, really cool scene. If you didn't see the twist coming, I'm sure it is an incredible reveal - I predicted it shortly after you were told the merchant had had enough, but it's still a delight to experience. A shame about the rest.

A Deeply American Story

Throughout this whole questline, something had bothered me. Something squirmed in the back of my brain, something about it that just felt off. It wasn't until I had almost finished the entire questline that it clicked - the whole thing was deeply American in it's execution. From the rage it tried to draw out to the place the anger was directed, it all felt incredibly American.

The most obvious example I can give is Fray's mockery of the people you help for being weak, and his questioning of why you help them. The implication here is, of course, that they should simply solve these problems by themselves. That they should simply 'Pull themselves up by their bootstraps', simply fix it themselves. Blaming the systematic failings of the whole matter upon the individual, and placing the blame entirely upon them… It is an incredibly American narrative.

Nigh every issue you are faced with over the course of the level 30-50 questline, from the temple knights attacking a girl, to the refugee at Little Ala Mhigo, to the merchant who had his goods stolen, all of these are the result of systematic failings. The temple knights are able to get away with their crimes because the Holy See allows it, provided they brand someone involved a heratic. The refugees have been abandoned by Ul'Dah. The merchant has been failed by the Yellow Jackets. Every single one is the victim of a systemic failing, and yet Fray cares naught for that - only that they are weak, and you are strong.

This is, perhaps, the greatest failing of the Dark Knight questline, to me. It promises a story of justice, of being willing to do what others won't, of crossing lines and being willing to sacrifice to save the weak… And then mocks them for that same weakness. It promises Noblesse Oblige, and instead delivers Might Makes Right.

A Solid B At Best

So, where does this leave us? The Dark Knight questline is far from the worst thing that has been put to ink - even within this game - but I feel it hardly deserves it's title as (One of) The Greatest Job Quests. It is riddled with flaws, and whilst there is the bones of an incredible story in there, the story at current simply falls short of what it could be.

If you're looking for a storyline about doing justice, and saving people, without being a hero? Do the rogue's guild questline. It covers the idea of doing good without being a hero, it has the found family, and it uses levity well, rather than having it undercut the narrative tension. It even features the guild leader telling a kid "Be good, listen to what your mother says, and you'll never have to see us."

Dark Knight ultimately feels like a promise that failed to be delivered. What is present is decent - especially in the latter half, but I cannot in good faith say that it is anything above a B. The first half is a slog, and both halves have far too many structural issues.

Thank you for taking the time to read through all of this, dear reader. If you have any feedback or critique, I only ask that you are polite, and do take care not to spoil anything. I am still in Heavensward, and would love to experience more of the game as blind as possible.

If you're interested in my thought on any other job or guild questline, please do let me know! I'd love to write up my thoughts on it!

[nadas-dirthalen]

I Saw Solas's Origin in an Achievement Icon and It Opened My Eyes on 15 Years of Lore

— PART SIX: if you haven't read previous parts, do it now! —

[ 1 ] [ 2 ] [ 3 ] [ 4 ] [ 5 ] [ 7 ] [ 8 ] [ 9 ] [ 10 ]

Welcome, friends and travellers! I wanted to get some thoughts recorded before Veilguard's release so I could see if I am right about an absolute BOATLOAD of theories I have.

In short: I saw the achievement list when it was released. I have seen the backstory hints for Solas included in said list. AND MY MIND WAS BLOWN.

You have been warned: THIS COLLECTION OF THEORIES INCLUDES SPOILERS FOR EVERY DRAGON AGE GAME AND ALL PROMOTIONAL MATERIAL UP TO AND INCLUDING OCTOBER 18, 2024.

Come sit down with me. Make a nice cup of tea (and hide it from Solas). We've got a lot of unpacking to do.

(no, this photo isn't the spoiler, I just like it.)

Today's Discussion: The Tragedy of the Evanuris (2/3)

— The Many Horrors Enacted Upon the Faithful —

As ever, please please pretty please go back and read the earlier parts of this series if you haven't already! I promise, there is a mountain of context that I don't reiterate in every post that I make, and I feel it is important for everything I say here and going forward.

