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weltraum-vaquero · 20 days ago

Text

Swan song

Professor Viktor x TA Reader

[PART 1]｡ﾟ☾ ﾟ｡⋆[PART 2] ⋆｡ﾟ☁︎｡⋆[PART 3]

⋆｡ﾟ☁︎｡⋆[AO3 link] ⋆｡ﾟ☾ ﾟ｡

Summary: You’re a bright phD student who won’t shy away from a challenge. Getting the most notorious professor at the University of Piltover to hire you as his assistant is one of them.

Tags: Modern AU, SFW (for now…), DILF professor Viktor, who delights in being a bit of a dick, and becomes even more mean on bad pain days, and who is constantly insufferably rightfully smug, Smart & competent reader being reduced to a wolf with heart eyes going AWOOOGA when they lay eyes on Viktor.

Word count: 7.8k

Notice: This fic is written with a transmasculine reader in mind, but that won’t come into play at all until the final third chapter of this mini-series.

Notes: 1. Shoutout to my beloved buddies for helping me with this fic, AND the banner. You guys know who you are. 2. I hope you enjoy this very self indulgent piece about my take on Viktor as a professor in a modern AU. Keep in mind that this work is entirely spoiler free. Although it will be posted over the upcoming three weeks as arcane season two drops, I had no information about any of the leaks whatsoever as I wrote this, and did my utmost to avoid them. This iteration of Viktor was written with his season one character traits as a base in mind. 3. The science Viktor and reader talk about in depth in this fic is entirely made up and definitely falls apart under scrutiny. Don’t look too hard. Yes, I made up an entire hextech based scientific field specifically so I could carnally have this old man.

You know exactly what to expect from someone like Professor Viktor Sidorov-Svoboda.

You’ve done your homework on the man: interviewed colleagues who’d taken his lectures as undergrads (scary — but great at his job had been the general consensus), and checked his ratemyprofessor profile. Which, by the way, had been a terrific read.

Dr Sidorov-Svoboda is a very polarizing man, it seems. Reviews were either raving about his cogency, or saying they’d drive to his lecture without wearing a seatbelt in the hopes that death would take them before Sidorov did. There seemed to be no in-between, other than one review calling him a total DILF and rating him five out of five for that alone.

You digress. All sources had gotten across more than enough for you to understand what you were going to face once you’d step into his office: brilliant, tenured, independent, a no-nonsense attitude, and with a spotless track record of turning down TAs.

Which you’re here to change — the last part, that is.

It’s not exactly a guilt-free affair. Dr Heimerdinger — the dean himself — had personally reached out to you, and requested you try to convince Sidorov-Svoboda to accept you as his TA. Should you succeed, you would be offered a generous wage.

That, along with the fact that Sidorov’s name is going to pretty up your CV something fierce if you somehow land this job, is reason enough to make you at the very least give it a go.

With a fortifying breath, you rap your knuckles on the oakwood of his office door.

“Yes?” A heavy accent makes itself known on the y.

You wait to see if he’ll open — five seconds pass — he doesn’t.

Rude.

You take that as your cue to push the door open yourself.

Nothing could have prepared you for the man whose cat-like eyes pierce you from above rectangular silver reading glasses. He hadn’t even bothered lifting his head from what he’d been reading through; and when he finally does grant you the gift of being looked at, wholly, it feels the same way as having a painting stare back at you. In the back of your mind, you swear you can hear the horns of an orchestra blaring into a crescendo.

His gaze pierces you, in a way that borders on literal. It’s undressing — less erotic, and more terrifying, as a consequence of nakedness, of being read. Professor Sidorov-Svoboda looks at you with a kind of disinterest that screams I have you figured out, and it’s punching your heart down into your stomach in a lovely, terrible way.

The lines of his face are lovingly crafted. Dark shadows under hollow cheeks, golden eyes under strong brows, there’s something intrinsically statuesque about his face. You’d expect to look at something akin to Sidorov-Svoboda in a museum, carved in marble, not in one of the dusty offices at your university.

He cocks his head, exposing a long, swan-like neck dotted with beauty marks, as he waits for you to regain your wits. Which you do, before any of this crosses the threshold between awkward and downright embarrassing.

“Hello, doctor,” you finally manage. “My name is (y/n) (l/n), theoretical arcanism department, phD student. I was… hoping we could discuss a position as your TA.”

He cocks a brow, thoroughly unimpressed, before he slides his glasses off his face. He even takes a sip of his lukewarm coffee, deliberately slow in swallowing it, before he finally speaks.

“I believe you should already be familiar with the fact that I do not take assistants.” Sidorov leans forward in his chair a fraction, still poring over his book, and there is a marked pop in one of his joints that sounds nothing short of painful. He seems hardly bothered by it.

“I am,” you reply. “Which is why I am here in the hopes of changing your mind.”

That finally makes him look at you properly again. It’s a delight. You wish you could savor it, instead of desperately trying to keep your wits about you.

“And why would you want to do that?”

The answer to that question has changed substantially since you’d first stepped foot into his office.

But you’re fortunately not stupid enough to tell him that.

“Your name is worth gold in the community, doctor. I would like it on my resume.”

He picks up his pen, squinting as he scribbles something in his book, before he hums with disinterest.

“Mm. I heard doctor Pididdly takes more kindly to flattery.” He brushes a grey strand of hair from his face, clicking his pen as he simply lets you stew in your own embarrassment and focuses on whatever he’s reading. When he speaks again, he does not award you the honor of feigning the smallest hint of interest. “And you can send doctor Heimerdinger my regards. Let him know I am still not looking for an assistant.”

He has you figured out, and it’s making you feel dumber than any advanced class has ever had the honor of doing.

“The dean? I haven’t spoken to him since—“

“Since last year, when you took his theoretical arcane force fields class? Or was it since he explicitly asked you to come to my office with this proposition?”

You’re not the only one who’s done their research on the other. Though it’s painfully clear that he was much more thorough in his pursuit.

“I’m… sorry.”

“For wasting both our time? You should be.�� He does dignify you with one glance, and even sets his pen down, as he bids you goodbye.

—

You’re fortunately not a sore loser. The money and resume addition would have been nice, yes, but you suppose they still would not have made up for working with someone as sharp and cutting as Svoboda.

You’ll gladly take the loss. And you are.

He’s long gone from the front of your mind, though something about him — his gaze, his face, his voice — lingers and shrouds the back of your brain with a tempting distraction from your thesis.

The last thing you expect as you’re burning your retinas staring at the blue light of your laptop screen leafing through the countless open tabs on your laptop is a notification. It startles you out of your skin, the red dot next to the university portal app’s icon.

Still, more curious than nervous about who could be messaging you at 11pm on a Saturday, you click.

Dr. Prof. Viktor Sidorov-Svboda

Good evening. Please come see me in my office on Monday. I would like to discuss the arrangements of your future employment as my assistant. Let me know what time would work best for you, within the limitations of my office hours.

11:32

…What?

You wonder what swayed his mind in your ultimate favor after you’d embarrassed yourself quite so thoroughly this week. But you're not about to complain — you more than certainly need the money, and his name on your resume.

Whatever turned the odds in your favor, you’re ever-grateful. And as much as you hate to admit it, you do double-check the message to make sure it’s actually real.

Thank you for this opportunity, professor. I’m looking forward to working as your assistant, as well as broadening my knowledge and skills. Would 1 PM work for you?

11:34

Dr. Prof. Viktor Sidorov-Svboda

Yes. That should be fine.

11:34

You think you should leave it at that. You know you should. But… you’re curious. You really hope this doesn’t cost you the job offer you’ve just received.

May I ask what swayed your decision?

11:37

Dr. Prof. Viktor Sidorov-Svboda

You may not. Good night.

11:37

So much for that.

—

You knock, but this time you don’t wait after being greeted with a yes? from behind his imposing office door.

“Hello, Professor Sidorov-Svoboda.”

You’re greeted with the distinctive smell of chicken stock and vegetables wafting from his office as you step in — a sore reminder of the fact that you’ve yet to procure lunch. Whatever he’s been eating, it smells tremendous.

His thermos squeaks as he screws it shut and sets it on the corner of his desk, gesturing for you to have a seat.

“Hello.” The faux velvet seat creaks awkwardly below you. “Thank you for your punctuality. I won’t take up too much of your time — we’ll discuss any questions you might have in further detail, but, to, eh… save us time, I’ve compiled a list of your responsibilities, and some personal preferences regarding grading papers I expect you to take into consideration when you do so.”

As he explains, you take a moment to take in his office. You certainly hadn’t gotten to it last time.

It’s mainly tidy, save for his large desk, which is littered with papers, a sudoku magazine, a disposable coffee cup from the campus cafe (though the cup is tall, roughly fit for a latte, if you had to guess… hm) and his dark blue, slightly beat-up thermos. Upon closer inspection, there’s a sticker on the cap.

It’s a small thing, worn like the rest of it, but the colours are unmistakable. Baby blue, pink, white — five stripes.

As a million questions and half a million answers start flashing through your head, the rustle of paper snaps you out of your thoughts.

There’s something analytical and vaguely, barely amused about how he looks at you when he slides the list across the table to you.

Contrary to what you expect, it’s not long. His main demand is grading papers, which isn’t your preferred kind of labor, but labor you will chew through, no less.

“I expect fairness when you grade,” he clarifies. “Contrary to what some students like to say, I grade papers with utmost integrity. I am not lenient, yes, but I am not absurd, either. You will find further guidelines on how to strike that, eh… balance yourself on the list I’ve made. And don’t hesitate to ask, should any uncertainties arise when you grade.”

“Fortunately, it’s applied arcanism,” you reply. “Not much room for… uncertainties, I’d expect.”

“You would be surprised.”

Viktor gives a knowing smile. Something about the placement of his mole right above the corner of his mouth, where his chapped, pale lips thin out, has your vision tunneling. You damn near startle when he starts talking again — good god, you need to get your act together.

“I will direct students’ questions to you, from now on. Should you not have an answer, you are welcome to contact me — but keep it to a minimum. Especially since applied arcanism is, as you seem to think, such an easy topic. As for lectures, you may attend, but it isn’t something I’ll be expecting from you. You teaching said lectures does not come into question. I have standards — high ones. If anyone is to take over, it will be someone whom I am certain is qualified for the job, not a phD student.”

“I am still prepared to,” you say. “Should the opportunity… present itself.”

“It most likely won’t.” With that, he straightens his back out in his seat, cracking the knuckle of his right thumb as he leans back in thought, going over his mental list. “Do you have any questions for me?”

His little smirk is magnetic, crows feet near his eyes creasing ever so slightly deeper as the corners of his lips rise. One of his dark brows lifts gently in a display of smugness that leaves you braindead enough to nearly miss the entirety of his next sentence. “Other than the one from Saturday night?”

Oh, damn him. Damn him.

And, as a matter of fact, you have about ten more. But none of them are even close to appropriate to ask — not now, or ever.

“No,” you lie. It somehow feels like he can see right through it.

“Very well. Thank you for your time.”

You thank him too. You’re not sure what for — his sudden generosity to offer you this position, or simply for the fact that he looked so pretty while he talked.

—

You, by now, know what optional really means in academia. Above all else, it’s meant to be an abstract line that separates two distinct groups: those who put in the extra effort, and slackers.

You don’t want Sidorov-Svoboda to know you as the latter.

Which is why you get a hold of his lecture schedule from Heimerdinger on the very same Monday afternoon, and plan on attending every single one of them that doesn’t overlap with something else in your schedule. Until he either outright tells you to stop, or until your contract as his assistant ends.

Much to your surprise, most of his lectures, save for Wednesdays and one on Fridays, do fit into your schedule as well.

On Tuesday, you are thirty minutes early waiting outside his office door.

And, as much as it shouldn’t be, it is a little funny how he startles when he groggily wobbles out of his office, keys in hand, and a cane in the other.

It’s a gorgeously designed thing; so much so it has you (stupidly) guessing it’s strictly in use for aesthetics the moment you first see it. It’s made of sturdy wood, with a dark finish and golden details down the length of it. The wood on the handle has gone light and matte with use.

But judging by how he leans on it as he numbly turns to lock the door of his office behind himself while he greets you leads to a different conclusion. And the stagger in his stride as he approaches you only confirms that he does, in fact, need it.

“Good morning, doctor Si—“

He raises his free hand slowly, like it’s heavy with fatigue. It’s enough to shut you up.

“Viktor,” he says. “Please. Just call me Viktor, from now on.” He pauses, looking you up and down with a fatigued sort of near-jealousy, before he shakes his head. “Why… are you here at seven thirty in the morning?”

“I want to attend your lectures.”

He sighs.

“And you picked the one at this hour?”

“Yes.”

“Hm.” You can’t quite tell if he’s displeased or if he’s just really tired.

“Rough morning?” You ask.

“Aren’t they all…”

It certainly isn’t your intention to let it become a habit — you’re his assistant, not his secretary, but you’ve learned that sucking up does get you forward in academia more often than not, so you offer: “Would you like me to get you some coffee?”

“I am getting myself coffee.” He attempts to stifle a yawn, but does not succeed. “But I would like you to accompany me.”

Your heart flutters. You tell yourself it’s because you’re getting coffee with one of the fathers of applied arcanism.

—

“A french vanilla latte, please. Under the name “A french vanilla latte, please. Under the name Viktor.”

Before you get to mentally clap yourself on the back and imagine a round of applause for your keen eye, you have to focus on not making a fool of yourself when you say your own order. The professor thankfully takes mercy on you, and leaves to take a seat at one of the tables — though probably for his own sake, rather than to spare you any embarrassment.

You decide the polite thing would be to keep him company as you wait for your orders. Reluctantly, you approach the table he’s picked, and, after a moment’s hesitation, pull out a chair for yourself.

“Professor Heimerdinger spoke quite highly of you.”

It startles you, the sound of his voice interrupting the lull of the clanking of dishes and hissing of steam and hum of the espresso machines.

“Oh. I appreciate that he did.”

“Hm.” For how blasé he’d acted until this very moment, it seems like you’ve said something that’s piqued his interest utterly. He hunches forward a hint, entwining his long, bony fingers over the top of the cane between his thin thighs. “You don’t seem very surprised.”

Uh oh.

“I’m sorry if it seemed that way, really, it’s not that I’m not flattered, professor—“

“Viktor,” he interrupts. “And you needn’t be. I do not care for, ah… false humility.”

Oh?

“False humility?” You question.

“A mark of someone either too self-conscious to accept a well deserved compliment, or desperate for one.” He pauses, looking for… something in your expression. You can’t tell if he finds it, but you know his gaze feels cold, like being prodded at with a nitrile glove. “I prefer working with people who are capable of appreciating their own effort. It’s good to know you are one of them.”

There’s warmth that seeps through the metaphorical glove, sterile as it is. It feels good to be acknowledged by the likes of him, who’d been so ruthless to figuratively knock your feet out from below you just days ago. He must have done his research on you, must have asked around, read around, figured out — just like you had done to him.

Curiosity eats at you.

“Well… what else do you know, pr— Viktor?”

His eyes rest on you like you’re a particularly tricky equation. One he knows will yield a pretty result. Being looked at by him is electric, like squeezing an unstabilized hexgem in your fist so the current courses through you, tingling.

“Don’t get cocky.” He smiles, he actually smiles, and it frays the space-time continuum just how much it youthens him. Salt and pepper hair and crow’s feet and frown lines be damned; as you watch the tip of his snaggle canine poke out from beneath his top lip, it becomes evidently clear that you are standing face to face with the man who stole illegal equipment to prove a point, the man who worked with highly explosive material for years to birth the very foundation of his scientific domain. “It is most certainly a good look on you, but it won’t bring you too far. You can ask Doctor Talis, I believe he should have a doctorate in arrogance by now.”

Is he…?

“French vanilla latte for Viktor!”

—

Listening to him teach might as well count as hypnosis.

When Viktor steps into the room, silence ensues gently, gradually. He’s not feared by any means, but he is respected. By the time he reaches the teacher’s desk and pulls out the chair from under it, the class has gone fully silent.

He sets it by the blackboard, then, slowly, bracing himself on both his cane and the backrest of it, takes a seat.

“Good morning.” He positions his cane between his thighs, clearing his throat with… perhaps almost a hint of awkwardness. “Alright. Before we begin today’s lecture, there has been a small change that everyone should be made aware of. This is my new assistant, (y/n) (l/n), and they will be joining us today. You will be addressing all questions you encounter outside of my lectures to them, from now on.”

Whispers spread across the amphitheater like wildfire.

“Now,” just like that, when his voice sounds out again, most of the chatter dies out, “today we’ll be discussing Holloran’s equation, and its applications in arcanistic techmaturgy.”

It’s magical, the command he has over the room. Viktor is a meager man, especially with the backdrop of such an imposing room. The high ceiling dwarfs him, and yet, there doesn’t seem to be a single atom in the room that doesn’t move the way he wants it to.

You’d known Viktor to be an eloquent man — you’d experienced it at your own detriment — but this beats your expectations. His explanations are enticing, he uses his words like breadcrumbs, leaves them tactfully, just enough to guide you to the conclusions he wants you to draw.

You’d never found so much satisfaction in simply listening. In spite of knowing full well the intricacies of what he is discussing, you let his voice envelop you, you follow him where he takes you.

“Now that we’ve established how Holloran’s equation exponentially heightens the energy output of Hexcrystals without disrupting the LHC — the laminal hexeon cascade — as I’m sure some of you may be wondering, how do the basic principles play into it? Any guesses?”

The class falls silent. You would give anything to be among the students right now, raising your hand to enounce the right answer. To have him looking at you like you’re bright.

You await with bated breath to see who in the crowd of focused frowns and scribbling pencils will dare speak first.

“Wouldn’t the caveat be that Talis’ fourth principle states that 30% of the energy output is converted into heat?” A young woman in the audience attempts. “Holloran’s equation operates based on the notion that the crystal is at a constant temperature.”

“Precisely. Very good,” Viktor praises. Excited, he turns to the blackboard. “Right here…” he underlines the equation, “is where Morichi’s constant comes into play…”

But you’ve long lost him.

The words twist in your head, turning into something sultry and intimate.

Precisely.

Very good.

Right here.

You find yourself staring at the groove of his pale neck, where it swoops into the line of his shoulder, hidden beneath the collar of a dress shirt and a brown wool vest.

You wonder what it’d smell like, to tuck your face in there. To have the pulse of his neck thrumming on your lips, to mouth at the mole on his jaw when he tilts his head for you, willing.

You wonder how many more are below the collar of his shirt. Dotted line on a treasure map, to guide your touch, your kiss, your tongue. Use them where he needs them, use them where his skin begs you to. Use them until his tired spine bows, use them until tattered joins are oiled with pleasure—

What is wrong with you?

—

Viktor disappears after his lecture. You hope he’d grace you with another conversation, another smile, something, but he is gone surprisingly fast. He bids you goodbye once his lecture is over, telling you he has matters to attend to, and that is that.

Overall, it’s an uneventful day otherwise. A few students end up messaging you, most with questions on what Viktor had taught that day. Others nitpicking what would and would not be a part of the upcoming midterm (whom you simply dryly referred to the syllabus). Two people, however, did message you to ask you how you’d landed the job.

You’d ignored them.

On Wednesday, you see none of him. You drop by his office after class, but there is no response to your knock, and the door is locked. He must have gone home.

On Thursday, you wait for him outside his office thirty minutes early for his 3PM lecture, but he doesn’t show. So you decide to go straight to the amphitheater, and do find him there.

He looks worn. No less graceful than the last time you’d seen him, but his cane has been ditched in the favor of a crutch that’s tucked under his arm. The creases in his checkered dress shirt and face seem deeper now, the pale indigo under his eyes is richer, darker.

He gives you nothing more than a curt greeting before class commences.

And yet, he never blunders. Never loses himself, his diction is as concise as the day you’d first met him, carrying himself with the grace of a swan as he talks and his chalk glides over the board. But his numbers slant, the loops on his letters are looser, the rows on the blackboard curve downwards to the right; just barely at first, but as the lecture advances, it becomes more obvious.

He cuts the class shorter by fifteen minutes.

The students know better than to linger. Nobody comes to address any questions, and they leave the room surprisingly quick.

Once the amphitheater is empty enough that even the thump of his crutch reverberates on the wooden floor as he makes his way to the desk, you finally dare speak.

“Is… everything alright?”

“Don’t start,” he cuts back, resting his crutch against the desk before bracing himself with both hands on the flat surface. He sighs, and does a futile attempt of relieving some of the tension in his spine by rolling his shoulders.

His joints crack, and you can see his sharp shoulder blades moving under his shirt, wings on a flightless bird.

And you’re not sure what to say.

“Sorry,” he finally adds, the harshness of his reply catching up to him. “Not… a good day.”

“Got off on the wrong side of the bed?” You attempt weakly, and, much to your utter surprise, he does actually smile.

“Mm. That might explain the past two decades or so.” He does finally look at you from below droopy eyelids, and though there’s not a doubt about him being tired still, there is more gentleness to it. As though woken out of a dream. He takes pity on the confused look on your face, and adds: “My bed is in a corner.”

Ah.

“Is there anything I can do to help? Anything I can get you?”

“A new spine,” he jokes, hunching forward to crack his back, before he does his best to stand up straight once more. When he speaks again, his playful lilt is sorely missing. “Why are you here?”

“I want to attend your lectures — as many of them as I can, at least.”

Viktor shakes his head, mutters something both a little desperate and a little bitter in a foreign tongue.

“You don’t need to do that. From now on, you can simply tell Cecil you were here. And I will confirm it, should he ask. But I do not need… a babysitter. I’m sure you have better things to do as well.”

What? Why would he think that?

“I…” you falter, “Heimerdinger didn’t put me up to this.”

He scoffs, not particularly at you, but it’s surprisingly hurtful nonetheless.

“I thought we had moved past the stage where you felt the need to lie.” He sighs. “I know he worries. There is nothing to worry about. In the unlikely event he does find out you haven’t been following me around as he asked, I will take full responsibility.”

That alone makes you worry. Had Heimerdinger neglected to tell you the full picture? What was there that warranted the dean himself worrying?

”I came to your lectures because I wanted to see you teach.” The last word is more of a lie than anything you’ve said thus far. “I admire your cogency. I want to absorb as much of it as I can.”

Viktor looks thoroughly unimpressed. “We also discussed how I feel about flattery, did we not?”

“It’s not flattery,” you argue. “I came here of my own volition because I think that there’s a lot I can learn from you, professor. Now, if you don’t want me here, you can simply give me the word, and I will act accordingly.”

He mulls it over for a long second while he shuts his leather briefcase.

“Perhaps that would be best,” he finally decides. “For now, continue with your assigned duties. I will let you know if there is anything else I need from you.”

He practically scans you for a reaction, lays you out paper-thin on a glass slide, and slides you under his most potent microscope lens.

You don’t know if he finds what he’s looking for, because he doesn’t look long. He slings the strap of his briefcase over his shoulder, and turns toward the exit with renewed, but undoubtedly spiteful vigor.

“Have a good day.”

“You too, professor.”

—

“Oh, if it isn’t one of my favorite phD students!”

The dean’s mustache curls almost comically with the over-the-top, but somehow still sincere smile he gives you.

“Hello, doctor Heimerdinger,” you greet, letting the smell of laquered wood and floors wash over you as you step into the pristine, impressive office. As opposed to Viktor's, the ceiling is higher, the windows bigger, and there are only sterile messes to be found in the room. A stack of books that is not as neat as the rest, a cactus that doesn’t look all too swell on the windowsill, and documents that are scattered over his workspace in a way that’s still neat.

“What can I do for you? I hope the first week of your collaboration with doctor Sidorov-Svoboda has gone smoothly.”

“That… is actually why I’m here.” You clear your throat awkwardly, and take a seat on the plush chair that faces his desk. Whatever it’s stuffed with, it’s comfortable, it has you sinking.

“I see. I know he can be… a tad, well, peppery at times,” Heimerdinger giggles at his own choice of words. “Give him some time. Once the two of you manage to find some common ground, I can assure you he is wonderful company, and an incredibly bright mind.”

“I don’t doubt any of those things.” You start kneading your hands in your lap, digging for the right words. God, social chess was never your forte. “I’m actually here because there has been a bit of a misunderstanding between the two of us that I was hoping you could clear up.”

“Oh.” His smile drops. “I’m listening.”

“You see, when… well, when I attended his lecture today — the second one I’ve attended — he seemed… very displeased with my presence.”

“Ah…” Heimerdinger falls silent for a long moment, gears turning in his bald head. “That… well,” he laughs awkwardly, “I’m afraid that might have been because he might wrongly assume I told you to do so.”

You nod curtly. “I know. He told me as much.”

“I apologize for the misunderstanding. I will try speaking to him, but—“

“Actually, doctor, that isn’t why I came to you,” you cut in, “he told me more than just that. He said you’d put me up to this because you were… worried about him.”

At that, the smile on Heimerdinger’s face is entirely gone.

“Naturally, that also got me… quite worried. I came to you because I wanted to know the full picture of this… arrangement I’ve gotten into.”

“I see,” Heimerdinger sinks in his seat, folding his hands in front of his blond mustache as he picks his words carefully. “Well, since you have been made aware of this fact, I suppose there is no harm in admitting that I do, in fact, worry about Viktor. Him and I have history, so to speak. I’ve known him for many years, and, though he has remained the same bold, ambitious young man within, I sometimes fear old age may be catching up to him. But! That is not something you need to concern yourself with. The sole purpose of hiring you was to create a mutually beneficial arrangement. Your resume will certainly benefit from his name, and as for him, I wanted to simply… lighten his workload. But that is all I expect of you.”

“I understand.” And you do, to some degree — but Heimerdinger’s whole speech has done nothing but raise more questions than provide any real answers.

“Would you still like me to speak to him on this matter?” He asks.

“No.” With renewed courage and curiosity, you rise from the comfortable chair. “Thank you, professor. For this, and for putting in a good word for me with professor Sidorov-Svoboda.”

“Of course,” he smiles — genuinely, this time. “Though it might sound quite absurd to you now, considering the current circumstances… the two of you are more alike than you may believe.”

You’re not sure what to make of that, either. So you just smile back.

—

On Friday night, as you’re poring over your thesis with a warm mug of tea as a panacea for your racing thoughts and lack of inspiration, you receive an email.

Apologies

From: [email protected]

To: me

Good evening.

I wanted to formally apologize for what happened on Wednesday. Accusing you of something you hadn’t done was unjustified and unprofessional of me. You are always welcome to my lectures, should you still wish to attend.

I was also hoping to speak to you in person on Monday. Would 1 PM still work for you? Let me know.

Thank you.

VSS

It comes as a surprise, to have someone in his position apologize so… willingly. You wonder if Heimerdinger had talked to him after all, and if so, what he might have said to turn the odds so terribly in your favor. Again.

You write a fast reply: you thank him too, above all else. You consider saying you hadn’t expected and apology, but you fear that might come off wrong, so you ultimately ditch that part.

And you tell him yes. 1 PM would work for you.

—

You attend his 10AM lecture on Monday, but this time, you don’t wait for him at his office. Though eager and enthusiastic, you fear your initial approach of waiting for him thirty minutes early might have been too stifling.