Last post, we went over how the crimes/misdeeds of the Evanuris got their start: Mythal and her lyrium coffins, feeding dreams to spirits like Solas in order to turn them away from their Titans. From there, the experiments could begin: Elgar'nan with sundering the spirits that (I believe) would become Falon'Din and Dirthamen; Falon'Din then "blackening the heart" of a Titan. Crucially, all of these actions can be found symbolically represented by their corresponding vallaslin.

Bearing in mind that I don't want to guess at the specific chronology of all the Evanuris's deeds and crimes, I'm still going to sort these posts by gods, not by actions/year. This time, I want to talk about the crimes that continued from there as things began to spiral downward into incomprehensible horror.

Sylaise and the Scaled Ones

June, Architect of the Geas

Dirthamen: What Were His Secrets, and Where Is He Now?

If you're wondering where a certain very notable two Evanuris are on this list, don't worry: this post has three planned instalments. ;)

Sylaise and the Scaled Ones

Sylaise is known as the Heartkeeper in Dalish legend. She is a goddess of healing and knowledge. For a long time, I wondered what she could possibly have done to earn Solas's ire, for all the Evanuris are his mortal enemies. We know so little about her, don't we?

Let's start with what we do know.

It is Sylaise who gave us fire and taught us how to use it. It is Sylaise who showed us how to heal with herbs and with magic, and how to ease the passage of infants into this world. And again, it is Sylaise who showed us how to spin the fibers of plants into thread and rope.

Sylaise is clearly a goddess of fire and a healer and helper of the People, in Dalish legend. In this way, she gives me the same "vibes" as the Greek god Prometheus. Now, while I am no scholar on Greek mythology, I remember Prometheus as strongly associated with fire, and the creator of humans. I hadn't given much thought to the latter until now. But now, with the understanding that the Evanuris's crimes stem from the creation of the People?

I turned back to the Song to Sylaise, from the Temple of Mythal.

Sylaise, whose heat rivals Elgar'nan's light. Sylaise, whose temples rival Mythal's cities. Sylaise, whose breath rivals Andruil's spear. Sylaise, whose skill rivals June's craft. Sylaise, whose fire cannot be quenched. We give ourselves gladly to your service.

Let's draw connections between the Evanuris we have covered so far.

"whose heat rivals Elgar'nan's light" — now that we know that not only was Elgar'nan famous for his uncontrollable anger, but that he apparently sundered "the sun and the moon," I am wondering if this speaks not to Sylaise's potential anger, but her apparent affinity for forging and/or sundering spirits.

"whose temples rival Mythal's cities" — I always suspected this had to do with the population of Sylaise's temples, but before this month, before this spoilers, I had assumed those faithful had come willingly. That they were devotees who chose to live in her temples. What could be so bad about that? Well, now we know: Sylaise's temples rivaling Mythal's cities may well refer to how she created more people than Mythal.

"whose skill rivals June's craft" — we'll get to June in a moment, but I believe that June was crafting with lyrium, and that fits Sylaise in this context. Clearly she was shaping lyrium-spirits into something, and I believe this line says she did so with unparalleled mastery.

"Sylaise, whose fire cannot be quenched" — this shows me that the association with fire in Dalish legend holds true here, as well, albeit in a far more vicious light. That means, to find other references of Sylaise throughout the games and established lore, we should hunt for mentions of fire and the creation of people.

We need look no further than the Scaled Ones. Though they are chronicled as existing after the time of Ancient Elvhenan, I believe that they are Sylaise's invention: her armies stronger than Elgar'nan's, forged from something sturdier than skin; more populous than Mythal's; more well-crafted than June's (again, we'll get there).

We can also connect the Scaled Ones to the serpentine imagery present in Sylaise's vallaslin.

Torches would suddenly go out, leaving us to stumble though the dark and trip over discarded caravans. Then came the attacks, hard and fast. Father was one of the first. We heard breathing: slow and heavy, from a creature much larger than us. Father held out his arm and grabbed the front of my armor to make me stop. I saw its shadow move, darker than the darkness, and then my body jerked forward. It left Father's arm hanging, still grasping my chestplate.