So you wait outside the lecture hall. He shows up ten minutes early, crutch under one arm, coffee in his other.

There is just a hint of foam on his upper lip, where grey-brown stubble shows. He licks the milk away before he even sees you, and you’re thankful for it — being caught staring at the pink of his smart tongue darting over the curve of his top lip considering the current circumstances would not have been a good look.

“Good morning,” he greets. Though he’s still using the crutch, he seems to be in an improved mood as opposed to the last time you saw him. “I must admit… I did not expect you here already.”

“If you’ll have me, I want to come,” you say.

Something about that catches him off-guard, the swell of his Adam's apple bobs and his eyes widen just a hint. But he’s fast, always is, and he straightens up and clears his throat before you get to analyze him the way you wish you could.

“Ahem. Well. I’m happy to hear that.” He gestures to the door as if he’d almost forgotten he was holding a coffee, because it sloshes just a hint too loud. Fortunately, there are no victims to the small droplet that spills from the plastic cover. Viktor frowns, most likely with frustration at himself, before he turns to you. “Alright. After you.”

You step into the lecture hall first, per his request. The room begins to quiet when the students see you, but as you turn around to hold the door open to him, it gets worse.

You do not care for the curious, gossip-hungry glances that rest on you.

—

“I appreciate your openness regarding the discussion of this matter,” Viktor begins, shutting his office door behind himself. “Coffee?”

He dips his hand behind an old but trusty looking coffee machine that sits on the table next to the door. You hadn’t noticed it the first time you were here.

The hint of a frown as his fingers roam the space between the back of the machine and the wall is doing… something to you.

“Yes, please.”

“I must warn you,” his voice lilts again in that pleasant, playful way, like a cat twirling figure eights between one’s legs, “it is significantly less… fun than the ones at the cafe. I only have sugar.”

He finds the switch on its back, finally, and there’s a little pop as he flips it, before he retreats his hand.

“Works for me,” you assure. “What did you want to discuss?”

“Mainly, I wanted to eh… extend my apologies to you in person.” His glasses ride further up his nose as he pinches the bridge of it, rolling his shoulders, as if to draw courage. “And to put my… reaction into some context, should you be willing to hear it.”

You hope it’s not outwardly visible that your heart starts vibrating.

He has been on your mind much more than you would like to admit, tangled in questions, in guesses. You unfortunately have the mark of a true scientist — nothing scratches an itch in your soul quite like having your questions answered.

“I would.”

Viktor retrieves a stack of single-use cardboard cups from one of his drawers, sliding out two, which he positions under the coffee machine. He presses the same button twice, then gestures to the chair that faces his desk.

“Have a seat.”

You do.

He lingers beside the coffee machine, resting the backs of his thighs against the edge of the table it’s on as he starts to think.

Just now, it strikes you that maybe social chess isn’t always his forte, either.

“People tend to… underestimate me,” he begins. The coffee machine whirrs, clicks, whirrs again — and then coffee starts to trickle. He tucks his free hand into the pocket of his slacks in what attempts to be dejection, but clearly isn’t. “And while that is an advantage in a competitive environment, it’s not something I appreciate coming from my colleagues.”

“I wasn’t…”

“I know that. Now.” He clears his throat, then, with a show of surprising dexterity, slides his hand from his pocket and grabs both cups with one hand — one tucked between his index and middle finger, the other tucked between his middle and ring finger. You reach out to offer your help, but he sets down both cups on his desk, then hobbles around it, and finally takes his rightful seat on the opposing side. “I unfortunately can’t say the same for Cecil. He does try, and more often than not, he is tactful about these matters, but there is the occasional… slip-up. I try to understand; him and I… have history, as he likes to say.”

You would love to know the exact implications of said history. From what you’d heard, there was the consensus that Viktor had been something of a protege to Heimerdinger, twenty or so years ago, before he’d made it big and co-created the field of applied arcanism.

“I’ve taken up some new responsibilities lately,” Viktor adds, “and Cecil, though worried as ever, has… overstepped some boundaries of mine. You were caught in the crossfire of that, which is hardly fair to you. I’m sorry.”

“Was he the one who convinced you to hire me?”

Viktor shrugs, avoiding your gaze. “Eeeh… partially.”

“I think I understand your issue with his… overstepping. To some degree.” You take the cardboard cup, blowing the steam away, before you take a sip. “I would also have preferred to be hired by you because you wanted it, not because you'd been talked into it, but… well, I’m glad it ultimately still happened, I suppose.”

“Rest assured that the decision was still mine alone,” Viktor replies. Smart eyes watch you over the rim of the cup as he takes a sip himself.

Silence settles. A telltale sign you should get going — but you don’t want to.

“You mentioned some extra responsibilities,” you attempt. He’d shut down your curiosity before, but you’ll be damned if that’s going to deter you from trying again. “Within the university, or… personal?”

“Within the university.” Viktor sets the cup down, sharp joints jutting out as he intertwines his fingers around the circumference of it, hands resting on the table. There is a mole on his left ring finger, right under the knucklebone. “I have been trying my hand at independent research.”

You only notice the fact that you’d leaned in closer with interest when a tiny smug smile ghosts over his face.

“I’m sorry to disappoint you, but that is just about all I should be telling you.”

Oh, come on.

“Show me yours and I’ll show you mine.”

His brows raise with surprise, and for the very first time since you’d known him, Viktor seems genuinely stumped.

“Your… research,” you clarify. “And I could show you what I have for my thesis so far.”

“Oh. Alright, I will, eh… bite.” Taking his paper cup with him, Viktor leans back in his seat, and watches you like a cat watches birds. Not necessarily on the prowl — but with great interest. “Tell me.”

“Me first?”

“You suggested it,” he smirks. “It seems only fair, does it not?”

Uncertainty halts you. You have to wonder if Viktor Sidorov-Sviboda is the kind of man that would steal an idea.

You’ve heard he’d gotten the short end of the stick in his partnership with Jayce Talis — though he’d contributed greatly, his name was sorely amiss from all the terms, laws, anything Talis had coined in their domain.

He must know what it’s like to be cheated out of well-deserved credit.

You suppose he wouldn’t propagate the cycle — but in the off case he does, you have a handful of professors who could vouch for your idea being yours, on account of having vaguely, barely, helped with your thesis. None had been too keen on such a touchy subject as the one you were breaching, and were resistant to offering their opinion.

You hope Viktor won’t fall into that same category.

Part of you already knows he doesn’t.

“Alright.” Though you’re not exactly excited to have your own strategy used against you, you can only hope he’ll hold up his end of the bargain. “My thesis is on the hexionic model. Within and outside the context of a matrix.”

Viktor scoffs with amusement, rather than plain mockery. But there is a taste of it in there, somewhere, in the curve of his lip. “You theorists and your hexionic models. Any attempt at a new hypothesis is no less flawed than the last.”

And it’s thrilling. To be challenged, instead of praised, or dismissed. It makes something in you catch fire, every word itches behind your teeth, like you need to tell him.

“That’s exactly why I’m proposing an entirely different hexion model in my paper.“

His pupils widen so much his eyes go dark. Like a cat about to pounce.

“Oh? Tell me.”

“If we accept that the very core of a hexion’s energy release is based on entropy, on the desire for disarray, and we apply that to a hexion’s very structure… I believe there’s something to be made of the whole mess we are currently facing.”

Viktor had been holding his breath. You notice, because it sounds just a tad sharper when he finally draws a reluctant inhale, and, gears in that mind of his turning fast, sharp, steady, he finds another way to refute your point.

“Like Pididdly’s hexion model?”

“No,” you say. “Though I bet Pididdly will wish he could come up with what I have. Can I have a pen and some paper?”

You have him now.

“Yes, yes, of course.”

Viktor tugs the drawer of his desk open so hard it thunks, digging for a scrap of paper and a pen. When you take it, holding the paper between the two of you, he leans in, too, enough for you to be able to smell his aftershave — the aquatic spice softened by flowery vanilla.

It’s intoxicating enough to have the storm of ideas in your mind going quiet, buzzing. You manage to untangle them before you make a fool of yourself.

“My model is proposing disordered order, so to speak. The hexion is split up into different parts as Torek suggested in his hypothesis. But I think she was too small minded in her approach. For my model, I use the concept of something I’m calling areals. Different areals for different component particles. I believe particles will never be in a fixed, certain place.” You draw the centrion — though hypothetically an ochtahemiocyahedron — as a sphere for simplicity’s sake, surrounded by three vaguely defined layers. Viktor rests both elbows on his desk, sharp chin on intertwined fingers, watching with a tilt of his head. Your mouth’s gone dry. “These areals are… spaces where, if you were to look, at any given moment, the likelihood of you finding a specific hexion particle in its assigned areal is high — but never 100%. They are constantly moving, oscillating, vibrating — within their areal. Like I said: disordered order. And this theory also holds up in the context of matrices — for the most part. There are some kinks I need to iron out, but… this is the gist of it.”

At that, he lights up.

“Extraordinary,” Viktor mutters. It’s music to your ears, rolls down your spine in a wave of dopamine, tingles all over. He taps his finger to the schematic diagram, then stares into your eyes so thoroughly you wonder if he can see into the depths of your amygdala. There is maybe a palm’s length between your faces, a gap you itch to breach. He says the next thing like a solemn secret. “This could be beyond revolutionary.”

“Thank you.”

Viktor doesn’t miss a beat when he says: “I would like to help you with your thesis. Should you require it.”

Now that knocks your knees out from under you. You’re lucky you’re sitting.

One of the founding fathers of applied arcanism wants to read your thesis? Wants to help you?

“I…” You can’t remember to breathe, your mouth’s gone thick and cottony and swallowing is a distant dream and he is looking right at you, young and hungry and alive underneath the barely composed shell of himself. “I’d be thrilled.”

He grins, the top of his lip a mere thin line over his teeth.

“I already am,” he lilts. You watch the way his mouth moves — the curl of his tongue against the back of his teeth as he rolls his heavy, thick r, the plush purse of them on the m.

And when you remember to look into his eyes again, you catch him red handed.

He’d been staring at your lips, too.

Startled with the reality, the puzzle-piece-click of knowing, the both of you retreat into your seats. With a shaky hand, you pick your cup back up, and take a sip from your coffee. It’s gone lukewarm.

“I’d like to ask you to print it, if possible.” His voice is bridled again, steady, certain. Normal. He tugs on another drawer, and retrieves something shiny, metallic. A key. He lays it on the table, sliding it towards you. “You can use the printer in my office, if need be.”

“I can print what I have so far this evening, and leave it for you here. Would that work for you?”

”Yes.”

You look at the clock on his wall — it’s entirely later than it should be. You have a lab you should be getting to.

“Could you spare some time on your lunch break tomorrow?” Viktor asks, clearly having read your mind again, somehow. “I think I should have it read through by then.”

“Absolutely, but… you don’t even know how much there is to read through.”

He smiles. “If you write with the same enthusiasm you talk, rest assured I will tear through it.”

#viktor arcane #viktor arcane x reader #arcane viktor x reader #arcane viktor #viktor arcane x you #reader insert #my writing

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yumeka-sxf · 1 year ago

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1-year anniversary post and future projects

My blog turned 1-year old today! 😃 (I also have a new blog banner and profile pic for the occasion!) I was lowkey hoping I'd hit the 1,000 follower milestone before then, but I got close - about 890 followers as of now! I'm very humbled that so many people enjoy my SxF content ❤️ Thank you all so much for your Likes, Reblogs, and kind messages~ Even though I wish I had joined the SxF fandom sooner, better late than never! The series has been around for about four years now, which is still a relatively short time for a popular shonen manga. So I'm hoping there will be plenty more SxF content to indulge in for years to come!

As you've probably seen, I've been reblogging my Twiyor analysis posts as a build-up to my continuation of that project for season 2 of the anime. And I'm happy to report that my planned start date for new analysis posts will be Tuesday, December 12th! On that day I'll post the new installment, Part 19, with a new post each Tuesday after until I finish covering the season 2 episodes. I know it seems like I'm dragging it out, but it takes a long time for me to not only write each post, but to revise and proofread them as well...the more chances I get to proofread my posts over time, the better they turn out. I also want to make sure I don't get too far ahead of the current episodes (since I still want to make the posts manga-spoiler free as much as possible). Since season 2 is only going to be 12 episodes, there won't be as many posts as last time, but the topics are just as compelling! I've been so excited to finally delve into analyzing the cruise arc 😄

I should also mention that late December/early January are going to be very busy times for the fandom: there's the movie release, the game release, the season finale, another art book that I'll want to scan, and the light novel being released in English! Of course I'll be making posts covering all of this, as well as my usual merch and chapter/episode review posts. I'm also planning to do some kind of post mini-series for the game where I write about my experiences with it in a daily journal kind of format. We'll see...there's going to be so much to cover at the end of the year, I hope I won't get overwhelmed 😅

Anyway, thank you all again for a wonderful year of SxF goodness~ Here's to many more years of joy from our beloved fake family!

#spy family #spy x family #sxf #spyxfamily #twiyor #sxf analysis

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runawaycarouselhorse · 3 months ago

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[Power-Noia mini-review, spoilers]

Power-Noia is one of the episodes I never saw air on Cartoon Network here and watching it now, I can see why. It was probably deemed too scary, like another Him-centric episode (All Chalked Up) I never caught on TV. It's always cool and creepy to see how Him exploits fears and psychologically terrorizes the girls.

Very stylish animation and cool art in this one!

Blossom's nightmare about failing preschool and "Ms. Keane" and the "class" robotically droning about how a report card is the single most important factor when judging a person's worth was so bleak...

The eay you could hear Him under Ms. Keane's voice was so accurately demonic and so CREEPY. When Him's influence was waning and Blossom was seeing through it, Him's illusions/glamour started to weaken and fail and she could see more of Him and Him's voice became clearer than Ms. Keane's. VERY well-done.

Awww, poor Buttercup's arachnophobic! She got so scared, she stopped being able to fly. ;_; It's funny that goading, not comforting, gets Buttercup to fight and face her fears, she's so competitive, fff. I like that Blossom had a strategy for them to get around and defeaf most of the spiders, even while unable to fly!

We know Bubbles fears the dark, but maaan, it's always corrupting things she loves, like stuffed animals, with Him... that creepy nightmare with those creepy plushies telling Bubbles they'll tear out her stuffing and replace her eyes with glass ones that stare with a vapid expression, CREEPY... gruesome implied imagery.

Bubbles breaking free out of love for her sister was so, so cute.

Bubbles saving Blossom! ♡

I wondered if they were trying to stretch it out by Blossom not being able to explain it's Him's doing, but it's likely because Him controls the dream so much and controls them more when they're afraid... he's a demon after all, hence the stronger, more sinister appearance here. When she did try to finally explain a little, Him violently interrupted.

I can guess why this one didn't air on our Cartoon Network. ^^;,,

Awesome fight scenes aside, some cute details: Blossom turns and clings to Buttercup while having a nightmare. Buttercup... is not very sympathetic or comforting, fff, but the detail is cute.

#Power Noia #The Powerpuff Girls #PPG Him #PPG Blossom #PPG Bubbles #PPG Buttercup #Bubbles #Blossom #Buttercup #Him #Ms. Keane #spoilers *#Cartoon Network #western animation #possession * not exactly but..

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allthishumanityforfree · 9 days ago

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Spoiler Free Gladiator II Mini-Review

-Better than I suspected from someone who does not like these big historical films

-Paul was good, especially the accent, but he was a bit miscast. He needed quieter, subtle roles. This was a waste of his skills, although he physically was great.

-It's Denzel's film. Give him a supporting actor nom, he deserved the money and praise.

-Joe's acting has impressed me this year, Fred was also good

-Pedro was my VIP, he looked so so good.

-CGI was terrible, like distractingly TV show bad

-I hated the ending and it really dampened the whole film for me.

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sage-lights · 2 months ago

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IDK if you'll remember me but I sent in an ask a month (????) ago about getting closure on Sword AF + saying Amanda was Sapphic™️, but I just saw Smosh vs. Aliens AND IT'S SO GOOD. I find this format of a miniseries with a rotating cast of characters to sound more sustainable from Sword AF.

I'm also really happy w the lineup- Angela and Courtney as cousins?? Amanda as a greasy arsonist? Chanse as literally the most tragic little girl in the whole universe? IM SO SOLD ON IT! GEORGE IS SUCH AN ENGAGING STORYTELLER AS WELL. not that damien wasn't, but you can tell GM-ing is george's forte while damien's has always been characterization as opposed to driving a story (again, not to say that damien wasn't good at driving stories i just prefer when silly guy do deep voice).

I must admit though, I lean towards wanting Courtney and or Amanda as permanent Dread cast and having two or three other cast members rotating as characters. Almost entirely because the only thing I've seen of Smosh vs Zombies so far is fanart and clips of their homoerotic codependent-coded friendship and Courtney is also fucking hysterical in vs. Aliens!!!! I also feel like Amanda has so much fun w roleplay, and I have fun seeing her do it!

I am loving Dread so far and will be spending my weekday binging Smosh vs Zombies, I hope they keep it up but if they can't, I prefer that it has that sense of finality that BAF Legacy had so, if we never get it again, each narrative feels properly and satisfyingly wrapped up.

That was my unsolicited review of Dread. 100/10 would recommend (also George Primavera sounds like a sitcom name and I really fuck w that.)

hello friend!! very happy you came back and left your thoughts!

i agree, dread seems way more sustainable compared to sword af. hopefully this format will mean we get more ttrpg mini series throughout the rest of the year and into next year. i enjoy george as a dm, but i think it would also be fun to have some new guest dms too (selfishly, i really wanna see brennan dm the smosh cast).

i’m very very excited for next episode, especially because *SPOILER!!!* mackenzie died…chanse and his clumsy hands. i hope you enjoy smosh vs zombies too! feel free to come back and lmk your thoughts on that too!

#smosh #smosh games #amanda lehan canto #courtney miller #chanse mccrary #angela giarratana #smosh vs aliens #asks!

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jack-kellys · 2 years ago

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welcome to: rizz's extensive uksies notes, which will discuss differences in characterization, sure, but also more important things like staging, scenic and dance changes, and directorial choices (i do talk about the principal characters at the bottom so i'll forgive you for skipping down there if you wanna). i haven't looked at anyone else's posts since i didn't want them to influence my thoughts, but i'll be whipping out the third-of-the-way-through stage management degree for this shit so buckle up. spoilers/major reveals will be in this post, and this post (among all the others relating to major reveals/moments in this version) will be tagged with #newsies spoilers!!!

lets get into it, starting with the reason this show was able to be as much of an experience as it was: the space.

i think it's very important context to this version of newsies that the troubadour theater, previously, had been housing an immersive peaky blinders (popular tv show) experience. this review gives a pretty good idea of what immersive theater is, and it is... a big feat. it's more of an experience than theater, and that same goal was at the heart of the way newsies is done, too, which worked so well. both are historical fictions and are based on real things that happened, which makes it kind of easier to involve an audience imo and lets them believe what's going on.

the stage is a sort of round thrust-style in the shape of what i'm guessing is a flash/flashbulb in reference to obviously the pics we have of the strike and how "big photos attract readers" (aka the audience in this case :)). as yall know from the photos its got the same tower/skeletal setup as bway...to an extent. for bway, that's tbh all they have, but by losing the proscenium stage and moving into a space with so much more free reign, there didn't have to be one big scenic element, and it didn't have to be the only thing to steal the show. like the "big moment" for bway is when the three towers track forward in once and for all, and there's like....at least three different moments just like that in uksies and they don't even need the towers for any of them! because they didn't rely on one thing, they did so many things, and they did them everywhere. to the walls, to the aisles, to the landings, to the air, this show made sure it used every definition of the word 'space' to its fullest. initially it sounds distracting, but making sure they're all around us and making sure that ensemble characters are able to be on their own without the principals near them really humanizes the ensemble as a group of real kids who fr went on strike. i'll come back to humanizing stuff in a bit, but since we've been talking about the theater space, lemme talk abt these scenic elements because damn...

there was a slide jack used a couple times through a hatch door to escape the delanceys thru (with a little >:) wave) and escape the strikebreakers

there were mini trap doors in the stage where items were stored and revealed, and they kind of looked like the grates that sidewalks have/used to have for like rain to drain into in cities <3

there was a rope jack used to swing through and kick a strikebreaker in the face!

the penthouse actually felt like a home rather than literally just a bare bway balcony lmao, like they had mini portraits sticking to a skeletal roof-like overhang that jack probably built on his own, his art was much more obvious and hung up and personalized.

the cart with all the papers on it actually got to be used in staging in really fun ways- it was both chariot and podium for jack and crutchie mainly but they like rode around in it it was cool

medda has a huge lit-up sign for her theater instead of like. an overhang or whatever it is for bway, which is the upgrade she deserves <3

the children's crusade banner wasn't a projection, it actually dropped as a huge literal banner from one of the line sets and jack stood as a shadow behind it with a fist raised >:)

the tables for king of new york weren't the longer bigger ones from bway, it was like actual restaurant-style table for two's like in 92sies!! and they were on wheels, so they had table-ography– this was also possible due to how much more depth, physically, the stage had, like they wouldn't have had room on a proscenium. davey was pushing les around on a table and the kid was just flying around it was super cute and rly well done

speaking of 92sies, remember at the end of their king of new york when the one newsie grabs the ceiling fan and spins around? yeah, uksies does that with these huge practical lights that fly down from above- newsies get to not only hang off of them and do some acrobatics, but they can spin on them, and they not only go insanely fast, but they also are able to go higher the faster they go. seriously one of the most insane displays i've seen in a staged musical of all things, like it felt like a show and not just a musical.

The abundance of scenic and spatial elements leaves a director/choreograoher (because this guy was both, and it is visceral even in the scenes that he's both and it's perfect) with so many options, and fuckin man, did this guy absolutely use all of them to the fullest. i hadn't realized how like....recycled the blocking had been through bway and also touring, because idt they're allowed to really change it. but guys. we'd been watching the same exact movements for years, and NOW THEY'RE ALL NEW!! everything they do, each location of the stage people move to is all different than we've ever seen as a fandom, which is major, because staging is a storytelling device– since if it wasn't, we wouldn't have it. where people are in a space, where people are in relation to others in a space is also huge. the other main thing again is that it isnt a proscenium stage, so it's much easier not to stage people "in a line". think back to the livesies staging for right before the world will know when jack is telling davey about "if your father had a union". picture where they are on the stage in relation to the cart w all the newsies. its in a fucking line, bro.

this show? abused depth beautifully. the stage pictures were extremely memorable, so choreographed, and set the dynamics for scenes so effortlessly. davey is way downstage when jack's trying to convince him to join the strike, so we can see his exact thought process before the final "i guess...you do, mr. president". (speaking of, ryan kopel is genuinely the first davey to actually make that line a weirdly emotional journey?? like davey takes so long to finally say it, like he's getting over the stakes and letting jack's words sit before finally, yes, agreeing.) or when jack has his pre-seize the day monologue (of which i might make an entire post for for personal reasons and i'll link it here if i do), the three scabs are center stage, arranged in this triangle with their backs to each other and their heads down so jack gets to circle them while addressing the stage at large- it just looks so intentional and frankly very pretty to watch since they're all dancers and their posture is so clean. even something to believe in's scene staging is more dynamic because the towers themselves aren't even in a line- they're angled downstage, so even when jack and kath are high up on a more skinny platform there's still depth and an upstage and downstage they can travel on!! it's so thought through. i'll also make a post about more individual moments, but a lot of people have done that so im making the more important post first lmao.

the staging ofc was very intentional, but the transitions were also...like seriously integral to the narrative. idk if you guys know this or not but transitions can make or fuckin break a moment fr and some directors fucking suck at them LMAO but wow. these? the newsies taking on katherine's platform with the same "mornin' miss" air to their movements and kath saying a small 'thank you' to them before she sits for watch what happens, versus the transition into the bottom line where newsies push pulitzer's platform on with heads and backs bowed down, pushing slower, with more effort, like it looks painful when they push on his platform. newsies lifting medda's footlights and sort of "working at the theater" with their movements mirroring dramatic vaudevillian theatre. it was all so fluid and nearly all of it was done by the newsies and none of it was really...hidden, either, and seeing them literally "work" onstage cemented them as "the working boys of the city" really specifically, and in a very special way. like yeah, the invisible workforce, of course they're doing the transitions. beautiful, a+.

among other added elements were the new orchestrations. newsies has never sounded like this before, even excluding the new music they added. there was more base, guitar, and drums, and the tinny trumpet was much more subdued which felt more...realized and less disney, which is for me always welcomed lol. honestly it made the music sound less disney as a whole. very grounded sound overall- ALSO the sound design was so fucking excellent like you walk into the theater and it's the sounds of the city in 1899 and it's so cool...but! yes! there was new music because guess fucking what: every single dance break was extended. every single one. they all of course had new choreo (finallyfinallyfinallyfinally) but also literal new parts to the dance breaks. each by like 3-5 mins. cemented this as a show more so than only a musical which i fucking adored. in a diff post i'll go through each song (though it might. be after i see it again) and talk about the extensions because just....come on director/choreographer!! yes!!

rounding out this post specifically, im gonna nail down some characters and relationships, since honestly they were very different than we've seen before, but there's merit to all of them for real, and i appreciate a shift from how we're used to interpreting them, and honestly i hope it changes our characterizations as a fandom and adds more depth/possibilities!

starting with the romantic hero of the year, jack kelly.

he is distinctly a romantic hero in this- not in the perceived lovesick/floaty way. he's a very raw version of himself, and he's almost a loose canon (until he's forced not to be via blackmail). he's staged very intimately with others when talking one-on-one, which i know is a usual jack trait, but at michael's jack's core is "come on, look at me." every moment with those he loves is personal to him, is treasured and valued. a baseline example is crutchie, of course, who he says "look at me" to in the prologue after crutchie gets discouraged with himself. they aren't staged outward toward the audience, because jack doesn't let it– he is in line with crutchie, really looking at him, and making sure crutchie's looking back. he does this with the scabs too, except he gets to move around them because of how that trio is staged (my god that scene looks and is so beautiful..fuck).

but i think this is very exemplified with davey, actually, because what i love about michael's jack is that the emotions he wears on his sleeve aren't only ones of love- it's all passion, which includes anger. jack and davey do not get along initially. the exchange of "well if he's the best then what's he want with me" is kind of charged, which is exciting- davey really is just there for his family, he doesn't need eyes on him, and he wants to shut it down....but it's shutting it down via undermining jack, which is made clear by jack's reaction that that isn't something that happens around here. "cause you got a little brother" really feels like an 'i don't need you,' in how it's said, and any back and forth they have through that scene is an interesting animosity... which changes the moment davey and les are in danger, when snyder appears and they run (they run SO MUCH in this show oh my god, they run everywhere across everything and up and down), and once they run to the theater and jack gets them out of that situation and davey is seriously like. 'who the fuck was that guy, we had to go through that bc of you, that wasn't okay', and the way jack explains who snyder was...for the first time, jack doesnt match davey's animosity and instead just explains, in lieu/as an apology, the details on who snyder is and to steer clear of him. and instead of saying "right" as davey normally does, he says "thanks for the advice", with the staging squared and head-on to jack. and it isnt sarcastic, it's just genuine, and from that moment on, davey gets the "look at me" treatment. and jack even holds the back of davey's head during i think seize the day and lets his hand slide down his shoulder to daveys chest and daveys hand is on jack's shoulder and they're staged square and not outward like the moment is just for them.