The Scaled Ones had dominion over fire magic, it looks like: they could snuff out entire torches at a distance.

The Scaled Ones had set up a camp at an intersection in the Deep Roads. In the center there was a golden altar fashioned in the shape of fire. A chill swept through me. On the tip of each flame hung the corpses of those we'd lost—including Father and Drohg. They'd been drained of blood, leaving only bone wrapped in grey skin.

They also seem to worship this fire, which we know can still be associated with Sylaise outside of Dalish legend. They also seem to be harvesting the blood of those they've slain: in this case, dwarves. Blood magic, historically, is used to alter minds and to bind things. It could be that the Scaled Ones are keeping up with Sylaise's practice.

Or...

A robed Scaled One stood before the altar. Its voice was different from the others: softer, almost feminine. It chanted and raised a basin of blood towards the altar. The other Scaled Ones bowed low. The robed Scaled One produced fire from its palm and mouth and ignited the blood.

It could be that she lives on, somehow: a fire mage of unchecked power, with skin of the same scales that she forged in others. Watch for that in the post after next.

I still wish I knew more about Sylaise, and I wish I had time to go through everything I think about the Scaled Ones and their potential relationships with the kossith and/or Taash. But Sylaise's existence and the existence of the Scaled Ones do tell me that Ghilan'nain is far from the only Evanuris to have done biological experiments with her creations.

That sets a precedent for all the others, and I will continue to go on to describe why.

June, Architect of the Geas

For the little we know of Sylaise, we know even less of June. We know that he was the Dalish god of crafts, either husband or sibling to Sylaise (as much as the Dalish can even name the Evanuris's relationships accurately). The Dalish associate an unsolvable puzzle toy called "June's Knot" with him. The High Keepers of June seem to have been smiths.

I feel like this codex from the Vir Dirthara is trying to say the same thing:

The pages of this book—memory?—describe a heated argument between a group of well-dressed elves inside an elaborately arched pavilion on an island floating in a void. In the distance, haloed by a blizzard of light, thousands of elves are maintaining an elaborate magical ritual that pulls raw essence from the Fade, funneled into a sphere in the air. Through the lens of the sphere can be seen a world of indigo waterfalls and rust-red jungles, and a temple palace so frescoed and cleverly carved, it is a masterpiece in itself. The well-dressed elves' shouting grows so loud, it can be heard over the magic. One leaps at another, howling and pulling out a knife burning with prismatic flame. "Architects of the Grand Sonallium (a gift from Blessed Sylaise to Clever June as thanks for a great favor) in friendly debate over the color of the palace's roof trim."

However, he is never depicted with any of the tools that the Dalish associate with him. It's his architects who arguing here, one with a prismatic blade. Whether the blade belongs to June, there's more going on here than just common building and tool usage.

Rather than June's role changing over time, I think something else is true of June, and I see it when I look at his vallaslin.

Like the other Evanuris, he seems to have vallaslin designed reminiscent of lyrium branches. However, June's are all bent and woven very deliberately, in a more mechanical-looking fashion than Ghilan'nain's and Sylaise's. Even more important to me, though? They closely resemble Fenris's lyrium tattoos.

Considering that Fenris's slaver, Danarius, got the knowledge of how to embed lyrium beneath the skin from an "ancient treatise," it is possible that this knowledge was obtained from June's own notes. After all: in the codex with the Sonallium, has anyone made note of the thousands of slaves maintaining the magic around it?

Therefore, I believe June was the creator of the first geas, and the first vallaslin may have used geas magic to force the ancient elves into servitude.

To take it one step further and check my belief against other pieces of lore, I posit looking at one more source: the whisperings of June's archdemon.

I long wondered which archdemon might belong to June, but when I read the Chant of Light this week (again), I noticed something. The names of the archdemons' high priests are indicative, potentially, of which Evanuris they belonged to.

There is an Architect mentioned. Many of you may already be familiar with the name. The Architect is cited as the High Priest of Beauty: the old god of Beauty is cited in World of Thedas as being Urthemiel.

Per the Chant of Light:

The High Priest of Beauty, Architect of the Works of Beauty, designed Every work and wonder of the Imperium according to the plans of his god.