jack's emotions are more visceral than they've been, he's very hot-blooded and it just makes everything hit more. the fucking seize the day monologue. poc fans we finally won. michael took so much time with it, making sure each line was heard and intentional and the audience was doing that thing they do at more serious straight plays with the little "mmhs" when they agree with something and like. he just made sure it was taken so seriously, same with the something to believe in scene. "what is this.. about, for you?" just the way michael structures jack's word is so smart and emotional. he also has this sort of break in his speaking voice that reminded me of jerjor actually, but it obv is just the way he acts and a choice for jack, this cracking of the self when he's vulnerable with someone at the expense of himself.

lemme say that again. this jack's voice literally has an emotional crack in it when speaking vulnerably at the expense of himself, which is SO FUCKIGN SPECIFIC GOD I LOVE HIM FSKDFJSDJ FUCK. it's genius. he does it with katherine during "i ain't stupid, i know that... girls like you, don't end up with.. guys like me." oh my god the FUCKING NOISE THE AUDIENCE MADE. oh it was heartbreaking, like it was genuinely crushing. made me tear up for sure, for obvious reasons lmao. michael is the jack i've always wanted- a little vain (he admires himself in a hand mirror during carrying the banner<3), absolutely turbulent, and painfully, horribly aware of his own stakes in this all. and black LMAO I WONNNNNN HAHAH I WON!!

speaking on crutchie next because he is the narrative of this production.

the fandom has sort of strayed away from the jack+crutchie team and fallen into this jack+race team, and this production makes damn sure that doesn't happen. it is so jack and crutchie, all the way, to the end of the fucking line. he is with jack, central, through all of act one's staging and major numbers- by jack's side for carrying the banner, with him on the cart when it spins around center and moves around the stage for world will know, he leads the newsies up to the world's door to make way for jack, les, and davey to enter it, he's included in seize the day choreo moments, he cries out for jack to get away ("jackie, run! run!!" im. i am. a mess) at the end of the brawl when he knows he's in a situation he can't get out of.

he also has this hug with jack and race when he returns from the refuge that nearly made me yell out loud LMAO (me and @roideny grabbing hold of each other in the theater and all), and the three of them have a personal spot of the stage together looking over the paper when davey makes his first appearance- crutchie is just staged very intentionally near anyone with leadership, cementing him as a leader and is certainly no longer jack's kid-brother anymore. any infantilization is really worked on getting completely gone in this production, the effort is apparent likely especially bc the actor (matthew duckett!! sweetheart supreme!!) is disabled himself!

another really key thing about this crutchie is how loud he is, in every way he possible could be. his color palette is the most stark right along with jack's, he's wearing overalls which no other newsie has, his speaking voice is almost abrasive- it's not rough, per say, but it's sort of coarse and nasally (he's so new yorker and im in love w it), and very distinct. he's also taller than jack (michael my beloved is 5'9", furthering my jack is 5'9" agenda) and like... most of the other newsies tbh.

this production does not give you a choice but to notice him, does not give you a choice but to look at him, does not allow you to ignore crutchie in any way. it's visually and audibly impossible, and that is spectacularly intentional.

he is also like... sunshiney in a rough-around-the-edges way, in a this-is-all-i-have way. he's so himself, he's abrasive and almost snide in how he talks. very self-aware, but choosing actively to be brighter about it even though you can tell his situation weighs on him. crutchie is genuinely so dynamic in this show and he's amazing to watch, and he is finally, finally, truly shown as equal to the rest of the newsies, and certainly to jack.

this is so specific but the "we have the right to starve, let's just get our papers" line is so decisive of him. like i'm realizing that that line hasn't given him power before, but it does in this show- he can raise a definitive solution to the group without being jack, and i.. don't think anyone else does this, at all, when they're discussing the strike. it's just crutchie who states what he believes they should do. like. that's never been emphasized before thats so fucking cool for him idk

alright davey time woooooo

davey is the king of defensiveness in this and i genuinely fucking love that choice for him. because he is trying to find a 'way out' within the text but also metaphorically within the story before world will know. so like– this production had davey try and contradict every time someone comments on what davey says. he'll start to say "i didn't say-" "that's not what i-" "i didn't mean-" before cutting back into the script's dialogue again, which is SO fascinating. since initially, davey is trying to separate himself from the newsies, so he uses ad-libs like that to break away, but then after world will know, those same ad-libs are used inversely it felt like, like he'd say something in a way that didn't quite fit and he'd try to rephrase so that it did? very interesting to watch.

he also was very nervous to speak in his first appearance when getting his papers, like he was very nervous about speaking in front of wiesel. this davey had sort of trouble finding words in a timely manner, but what he always has are the right ones, which was a good dynamic for he and jack. he does know what to say, and what he says is intentional, he just isn't great at saying it until act two which is so. cool. even in act 2 at the rally he's still finding his footing, and then when he's at pulitzer's office with jack and spot, he's in his own. he's nearly flippant about his words, since he's found his confidence in them through jack uplifting them the whole show. it almost..... like he and jack kind of have a mentor-y relationship? jack really feels like he does show davey the ropes (despite how biting the "well my father taught us [indicating that jack shouldn't lie so easily in front of les] not to lie" is), and davey learns from jack while jack learns from davey.

speaking of les though wow is mans protective as fuck. his arms are always around this kid, he rests his chin on his head really casually and les is so easy with it too like yeah they're brothers asf. and their moments in king of new york are so precious, and they have the center table together at the start of act two.

speaking of act two! can't talk about davey without discussing wwh reprise :). the way he talks to jack in this scene is so confident that jack's "have they busted up your brains or something" feels like it's more about that- davey hasn't spoken against jack since before world will know, and jack isn't used to the dynamic davey is trying to establish. he's so persistent, and urgent, and like... in it. "won the battle, jackie think about it" like this davey wants to win. at every single turn in this show, davey wants what he believes to win. he will speak against anyone, he will try and change his words' meaning ("that's not what i mean-"), and he will persuade whoever just so that he can win. he feels so competitive and it shines in different ways and everything he says really is so argumentative. maybe he's a little quieter, his voice is shyer, but davey isn't shy, and that's made clear. also ryan kopel hugged me at the stage door and i love him and he's so fucking sweet wowowow

ok katherine and we'RE DONE i promise.

staging made absolutely sure to ground her. she was watching a lot of the scenes she wasn't in, like she appeared during world will know in one of the aisles- felt very much like those moments in 92sies when we'd just see denton around takin notes, which i loved. showed her as a very active journalist. she also like... spoke like an american newscaster?? like she had a News voice lowkey? which was a fun choice.

her scene with jack when she's asking him questions is so serious for her and i love it, it really makes sure that she cares about what she's writing and who she's writing for. jack's "we both got a lot riding on you" takes her downstage as her desk gets set up, and we get to see jack's words weigh on her which is fuckin nice as hell.. like she just felt more grounded than she's been. she still got to be bubbly, but she was more aware of the situation than like... kara lindsay's katherine. she knew the stakes for the newsies i feel like, which is why the name reveal was more intense and the STBI pre-scene was... the best i've seen. she was embarrassed at herself for lying to jack- not telling him everything, and when she defends it she knows it's weak and doesn't try to back it up.. i just appreciate it bc that scene normally feels so superficial despite its context and what they're talking about, but kath and jack really did everything they could to save that scene's writing... they reeeeally fuckin tried LMAO. this katherine was more willing to put herself in the action for sure

her back and forth with jack in jacobi's was so fun, and the defining line of their arc through the show was definitely "this is entertaining...so far." because it's fun to flirt, until it isn't, and someone you care about his ruining his name at the city-wide rally, or revealed to be the daughter of the man sending cops to beat kids into submission. whew. they're really good together.

very quickly: THIS PULITZER IS >>>>>. HE IS SO GOOD. I CANT LIE LMAOOO HE'S SO EVIL I HATE HIM!! and MEDDA WAS SO. that's jack's mom. she also really does serve independence, and i love it so much.

anyway thanks for reading this far guys LMAO i now this is so extensive and i didn't even talk about the ensemble fr... but that's for the second viewing. the direction this production underwent took major precedence, since it's so different and so much more fleshed out.

hope this gave a clear picture on the vibe of the show and the principal characters/relationships!! more to come asf!!!

#newsies spoilers #WHEW OK WE DID IT for now #newsies #uksies #newsies uk #west endsies #britsies #analysis #newsies design #fizz freaks #jack kelly #crutchie morris #davey jacobs #katherine pulitzer #medda larkin #rizz.analysis

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electronickingdomfox · 6 months ago

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"Crisis on Centaurus" review

Novel from 1986, by Brad Ferguson. This one has a very "80's American action movie" feel. From the terrorist attack on a country incidentally called "New America", to the incursion into the Pentagon (I mean, the "Centaurus Defense Center"), up to the obligatory car chase (only that they're flying cars). There are also plenty of references to American brands, that supposedly would have survived into the 23rd century. Though the constant mention of money seems a bit weird (I thought money was a thing from the past in Star Trek? Might be wrong, though). Also, the terrorists are racists that want to see their country free of alien influences (and it's made abundantly clear that for them, "alien influences" include also any non-white human). It's a fast-paced novel, and keeps the reader's attention at all times, though I don't think there's much more to it than that.

The cover would suggest that Joanna McCoy plays a big role in the story. In reality, she appears very, very little, the same as her father. The other characters, however, get a fair amount of exposure, including Uhura (who gets the con for a large part of the story), Scotty (who's given an even more Scottish engineer partner), Chekov (with his own mini-romance subplot) and Sulu. As it's usual with many of these novels, Kirk seemed to me a bit off. At times, he's more Bruce Willis than Kirk here. And I have difficulty imagining him as a land-owner who's been investing in the Centaurian countryside all these years (if the movies had shown anything at this point, it's that Kirk's heart was never on land). Anyway, I don't know why getting Kirk right is so hard, while Spock and McCoy are usually fine; it might be due to the subtleties of Kirk's character. Another noteworthy thing, is that this novel often presents the thoughts of the characters, to a greater degree than other books.

Spoilers under the cut:

The first chapter already sets things into motion at a breakneck pace. A suspicious guy is waiting in the New Athens spaceport (a city of New America, in the planet Centaurus). When two policemen recognize him as a certain Holtzman, he gets arrested, and in a panic, he activates a minuscule piece of antimatter inside the box... A microsecond later, New Athens doesn't exist anymore, being replaced by a giant, smoldering crater.

Meanwhile, the Enterprise is having problems of its own. The computers have been completely fucked up, and nobody knows why: there's no air circulation, no temperature regulation, no artificial gravity, nothing... The scene of everybody floating around, while Sulu's scalding shower water floats through the corridors as a giant ball, is actually pretty funny. Scotty and his new partner, MacPherson, manage to reestablish some sense of order, but the ship is seriously crippled. Repairs will have to wait, though, since Starfleet orders the Enterprise to assist in the Centaurus crisis. There's been at least a million deaths in the explosion; possibly among them several relatives of the crew, including McCoy's daughter: Joanna. However, the tachyon cloud released by the antimatter explosion has made all subspace communications impossible, so Centaurus is isolated. For his part, Spock investigates the computer malfunction, and finds out a mysterious hole that has pierced several computer banks at exactly the same point; however, he can't make heads or tails of it.

Upon approaching Centaurus, they discover that other relief ships in orbit have been reduced to debris. And a transmission through conventional radio (the only radio that can penetrate the tachyon cloud) warns the Enterprise not to approach. Sure enough, the ship is attacked by a nuclear missile from Centaurus. It seems the Defense Center has gone crazy after the explosion, and now launches missiles at any approaching ship, friend or foe. Fortunately, the Defense computers consider the Enterprise anihillated after the first strike, so they don't continue the attack. Kirk leaves in a shuttle with Sulu, to meet with the new government at the temporary capital of McIverton. While Spock leaves with Chekov in another shuttle, to investigate the Defense Center and deactivate the missile system.

There's a brief interlude, that presents some suspicious guys (led by this Barclay dude) hiding at a safe house. It's obvious they're related to the terrorist attack, and Barclay instructs some of his goons to meet with a certain person, and force him to cooperate.

In McIverton, Kirk meets with the new president, the Minister of Defense, and the Minister of Internal Security (Nathaniel Burke). The president explains that the terrorist attack was done by a racist political group, led by the scientist Holtzman, to get more power for his group.

At the Defense Center, Spock is unable to reprogram the computer to differentiate between friendly and hostile ships. So he's like "well, let's blow up this bazillion missiles in the sun and problem solved!" (and yeah, this is totally in-character for Spock; the guy is that crazy sometimes). Thus, Spock expands the defense area of the computer to include Alpha Centauri, the computer interprets the sun as a hostile element, and launches all the remaining missiles at it. Poof! After solving this problem, Spock takes the shuttle to the northern area of New Athens, where there have been some survivors. A makeshift hospital has been established in a park, and there they find Joanna working as a nurse, safe and sound. There's a moving reunion between her and McCoy, who stays behind to help the injured. While Spock's shuttle makes trips to the Enterprise to bring medical supplies.