Remember how I mentioned that I believe the archdemons were puppeted by the Evanuris while they were imprisoned? This is no exception, and I'd like to draw attention to what the old god of Beauty whispered to his Architect.

And to him, Beauty revealed a grand plan: "Open the gates. And when you stand before me, I shall give you designs That shall rival the greatness of heaven. I will make you the First among the new gods, And you will build a paradise on earth."

To me, "designs that shall rival the greatness of heaven" should be interpreted in what the Evanuris would think of as greatness: limitless power, bending the very bounds of what should be physically possible, shattering common morality. When I read, "will make you First among the new gods," then, I cannot help but imagine the Architect of Beauty being given designs to help build an army of always-willing soldiers: ones operating under a geas. No great work would be impossible, in such an instance.

Thus, we have another facet in the tragedy of the Evanuris, the reason that all of them needed not just to be killed, but imprisoned, their works destroyed and never again recreated. Along with the ability to craft people with lyrium, to sunder spirits, and "blacken" the hearts of titans, the Evanuris used lyrium to create endless armies of seemingly "willing" slaves.

But even Urthemiel and his Architect were not first among the old gods or their followers. To understand the tragedy of the Evanuris and the complications in all of Solas's plans to stop them, we must look further into the Chant, and further into the Evanuris.

Silence, and his Evanuris: the Keeper of Secrets, Dirthamen.

Dirthamen: What Were His Secrets, and What Don't We Know?

I, like many others, assumed Dumat must be Elgar'nan's archdemon until a little while ago. But knowing Elgar'nan is alive and must still have his own, plus reexamining the Chant of Light and looking at DA:I with a more critical eye have shown me differently.

First among the Old Gods was Silence. His least whisper could end wars or topple Archons. A single word could turn recrimination into glory. The sacred fires of his temple burned Rare incense, and the trees of Arlathan, and lapped at the bones of slaves While his altars dripped with the blood of sacrifices that never dried.

Elgar'nan is not one to work with silence, nor whisper to topple an Archon. That doesn't seem like the way he would puppet an archdemon.

No mortal foot could tread those halls, No hand knocked upon the gate. Secrets beyond measure were the keys The Choir of Silence would need, and they had few. (7) And so the First Acolyte spoke to the High Priest And said: "We are the masters of secrets, But our god demands more.

Dirthamen is the Keeper of Secrets, and so I first looked to Dumat for clues on what, precisely, his worst deeds were. But then, the title hit me again. Keeper of Secrets.

What is a secret, I ask you, but a thought no one can know about? And in our understanding of the Evanuris, of spirits, and of Thedas itself, what is a thought but a spirit?

I dove into codices, because of course I did.

No beast is more beloved by Dirthamen than the bear. When the world was new, Dirthamen gave one secret to each creature to keep.

Let's rephrase this Dalish legend. Every time we read "secret," let us read "spirit." When we read, "gave one secret to each creature to keep," let us ask ourselves how it would sound with, "bound one spirit to each creature," therefore creating abominations.

The foxes traded their secrets to Andruil for wings. The hares shouted theirs to the treetops. The birds sold theirs for gold and silver.

It seems like this is describing what happened to each creature who gained Dirthamen's secrets. Foxes suddenly sprouted wings (sound like everyone's favourite Veilguard assassin to anyone?). The hares shouted theirs to the treetops.

Except, wait a minute, I know something about Dirthamen and trees.

He whispered into the mountains and the fallen trees of the forest gathered, shaping an immense and agile spider-like beast. It was the varterral. With lightning speed, vicious strikes, and venomous spit, it drove back the serpent. From then on, it was the guardian of the city and its people.

Whispered into the mountains sounds a lot like pulling "thoughts" from the mountains, or depositing "thoughts" into those mountains. Afterward, trees bend and warp around one another, forming the varterral.

Only the bears kept Dirthamen's gift, deep within their dens, they slept the months away in the company of their secrets and nothing else. When Dirthamen discovered what had been done with his gifts, he snatched the wings from the foxes, silenced the voices of the hares, and turned the birds into paupers. but the bears he honored for their steadfastness.