At McIverton, Kirk is visited at his hotel by the lawyer Samuel Cogley (from the episode Court Martial). Cogley explains that he was approached by Barclay to defend them at a Federation trial, and not on Centaurus (which has a death penalty for terrorism). And Kirk, despite not having the slightest sympathy for the criminals, considers that the matter belongs in a Federation court and vows to fulfill his duty. However, that same morning, Sulu appears drugged in bed, and the hotel surrounded by Burke's men. The Minister isn't going to let the terrorists off the hook, since he lost his family in the explosion. Kirk, Sulu and Cogley make a frantic escape in a flying car (well, not so frantic for Sulu, who's still sleeping like a log). They retrieve Barclay and his men, and take refuge in Kirk's cabin in Garrovick Valley (a beautiful, secluded forest area that Kirk bought a long time ago).

In the final part, Kirk and his companions barricade themselves inside the cabin, surrounded by Burke's troops. Until the Enterprise, having received a faint distress signal from the cabin, comes to the rescue... by entering the godamn atmosphere!! (didn't I say earlier that Spock's totally nuts?). Cogley decides to just bring the terrorists to the Federation, but not represent them, when it's made obvious that they were also involved in Holtzman's attack. The rest of the antimatter bombs, that the terrorists kept as leverage, are also identified and deactivated. While New Athens is slowly reconstructed, by the joint effort of the locals and new relief ships from all over the Federation.

As for the strange holes in the Enterprise computer banks... Spock ends up concluding that they were caused by a minuscule black hole, which existed just for a fraction of second, and the Enterprise traversed at warp speed. Does it mean that, at any time, at any place, a mini-black hole could appear out of nowhere and just pierce you like that!? That's the stuff of nightmares, really...

Spirk Meter: 5/10*. Kirk wants to show Spock his "special, secret place" (no! not THAT!, I mean his valley at Centaurus). Kirk considers that Spock would appreciate its aesthetic beauty, and invites him to stay there with him as long as he wants. Spock is also a bit hurt because Kirk didn't tell him about the valley earlier. Actually, the rating could be a bit higher, considering that the cabin is said to have just a twin bed, and a massage bed for two. Apart from this, Kirk notices things about Spock that nobody else seems to see (like Spock swallowing nervously sometimes). The two of them interact very little in the novel, though, since they take separate paths.

Some Spones too. When Spock meets Joanna, he finds her strikingly similar to McCoy and... magnificient. He thinks of her as a "softer McCoy, pretty without glamour", which says a little about how he sees the doctor himself. Also, when McCoy is in emotional turmoil upon learning that Joanna is alive, after so many days of uncertainty, Spock says to himself: "I know that feeling well, Doctor. Draw strength from me, if you need it." (only that McCoy has no telepathy so... how is he going to hear that!?).

And then there's the McKirk. A flashback chapter presents a young Ensign Kirk recovering from a wound at a starbase hospital. There he first meets this kind Dr. McCoy, who helps him through the painful months of recovery. After Kirk is healed, McCoy invites him to stay with him at Centaurus, where his daughter lives with some relatives. And McCoy brings Jim to these beautiful woods and wilderness areas, just the two of them and Joanna, and well... you know. It's even more evident, because McCoy is relieved upon seeing that Joanna approves of Jim (seems like the little girl was troublesome with most of her daddy's dates). Too bad for poor McCoy, that Kirk ends up inviting a pretty nurse (and then Spock) to his cabin, and not him...

*A 10 in this scale is the most obvious spirk moments in TOS. Think of the back massage, "You make me believe in miracles", or "Amok Time" for example.

#star trek tos #star trek novels #novel review #spirk #k/s #spones #mckirk

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dennydraws · 8 months ago

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I finished Unicorn Overlord! \o/

Kinda did it last weekend but I needed a moment to digest how amazing that game was! I ate well and I talked my friends' ears off about it xD; and I still need to talk about it! What an unexpected gem! Maybe because I went into it without any expectations and stayed away from any fandom interactions, or because the gameplay hit some sweet spot of being free roam type to not feel overbearing but the war battles being tactical enough to give me a challenge which I could adjust accordingly.

I did all the content post final fight and I have mad respect for games who do this kind of thing - you finished the game? Here are some goodies, have fun! Does it make sense? Nah but who cares! I only wish we had some kinda DLC post game cause I want to juggle the new beans and have fun with them too!!

I don't want to write a whole review here so I'll keep it super brief and spoiler free (as far as I know everyone knows the recruitables' names?)

Favorite Region: Drakenhold Favorite Male Character: Auch Favorite Female Character: Melisandre Favorite Class: Aramis Swordfighter (A lack of skill.) Favorite Story Spot: Bastoria Favorite Boss: Elgor Favorite Ship: The one who led me to the secluded shore Favorite Valor Skill: WILD RUSH II! Favorite Rapport: Gammel and Mandarin's 3rd rapport

It's hard to pick favorites, cause there were so many and I don't think there was a single character I didn't like.

While the story was simple, I really enjoyed how they handled the mind control magic. I loved the Zenoira backstory and all around, I think I really vibed with the simplicity of the plot. It was very very charming. My weakness being sibling dynamics I nearly bit my switch because of Travis and Berengaria's rapports and their story moments. And no surprise to any, I'm big softy who loves redeemable villains but I didn't expect to like Gammel and Mandarin as much as I did.

Did I mention how much I loved the digging mini game? This thing was way too addicting.

Did I mention I've been blasting the OST all week?

Did I mention I shake fist a the sky that I couldn't obtain the artbook? Anyone out there willing to sell theirs? qq asking for a friend. I'm the friend.

This game fed me well... so well...

#Good morning!#unicorn overlord #if anyone wants to talk to me about UO please my askbox is open!#so many precious lil pixel people T^T

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cidthesquid · 11 months ago

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Closing the Book on Fashion Forward! (Mini Review+Personal Story) Post #5

[Previous Post] [First Post] [TrendSetter] Yes, yes, I'm aware, this is the 3rd “I've finish Style Savvy FF" post! But This time it's for real, I completed the (spoilers) event, and I've even transferred my save off the emulator for long-term storage on the game cart! [My adventure spanned from 11/04/23 - 12/26/23]

Here are my last few outfits! (mini-review to follow!)

Overall, had a ton of fun with this game! It was one of the most memorable gaming experiences I've had in years. But it was not without it's hiccups, the most obvious being how events are handled, At times you'll have to wait for the correct person to pop-up to progress the plot, and sometimes they just refuse to show up. The Real time clock is a neat addition, with a season system for fashion shows, shop inventory, and for some slight weather features. it's FAR less strict than in games like animal crossing, but it can make unlocking some content really annoying, since you have to wait a real-world day for shops to refresh, and some in-game locations are locked out for different based on the time. But it by no means hampers you from enjoying the game's core loop. (Nigh owls rejoice) I could also complain about unlocking colors and hairstyles and makeup, as they all feel pretty random without a guide. But again these are all just extra. The core gameplay loop of managing inventory, designing outfits, and matching style to your customer was absolutely top notch! Even on my last day, I ended up coming with at least two new ones when I thought I'd exaused all options. The only snag with this, is after a fashion show, everyone will get excited about the theme, and will demand that you only make outfits in that specific style for multiple days afterwards, so that can get a little repetitive. But other than that, the core designing has been more fun than I thought possible! (Personal story relayed to SS, after the break!)

Alright, well since this will be my last post for a little while, (I'll take a short break before starting trendsetters) I figured I'd talk a little about why Style Savvy means soo much to me. (It's SUPER long, and get's a little personal, but you've been warned!) In short, I've always been a bit self-conscious about how I present myself in games. I'm a guy, and generally only play as guy characters designed to look as much like me as possible, Not because it's more 'immersive', or that that's because I'm most comfortable with, but because it would mean less 'uncomftable questions' from others, Yet I'd still get comments such as "that doesn't look like you", why'd you choose that.. weight/height/ hairstyle/skin tone/etc, that's not accurate"!

And that, mixed with many offhanded comments about how others chose to dress their characters, (and the possible reasons why they chose 'a specific outfit', applying a negative connotation to even the idea of a guy playing as a female character) It kinda enforced in my mind, that even wanting to play as a cool, cute or even sassy female character was just creepy in some way. So for a long time, I just avoided it my making all my main characters as close to myself as possible, but even having a female side/alt directly based of an existing TV show/game character would still cause some sarcastic remarks, so I just stopped using them in any multiplayer games, and stuck with my main. Eventually i stated playing Final Fantasy XIV and made my standard character, but the friend that introduced me to the game decided he had no interested in playing the start of the game again, and the few others I planned to play with were always busy, so I decided to make a female side character, and came up with a design I liked and ended up playing as them a lot, while waiting for others to be free. In Final Fantasy, I picked up crafting, and started making my own armor and clothing, and for the first time, I was actually designing outfits for an original female character! and began really enjoying the various outfits I could make, and mixing pieces for new looks It still felt kinda weird, I'd never cared about how other people designed or dressed their characters, but it still felt 'wrong' for me somehow, (Like I was enforcing my own will on them, deciding how they dress. as silly as it sounds) The compromise was making a few alt characters, giving each a style an personality, and just sticking to only designing within "what they would actually wear"

That allowed me to be much more comfortable designing in various styles, but I still felt a little weird making specific styles, as I was worried about how it would be precived by other players. ...And eventually 'Fashion Dreamer' released it looked interesting, looking it up online introduced me to 'Style Savvy', So I gave Fashion Forward a Shot, and fell in love with the game. It let me designed outfits my and other characters, but removed all the previous sources of anxiety! I did not have to worry about anyone else's feelings, no one in the game cared about who I was or how I looked in real life, I was not taking away anyone elses control, they decide they want to look cute/cool/feminine, and I'm just helping them achieve their goal. I could look however I want, and it would never bother anyone or make them feel uncomfortable. The people in the world were all very nice and friendly, and while they may be fake, the positive improvement the game has had on my live has been very real! The game may not be a teaching tool, but I still feel I've learned a fair bit about the basics of fashion and outfit customization. and I feel more confident in not just my designs, but how I feel about making characters in general! ...I mean to a point. I did completely redesign my avatar when I started posting here, as I was worried about what people would think, of my working with an avatar that appeared to be of a different race, ....despite me never posting any IRL pics... ...But, baby steps, I have to start somewhere! Click here for my bonus post: Fashion Forward x Final Fantasy XIV (Click here for my blog of playing through my Style Savvy TrendSetters!) --- Thanks Syn Sophia, this game has truly changed my life for the better! :)

#syn sophia #fashion game #style savvy #style boutique #fashion forward #3ds #ffxiv #new style boutique #ff14

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letstalkassassinscreed · 1 year ago

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Book Review - Assassin's Creed Daughter of No One

In this spoiler-free written review, co-host Declan gives his thoughts on the new Assassin's Creed novel Daughter of No One, written by Maria Lewis:

Before I start this spoiler-free review, I want to thank Aconyte Books and NetGalley for allowing me to read the book's review copy. Daughter of No One is due to be published around November 7th 2023, plenty of time to finish Mirage before you dive into this essential piece of reading.

Daughter of No One is an intriguing story filled with love, loss and deceit; your typical Assassin's Creed formula. However, continuing the recent trend of transmedia published by Aconyte Books, this story has enough new flair and take on the formula that it can draw you in and keep you invested from start to finish. This isn't an exaggeration. The start of the book throws you right into the deep end, and throughout the first chapter the author has managed to paint a vivid picture of the world that Roshan lives in.

The book is also unique in the fact that it not only wants to give the reader a deeper understanding of all the trials and tribulations Roshan has faced, but also the current dilemma that has drawn her into the hidden conflict of the Hidden Ones. The way the author manages this was very clever. Instead of creating a single narrative that runs from 824CE, there is a second narrative that exists through a jump back in time to 819CE. The chapters flit between 819 and 824. What is interesting is that each time the author jumps back in time she also moves the past narrative forward, so that this past narrative from 819 to 824 ends just before the main narrative set in 824 begins in chapter 1, creating a very satisfying loop. By doing the story this way she can push the main 824 stories ahead with small callbacks to the past. To me this gave the author more room to play around with the main narrative without any worries that they had missed any details that would flesh out Roshan's past. I did enjoy this style of story as each time skip back dragged me more into Roshan's story and life, and I started to feel I understood the character on a deeper level. I am curious how this early read will impact how I see Roshan when Mirage launches in October.

The story we see in 824 is an odd Assassin's Creed story as it presents the idea that the Hidden Ones need something and they enlist Roshan's help, but that's where they stop. There are only 2 Hidden Ones mentioned, but after a few chapters they are no longer involved in the plot which was interesting because when I reached the end I started to get bad feelings about how this type of Brotherhood operates and it made me wonder if they have good intentions at heart. But even with the Hidden Ones missing from the later narrative Roshan makes up for it. She is a natural-born assassin with an inherited ability to see things that can't be seen by others, and her tenacious and hard-working nature has turned her into the perfect assassin, who is not only skilled in combat but also in movement. There were also a good few moments where we see Roshan's mental reflection on what Philo says of the Assassin's enemies and it sets up the idea that Roshan makes the perfect assassin.

Overall Daughter of No One is an essential read for all fans of Mirage, it felt more like a DLC story than a companion novel. and upon finding the book I had a lot of respect and admiration for her character and I hope we see her feature in more works. I was expecting it to be a little longer as there was a few things I would have liked to see but I do feel its pace and ending were great and made for a read that I just couldn't put down. I also like how Daughter of No One is the latest Aconyte book that not only creates a fun tie-in to the games but also helps reshape the transmedia into a world that Ubisoft should expand. I would love to see Daughter of No One and The Engines of History translated into a live-action mini-series or even animated.