Bears, according to the wiki, can become enraged. Sounds a lot like something that might be possessed by Rage, no?

It did not stop at animals. We have the Temple of Dirthamen to look at, after all.

We few whisper here where shadow dwells. Some words remain unuttered. Truths are pushed down, down Where they shall never arise again.

Truths pushed down, down. Truths, like secrets, are based in thought. And when we think of thought with regard to Titans, spirits, and the Evanuris, we must think spirits. Spirits that are pushed down, down, never to rise again—because the priests of the Lost Temple of Dirthamen have committed to holding them.

Dirthamen is gone, he said. Our Highest One brings to us this gravest news. What shall we do? Where shall we go? What of the old secrets that burn within our hearts?

Our Highest One, he deceives us. The honeyed words that drip from his tongueWe know the despair they mask. We disciples of Dirthamen know truth, now as ever.

If we think about these priests as people who have been forced to harbor spirits, suddenly "the honeyed words that drip from his tongue / We know the despair they mask," takes on a whole new meaning. A capital-D Despair meaning.

Let's return, then, to the Conductor of Silence listening to his old god. The old god—puppeted by Dirthamen—required so many secrets that the priests did not know how to fulfill such a request. Masters of secrets, how could they possibly gain more? Well, now we know "secrets" and "spirits" to be interchangeable. The priests needed souls.

What happened next?

(2) In the Great Choir of Silence, the High Priests gathered. A hundred chosen acolytes brought lyrium Enough to drown a city in chiming silver And slaves beyond counting to the temple In accordance with the designs of their gods.

Lyrium and souls were brought to the temple. Lyrium, souls, and blood.

Only, the Magisters did not find Dirthamen, once they entered the Golden City.

(11) Above them, a river of Light, Before them the throne of Heaven, waiting, Beneath their feet The footprints of the Maker, And all around them echoed a vast Silence.

They heard him.

(12) But when they took a single step Toward the empty throne A great voice cried out Shaking the very foundations Of Heaven and earth:

We know that this is not the Maker. The Maker, by this time, probably exists in a sundered state, sleeping, as all Titans are. This has to be someone in the Golden City. Someone who, perhaps, knew the Magisters were coming.

(13) And So is the Golden City blackened With each step you take in my Hall. Marvel at perfection, for it is fleeting. You have brought Sin to Heaven And doom upon all the world. (14) Violently were they cast down, For no mortal may walk bodily In the realm of dreams, Bearing the mark of their Crime: Bodies so maimed And distorted that none should see them And know them for men.

The Magisters were cast out, all of them blighted. But nothing could have attacked them, and we know from all the Dragon Age games that simply being around the blight isn't enough to get out protagonists sick with it.

Someone had to be there to inflict it upon them—someone who Corypheus, Conductor of Silence, would have been expecting to find, and dismayed to not be finding. He looked upon the throne of his god, after all, and found it empty.

Dirthamen is the only one of the Evanuris whose vallaslin has evolved over time. The first one evokes imagery of a broken gate on its forehead, surrounded by triangles: a symbol for the Veil.

The second, on Bellara, is newer—and not available to the player. Unique to her. It looks as though it features two birds on either side of a third eye. An all-seeing third eye.

We know a few things about Dirthamen, from all of this speculation. The "secrets" that Dirthamen kept were likely spirits and demons, which he bound to trees, animals, and people. His archdemon, Dumat, made demands on his behalf for endless "secrets" to get into the Golden City: endless spirits.

Dirthamen may have been the only one of the Evanuris to break free of his prison on his own, blighting the Magisters Sidereal.

But he would not be the only one to manipulate the blight, and he would not be the only one to escape his confines.

---

As ever, if you got this far, thank you!! I look forward to reading any additions or questions people might have, as ever!!

Also: I am trying my hardest not to consume full-game-review spoilers! As these reviews have just gone live today (10/28), I am not reading my notifications/replies, and am appearing here only to continue posting my theories.

But if you feel like sticking around anyway, stay tuned for: The Tragedy of the Evanuris pt. 3: Pestilent Doom Upon All the World.