#ubisoft #assassin's creed #roshan #basim #ac mirage #assassin's creed mirage #podcast

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julesisgaming · 19 hours ago

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An Informal DA: The Veilguard Review

Dragon Age: The Veilguard had the potential to be a new age masterpiece, but instead became the perfect example of an underwhelming piece of media in which the creators didn’t know how to finish what they started. Fans and gamers alike, including myself, had been anxiously anticipating the arrival of Veilguard with bated breath. Characters that a strong and tumultuous fanbase had latched onto were being revived for what was projected to be the last hoorah in the current Dragon Age storyline, and BioWare teased plot twists and immersive romances like nothing the fanbase had seen before in previous titles. Unfortunately, most of these aspects did not come to fruition, as character interactions were minimized, the writing quality plummeted overall, and the narrative favoured shock value and needless death over well crafted storylines. This lengthy review will not be spoiler free, so I highly recommend finishing a playthrough of the game before continuing on from here.

The start of Dragon Age: The Veilguard is thrilling and entertaining. The combat system was updated to reflect other RPG games in the genre with real-time combat taking centre stage over button mashing and planned attacks that we saw in previous titles. This was refreshing, although slightly underwhelming as many of the ultimate attacks and special attacks for the different classes were heavily modelled and influenced by other popular titles. As the game progressed and the story unfolded, the more companions added to the player arsenal allowed for the combat as well as story encounters to remain interesting - that is, they did so upon first playthrough. The bosses were interesting for the first 20 or so hours of gameplay and only became monotonous upon entering act 2, when most of the boss and mini boss encounters were ones you had already battled in act 1. This paired with the overall grind nature of the combat system made the RTC quite boring halfway through the second act, and like many other users I found myself with a desire to lower the combat difficulty from hard to story mode so I could get through the game a little quicker - which is never a good sign in an RPG. Combat is meant to be entertaining and challenging, while presenting the player with new opportunities and many different types of enemies to dominate over the course of their playtime - something that a game like Elden Ring does phenomenally. The difficulty setting in Veilguard is tied only to health and damage numbers, not to the AI programmed to make an enemy more difficult or upgrade their moveset. Moving from hard mode on my first playthrough to story mode on my second made this extremely obvious, as on hard mode I was in battles for 20-30 minutes whereas on story mode difficulty, the battles never broke 5 minutes which cut down significantly on the time I spent in the game. The first 20 hours of gameplay on hard mode got me to Treviso, whereas the first 20 hours of gameplay on story mode got me all the way through to the first big choice after getting Davrin and Assan, which is a massive difference in playtime despite there not being any massive change in combat besides the damage taken by enemies.

This combat feature was also something that although I found very fun at first, became very tedious as I continued to explore areas throughout the game and was bombarded with enemies despite clearing out an area one fast travel ago. Fast travel in this game is an absolute must, and in many titles there is nothing wrong with that, although in Veilguard I think the main issue is that the map is much too big for the amount of content that they were able to fill it with. Most of the chests were duplicates of the same armour which upgraded its rarity - since unique armour pieces were found in rare chests which popped up only 2-4 times per map or discovered through completing quests and upgrading shops. Because of this, the chests and getting 100% map completion along with the statues being the exact same thing over and over again just meant that the world was heavily padded rather than being full of interesting discoverable content in the vein of Breath of the Wild. Not only that, but the fact that the game didn’t give you a trophy - at least on steam where I played - for completing 100% of the map meant that the accomplishment of doing so felt completely moot. I spent over 100 hours in my first playthrough and most of that was clearing out corruption and running around finding all of the Evanuris statues and yet the game didn’t reward me for doing that almost at all which was incredibly disappointing. Even defeating all of the major bosses left me with an empty feeling inside because there was nothing attached to them. The cool weapons and armour you got from their defeat all had a negative side effect attached to them that made me not want to wear the item at all, especially since so much of them were related to cooldown times and damage which meant that my 20 minute battles on hard mode were going to take even longer from wearing the item I had just unlocked.

Moving on from exploration and battle however, I have found that the media in the past several years has started to utilize death in a way that supplies only temporary shock value which in turn lessens the overall effect of an important death later on in the franchise or even in other titles. In traditional media, death was used primarily as an inciting incident for the protagonist or as a means of changing the overall direction of a piece of art. Take Romeo & Juliet for example, a play in which every single death leads to an even more tragic one, thus resulting in the end that we all know so well today. Each death directly caused one of the main protagonists to change their direction and take action in a way that affected the story whether positively or negatively. Tolkein and C.S Lewis are other prime examples of creators who were able to capitalize on the impact of a well timed death in their works to move the story forward in a way that was meaningful. Unfortunately, Veilguard falls victim to the age-old problem that many other titles do - if you don’t know how to end something or you don’t know how to develop a character, just kill someone off. The most strange part of this phenomenon in this new DA title is that the characters who you would suspect would be the most tied to death in a unique way aren’t even the ones who experience it in the game as you go along - Lucanis & Davrin. This is where major spoilers for the game will be discussed. From the moment the prologue ends, it is obvious that something is not quite right with Varric. While I know this twist came as a surprise to many players, it was quite unnecessary and didn’t make much sense in the grand scheme of the story. The fact that the writers held onto such an important detail until act 3, right before the ending of the game is a testament to this fact, which is a prime reason why I believe that the team didn’t exactly know how to finish what they started. Killing off Varric when he was such a staple to the DA brand and storyline did nothing but elicit tears from a fanbase who loved him. His presence throughout the entirety of the game to make players and Rook believe that he was alive seemed like a perfect opportunity to shoe in a character that they knew would hook us from the get-go. There are much more impactful ways to lose Varric that would have made even more sense for his character and given Solas another reason to tie himself to the veil alone or with Lavellan. The best solution for this is to let Varric live through the stabbing. Let him exist in the game, and when the time is right, have him voluntarily take Rook’s place in the fade prison allowing them to fix the world. This would essentially “kill off” Varric’s character, as Rook would no longer be able to travel to the fade to see Varric - but it would be a heroic sacrifice that would allow him to take agency over his own story and see his part through to the end honourably. That, or the writers could have had Varric sacrifice himself to shoot ghilan'nain in his final battle instead of permanently losing either Harding or Davrin in the fray. This option would’ve also let players experience having Varric in their party one final time before losing him forever, which would’ve been incredibly impactful. The “memory” of Varric that Solas manipulates Rook with throughout the game is overall a choice that doesn’t feel entirely backed up with accurate relationship exposition either. Varric is essentially a father figure to Rook at this point, and is so important to them that they are easily manipulated and swayed by his decisions and advice, something that wouldn’t normally happen with people who had only known each other for less than a year as the game tells us.

Bellara, Taash, The Threads (and Neve), and Davrin/Harding are also all victims of this poorly executed trope. Death should mean something. Having Bellara’s deceased brother come back for shock value and return to her in full for 4 lines only to be immediately killed again is completely unnecessary. Taash’s mother being kidnapped and accepting them in a moment of desperation and then sacrificing herself to pull a lever is unnecessary. Damas being killed off screen so the Threads can express urgency to Neve in Docktown in a single 2 minute cutscene with no later repercussions is unnecessary. Permanently killing off either Harding or Davrin is also completely unnecessary. Every single one of those deaths is a foolish attempt at forcing emotional responses from an audience - and it works - but to what end? If most of your story is streamlined with a few moments of character death, then what is the actual impact on the player outside of a shallow reaction? What is the story you are trying to tell if characters can die off and seemingly those deaths have no real impact on the protagonist or the story at large? What is the story you are trying to tell if characters can come back from the dead whenever you need them to, in order to extend a questline or give people a difficult choice to make? These are tough questions that I’m not entirely sure of the answer to, but I think the longevity of this game compared to previous titles will most likely tell us more than we anticipate.

I have two main final critiques to get out of my system before wrapping up my informal review: the illusion of player choice and the lack of companion content.

A pet peeve of mine is when a studio delivers a game with a choice wheel and approval system that has no general effect on the situation at all. After finishing the game once and playing a second playthrough to act 2, I can safely say that none of the choices you make outside of Treviso vs. Minrathous or the final choices have any impact on the story whatsoever. You can choose the “aggressive” options in dialogue and it will lead you to the exact same place that the good option does. Sure, one of your companions might disapprove, but you can still romance them nonetheless or turn them into your best friend in the world. Their attitude towards you does not change like it used to in Inquisition or in other titles like Baldur’s Gate 3. Regardless of the dialogue choices you make, they all have the same sentiment and oftentimes the same tone even though they should in theory be different.

This choice issue also leads directly into the issue of a lack of companion content. I know BioWare as a studio was heavily leaning towards giving the players more companion content that eventually got cut down by the EA executive powers that be, but overall even what is there is quite disappointing. The lack of interaction mechanics in the lighthouse is a feature that is sorely missed and makes the characters in the game feel less approachable and realistic. You can only communicate with them when the game allows you in a quest, you can’t talk to them on the journey, you can’t ask them their opinion on game events or the other companions, you can’t talk to your romanced companion or interact with them affectionately either. This core feature of DA games was something that set them apart from other RPGs and without it it almost doesn’t feel like a DA game at all. This paired with the questlines for the companions severely lacking in content outside of 2 story beats per character cuts deep. There are multiple quests I did with companions where I showed up with my Rook, they talked for 4 lines, the camera zoomed in on an object in the frame, and then the quest ended. It was a complete and total waste of time. Time that could’ve been spent giving us the opportunity to talk to our companions in between missions. Even removing some of the useless chests and multiple statues across the world to instead create a bit more content for the companions would have been more ideal than what we got.

Veilguard feels in general like a game that was being forced into a new age RPG box that had to cater to new fans, young fans, millennial fans, and hardcore gamers. Unfortunately when you try to create something for everyone you are often left with a title that does just enough to be pretty good in every category rather than a standout feature. The game tries its best to tie up the stories of characters we loved by sending them off with a farewell in order to set up the next generation of stories set in the same world that we’ve spent countless hours within.

Overall, I don’t want to come across as someone who absolutely hated Veilguard (even though it definitely sounds like that.) I had an enjoyable time playing the game and thought that it was quite fun. The world was beautiful and I didn’t mind the more cartoonish design choices. I loved most of the vocal performances from the actors and thought that act 2 was well built. The characters were all unique and designed well, and I wish I got to know more about them throughout my time playing. That’s about it though. It was not worthy of a Game of the Year nomination, but probably deserved more than just accessibility. If your game is fun then that is what matters most, but to create a game that occupies space in a way that has the capacity to change a genre is more important than the work or time put into production. Especially since almost every game these days takes 4+ years to create. Veilguard falls perfectly in line with other fun, vanilla RPG games that have padded worlds and easy to follow storylines like Hogwarts Legacy. It’s a game that I’m sure people will continue to play for a while, but I know personally it’s one that I’m quite ready to move on from after 1 ½ playthroughs. I’m giving Dragon Age: The Veilguard a 6.5/10 on my scale, a respectable and fun title that I’d recommend to people who are getting into gaming, but not to those who have been avid gamers for a while (unless on sale).

#dragon age #dragon age the veilguard #gaming #critic #gamereview

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nixynebula · 9 days ago

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"Reunite"

Art based off a scene from a lovely fanfiction called "Lost Time". My rendition of Kaden's outfit was inspired by Gashu-Monsata's reference sheet.

Mini spoiler-free review below to see if you'd be interested in reading!

The story is as much about Kaden as it is about Ratchet and Clank. It starts off during when Tachyon attacked, and fast forwards twenty years later where he's in the new dimension with the rest of the Lombaxes.

The way the author portrayed Kaden's suffering after surviving "The Exodus" and with a reason that actually makes sense as to why he didn't go back for Ratchet in the original dimension was very believable. I really related to Kaden in this story for personal reasons.

The only thing I'd have liked to see is to have had spent a bit more time with Ratchet and Clank before they went to the Lombax dimension and to have fleshed out their prologue a little more.

Overall good pacing with a solid, cohesive story. I highly recommend it!

Read the story here: Lost Time: Redux - Chapter 1 - ACleverName8 - Ratchet & Clank [Archive of Our Own]

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sir-yeehaw-paws · 1 year ago

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LAD GAIDEN: Gathered Thoughts

Before I get into this proper, I just want to say that I’m not a professional reviewer or anything. And I’ve never really done a ‘write up’ for any of the RGG games before this. I’m just a dude with some very emotional thoughts. Yadda-Yadda. The best TL’DR of everything I can give? Gaiden is absolutely amazing. It has quickly become one of my favourite RGG games of all time, and I’d like to do a replay when less emotional overall, and Plat it.

Short Sweet: No Spoilers Version

Gaiden was touted (from what I recall) as a little bit of side content to give Kiryu some more context, or possibly something else to do. Instead, we got a short, but incredible game with stellar acting, amazing characters, fantastic writing (some of my favourite RGG writing since 0) and fun mini games, the best version of the Coliseum they’ve managed to do; wonderful sound track, two new styles (Agent Style is an absolute blast) and a finale that left me so emotionally distraught my mum came into my room to hug me when she heard me crying.

If Gaiden has any cons (and again, please keep in mind this is all just my personal opinion) it’s that the side content in regard to substories are mostly tied to content to build up the Joryu Clan in the Coliseum, including a somewhat tiresome gang mechanic. It’s nothing like the slog fest of annoyance Judgment’s was, but I have never been a fan of the gangs in these games and this one was more contained and shorter. Thanks to the game itself being much shorter.

The pacing in the beginning is a little bit odd too. But once the game itself picks up, it hits very well and doesn’t slow itself down.

My only other ‘gripe’ if you can call it that, is that the live action cabaret is uncanny in a way I really did not enjoy. This is not the first time that RGG has done live-action (the intro is live action briefly too, and has a beautiful, seamless transition to Kiryu that I really liked) but the hostesses have a strange stiffness to them as they talk at a camera (Or well, Joryu since it switches out to first person) and I just never adjusted to it. No disrespect to the actresses, or Kson, but I just couldn’t get myself to mesh with it.

Oh, and I found the Karaoke really hard for some reason in this one. Go figure.

And you can dress Kiryu up, which renders fully in game and in cutscenes. Greatest. Mechanic. Ever. And I’m just going to put a special shout out to Akame here. One of the most fun characters they’ve done yet. 10/10. Love her.

That’s about as spoiler-free as can be. So, I’ll wrap up this fast summary with ‘highly recommend, check it out if you get a chance’.

Everything below the cut is going to include spoilers, and lots of them. Screenshots too, as well as links. (Including for Yakuza 5, 6 and 7 in particular) so if you want to read me rambling for far too long, keep going. Otherwise, take care!

Extensive Thoughts Version

I’ve been trying best to think about how to put down everything I want to say, but I can never quite agree (mentally) on the best way to put it. The summary version up top does say it all, in a way, but Gaiden was so much more than it promised. And in a good way.

I’m one of those people who came out of playing Yakuza 6 feeling a weird mix of hollow and annoyed. For a supposed ending to Kiryu, so much just felt utterly unsatisfying and I was irritated (again a personal thing) with how Yakuza 6 felt like some weird Haruka punishment. I realize completely that this is all a personal interpretation; but 6 just did not sit well with me.

It remains the only Yakuza game I have yet to replay.

I guess one could ask ‘did we need Gaiden’? And honestly? I’d say yes, we did. If you’re one of those people who felt as annoyed with 6 as I did, and (let’s be honest) a little thrilled but also somewhat stumped by Kiryu diving into 7 to have his cameo and ‘day saving’ appearance and vanish again.

But I don’t want to ramble too much, this is already going to be longer than something anyone wants to read on Tumblr. So let me conclude by saying this game completely patched up the ‘meh’ feeling 6 left with me, and mentally wrecked me in the process.

In a good way.

Gaiden’s real strength is it’s writing. The characters have that grittiness and desperation that drew me in so hard to Yakuza 0. They feel like the Yakuza I know from these games, and that energy carries through every scene. There’s a greyness to them that is extremely well done, and anyone who follows me knows how much I love my morally grey characters.

(For those who do not know jack shite all about me; I love them. I love my grit and grey morality a lot). Anyway!

On the title screen, you’re presented with four characters. Kiryu (ahem, Joryu). Nishitani III, Tsuruno and Shishido.

It’s sleek, elegant and draws you right in. Also gives you a good clue as to what lies ahead (in a way). But I’m going to be coming back to that, so let me move on for a moment.

To keep this as contained as I can, I’m going to link to a post write up I did for a scene in chapter two. That summarizes to a degree what I really loved about this writing. Like 0, you are never 100% sure who is on Kiryu’s side. Or. More accurately, who is going to stay there. Tsuruno starts out the same way the others do. Kiryu can cooperate, or they can attack Morning Glory. Or he can kill Hanawa. Kiryu is often presented in Gaiden with choices that aren’t exactly choices. But that’s hardly new.

Same is true of Hanawa. But as it pans out, both of them stay firmly on Kiryu’s side after certain points. Hanawa’s loyalty is secured when Kiryu saves his life; and Tsuruno gives up fighting the stubborn wall that is Kiryu’s loyalty (if loyalty by complete necessity) to the Daidoji.

The Daidoji are something else that is done better here than in 6 as well. In 6, they kind of had this boogeyman in the shadows element that made so little sense until they have their reveal in the ending and take over Kiryu’s uh..non life? After he is forced to fake his death and go under their control. (They are also funding Morning Glory, a fact they remind him of any chance they get, and the hit squad on it remains until chapter 2 and Kiryu makes the deal with the Boss). The observation itself doesn’t cease completely, however.

As we’ll see in the ending.

But one of Gaiden’s real strengths, IMO anyway, is the characters. Gaiden’s story is built around them the same way any RGG game is, but in a way that is representative of the story itself too. Kiryu’s job in this game is to assist Watase in the dissolution of the Yakuza. Watase (from prison) is fully aware this is not going to go well, and rallying assistance is the only way they can even hope for it going off without too much of a body count.

One of the biggest hurdles in achieving this is the existence of Nishitani III. An ex-Jingweon mafia member who eventually revitalized the Kijin clan and became its patriarch. As well as taking up the Homare Nishitani mantle. In previous games, I’ve found they sort of shoehorn in the Jingweon when it seems convenient, but I think it works well enough here. It isn’t dwelled upon all that long, and it’s decently believable for a backstory.

Is giving Nishitani III a personal grudge against Kiryu necessary for the role he serves here? No clue to be honest. But it’s no gripe and it doesn’t impact the story all that much. The issue at hand is that Nishitani III is (in Watase’s eyes) one of the people who won’t accept a dissolution, and they want him out of the way. Eliminate Nishitani and the biggest dissenter is out of the picture.

I touched on it in this post here, but the TL’DR of all this, is that they are not at all correct in this assessment.

(I should mention Hanawa’s arc here, but I’m going to save it for a bit later). Instead, I want to get my thoughts out on the final boss of the game. As the real issue is not just Nishitani III, but Shishido.

Shishido’s story is that, at the age of 15 his father sold him to the Kijin clan as a slave to amend his own massive debts. A fact that is shown in a flashback where he’s collared and chained up, forced into playing Russian Roulette, amongst whatever other established horrors Nishitani III can come up with. (Nishtiani’s thing is the beautiful, ostentatious Castle. A boat of every element of sin, debauchery, and pleasure you can think of. Including gambling, human slaves, the coliseum and of all things, the place you can dress Kiryu up in his funky outfits).

Shishido is an amazing fucking character.

(I ran out of image space but his character design absolutely fucks too)

He has fast become one of my favourites, and it’s no surprise. His set-up for being the final boss isn’t made immediately obvious but over the game you notice him following the general formula for it, (see this ask I got here for more details if you’re so inclined) and boy is the payoff so worth it.

Shishido climbed his way up and up in the pursuit of survival. Anything the man has to his name he earned through very literal blood, sweat and tears. Shishido is young, but he is very much a Yakuza of the old. A fact that is commented on by Kiryu in game. It’s no mean feat either to from slave to Watase Family Lieutenant, with the man’s physical history is written all over his face.

(And I adore him. But that’s hardly important for a review eh 😉)

In the games final chapter, we learn that Shishido is against the dissolution of the Yakuza, and considers Watase, Tsuruno, Kiryu and any other traitors. Shishido is the embodiment of what Watase was so concerned about in the first place; a Yakuza who has known no other life and has no way assimilating into the world without it. Not to mention, Shishido feels he earned his place in this world. Why should he have the rug he worked so hard to install ripped out from under him?

He’s not wrong to believe this; and the others around him don’t think that he is either. The issue is that the world is moving on without them. Everything Shishido worked for doesn’t matter when that ending is coming; and there is so little they can do to change or stop it. Shishido might’ve thrived in the old days; but the modern world doesn’t have a place for him.

With this being a tie-in game, we know this is a foregone conclusion. We know the days of the Yakuza as they once were are well and truly over. But that doesn’t lessen the impact Shishido has at all. I made a comment to myself in the recorded playthrough (I recorded the finale but it’s a blubbering disaster, so I doubt I’ll post it) that “Shishido fights like a dying man”, in the endgame.

Or, as Saejima more accurately puts it “He’s like a cornered animal right now.” But having a little bit of time on my hands to reflect (well somewhat, I just finished the game yesterday after all, at the time of posting this). I think Kiryu does in a way to.

The final boss battle is a recreation of the Aizawa fight in Yakuza 5. Shishido has 4 phases and 12 health bars. And just like Yakuza 5, it’s amazing. With Kiryu fighting him through the Omi Headquarters until he’s kicked right out of the building. My words don’t’ do it justice, and it’s absolutely the kind of thing one has to play (or watch) for themselves.

When Shishido is defeated, he is grabbed and choked unconscious by the Daidoji Agent Yoshimura (who I took to calling ‘diet Jingu’ because he fights with a gun and runs away from you like a lil bitch-and was the one who left Hanawa to die and tried to kill Kiryu for trying to save him). Who then throws Shishido in his trunk to be a future “Daidoji Agent on a very short leash.” To bunk with Nishitani…his old Master. And the one Shishido worked so hard to get his life away from. I have no idea if this is going to be touched upon in future games like Infinite Wealth, but it hit me like a train.

The Yakuza is over, but Shishido isn’t. And this leads us right into the finale. Which.

This mother fucking goddamned sob fest finale.

I touched upon it here. But I just. Can’t do it justice with words. I don’t think that I ever will. Kuroda’s acting in this is unlike anything I’ve witnessed, and it’s amazing. He’s not just sobbing; he is breaking down completely and heaving over a tablet of his kids visiting his grave. With Ayako and Taichi noticing they’re being monitored and assuming their Uncle Kaz (who none of the kids believe to be dead, btw) is watching them. So, they begin talking. Updating him on their lives, where they are now etc.

Taichi is a firefighter, for example. Yuta is still around. Haruto is an adorable handful, and overall, they assure him that they’re all doing really well. They promise to come back tomorrow with a gift. Hanawa explains they had to remove the camera after that..but they did take photo of the gift the kids left behind.

Kiryu has been vulnerable in the past, but this is something completely unique. He’s broken, alone, and in all respects, a dead man who can’t have the one thing he cares about more than anything in the world. His kids are growing up, and trying to maintain their lives without him, but they feel the big gaping hole left behind by his larger-than-life and fatherly presence more than ever. And god I’m going to tear up writing this.

A drawing Haruto did of the family.

A drawing Kiryu (amidst his utter flood of tears-and mine) turns to show off to Hanawa to brag like the proud, sad grandpa he is. Hanawa questions if this ‘gift’ was just cruelty, but Kiryu promises him that it wasn't. It’s agonizing. It’s through all this that Kiryu admits, possibly for the first time in his entire life, that he is lonely, and that he realizes he needed his kids more than they needed him.

And we know, of course, that by Yakuza 8, Kiryu is deathly ill, and still for all circumstances; alone. Away from the kids eternally. Unless they make some change to that. I cannot stress enough how little justice my words do here. I really can’t. Kiryu may not have been the perfect father, or grandfather. He has made a lot of mistakes in his life, and his tendency to run off to solve problems on his own unfortunately translated to his daughter, Haruka.

Bu goddamnit I can’t say that he didn’t try.

It is clear as day how much he loves these kids. And misses them. No, he wasn’t perfect. Yes, he made a lot of mistakes, but he tried. And he can never see them again even though they know he is out there somewhere and ho man ho boy I can’t.

Remember how I mentioned above that I’d touch on Hanawa? I’ve chosen the finale to do so, because Hanawa and the Head Priest are the only ones who can share this moment with Kiryu. Kiryu also reveals to Hanawa that he kept Yumi’s ring and admits that his inability to be honest with his feelings kept him from confessing and proposing to her.

“Until she was dying in my arms.”

Man, I need tissues. Again. Hanawa is Kiryu’s handler (for lack of a better term) but he very much becomes a friend throughout the game. He’s ruthless. He’s dangerous, but their relationship is an interesting one and I found myself appreciating it a lot. He doesn’t seem like all that much from the beginning, but their bond is a good one; and over the course of the game Hanawa opens up in small ways and throws Kiryu bones where they are the least expected.

He's eternally loyal to the Daidoji and makes very difficult choices (and threatens Morning Glory in Chapter 2, only backing down when Kiryu submits again) but like I said in the link above, I actually believe him when he says he really doesn’t want to be doing this.

Doesn’t change the fact that he’s doing it, mind. But it’s good writing. It’s really good writing. I love this game. And then as Kiryu sets out for his (much needed vacation) Hanawa gives him a new temporary identity.

Taichi Suzuki. To which Kiryu is like "Oh. I've used that before. Didn't tell any of you though..?"

Now, I’d like to point out here that Hanawa shares the same VA as Yu Morinaga from Yakuza 5; Hiroki Tochi. This on its own really wouldn’t mean much. RGG has done this sort of thing many times before. Shared VAs throughout the series is normal.

BUT.

There are some heavy context clues that seem to heavily imply that this is, indeed, Morinaga.

I cannot possibly confirm this 100% of course, but there’s other clues dropped in the ending that really make you wonder.

I think it works.

Which is such a fascinating little idea. The kind of thing that could really feel ham-fisted; but if it is indeed the case here?

But we’ll see.

This is already way too long a write up, but I want to make a final note on Kiryu here. Kiryu in this game is something to behold. He’s miserable, he’s tired, and he’s truly a dead man walking. “The Man Who Erased His Name.” indeed. Sure, everyone sees through his fake identity in seconds, but that doesn’t change the fact that Kiryu is locked into this role for good.

Who he is who he might want to be. The people he cares about. He can’t touch them. He can’t do any of that. Kiryu is sassy and ‘done with everyone’s shit’ in Yakuza 5, and that same energy is carried over into this. He has some truly biting ‘IDGAF’ moments, and in the most ‘gangster’ we ever see him (taking over the Castle from Nishitani) it’s both a great window into how he might’ve been as the chairman of the Tojo, and a man who is already dead and miserable, so what does he have to lose?

(I swear I had a better way of putting this..and the internally selfish part of me kinda loved and adored that moment even though I know he’s in pain so uh. Bah, make of that what ya will).

To conclude, Gaiden’s a wonderful game. No game is perfect, and there’s no way this is all my thoughts on it (as I said, I’m still extremely emotional). But it’s everything I didn’t know I wanted, and a fantastic ride.

If you’ve read this far, thanks for coming along for the ride! I hope you enjoy this game as much as I did!

And I'm gonna cry again. Help.

#gaiden #lad gaiden #like a dragon gaiden #gaiden spoilers #lad gaiden spoilers #like a dragon gaiden spoilers #thoughts posts #nate reviews #nates gaiden thoughts #nate rambles #yakuza #ryu ga gotoku

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