#that’s not their purpose. characters have a purpose

[lullabyes22-blog]

"I think the cycle only ends when you find the will to walk away."

Got a lot of Q's for this in my inbox. Figured I'd just address them here.

tw: mentions of suicide, suicidal ideation

Re: the ending of S2:

Jinx did not die.

She symbolically killed her old self, and with it, her last ties to the past that imprisoned her. She understood that for her sister to move on and live her life - be happy without guilt - she'd have to renounce the bonds that held them together.

Her talk with ghostly Silco was the 'sign-off' she'd been waiting for, ever his dutiful daughter. Throughout S2, she kept hoping he'd haunt her, and in doing so, offer some impetus given her aimlessness. Maybe just straight up boss her around, and tell her how she's supposed to exist now that he's no longer there to be a (subversive if loving) guiding hand.

But it was the promise of time (as represented by Ekko) healing old wounds, and the courage to feel, as she once had - a hopeful child with a hopeful future - that allowed Jinx to commit impetus to action.

Her blimp-ship in the climactic battle is a tribute to Isha - but also to the child in Jinx's own fractured psyche: Powder. She's letting both little girls have one last hurrah before she takes care of business - and cuts off the last oaths, duties and commitments that bind her to a past whose parameters she's outgrown.

Better still, she knows she's got the capacity to outgrow them.

That was the point of Jinx's arc with Isha, and why, no matter my misgivings on Isha's character herself, I found Jinx's trajectory towards a more nurturing and fun-loving figure more life-affirming and positive than the straightforward 'Daddy's Villain Goes Postal' shtick.

It's even why there's a minigame titled Jinx Fixes Everything. It's Jinx, struggling and stumbling, as she tries to rewrite her narrative, and finds in herself the capacity to do good.

To fix things that seem irreparably broken.

And to understand why she's reached this stage, we've got to let go of our tendency to project our own stuff onto Jinx (precious meow meow, unrepentant terrorist, manic pixie crazypants, edgy hot psycho) and acknowledge the purpose she plays in Arcane's thematic structure.

Jinx's character comes off as a death-seeker, and that's no shocker. She is hounded by terrible guilt and loss. She's got blood on her hands, and ghosts on her heels, and no matter what she does, she can't seem to be rid of them. Her inner mind's fractured, her mannerisms ooze pure chaos, and she seems a creature of pure feral impulse and no mercy.

That's the Jinx we're accustomed to seeing in S1 - except that's also both the front she's most likely to put on during that timeline, and the persona that is necessary for her to inhabit to survive, as Silco's daughter and his top enforcer.

Then Silco kicks the bucket, she symbolically fulfills his dream by shooting at the Council HQ, she accepts that she must inhabit this path of shadows and loneliness (as symbolized by her starkly decorated chair in the tea party scene), she accepts the fragmented push-and-pull between past and present, and...

And now what?

Silco's given her a semblance of direction for six years, and he's gone. Vi, the sister she'd hoped would return, and whom she'd hinged so many childishly idealized hopes on, is herself traumatized, and afraid of what her sister's become.

Jinx has her shadows and her loneliness. Jinx is traumatized. Jinx is suicidal.

But Jinx is still, whatever else, alive.

And all living things need connections.

That's why we as the audience enjoy her little found family dynamic with Isha and Sevika. It's Jinx, taking the first tentative steps to reach out to people beyond Silco and Vi, and realizing, wow, she enjoys the pay-off.

And all throughout S2, we see Jinx growing more and more comfortable in this newfound space - even jealously guarding it at the expense of Zaun's liberty, and Silco's wishes, because she can't bear to lose what she's found.

And what she finds empowers her enough that, when Warwick shows up, she's actually willing to reach out to Vi, and call upon their family connection, because Jinx is learning the value of bonds, not as baling hooks of guilt, but as buoys to carry her forward.

That's the story Jinx's relationships serve to tell in S2. Each one shapes the choice she makes in the finale. Until she learns to accept the past (Vi), to lay the monsters to rest (Silco and Vander/Warwick), forgive herself (Caitlyn) trust that time heals all wounds (Ekko), and hope for happier new beginning (Isha), she'll never trust herself enough to just seize the chance.

Jinx's culminating arc is not about death, much less self-erasure. It's about resurrection, and embracing the sublime chaos of a freed mind, and a lightened spirit. That's what she craves beyond simple death, and what her baptism by fire, blood and riverwater, has been about.

Each trial grinds her down into someone else. Someone new.

Someone closer to who she is meant to be, rather than who she's expected to be.

That's why she's so glad to make the sacrifice for Vi. She's not dying as an act of self-immolation. She's giving her sister - the one who's proven she'll never give up on her - the ultimate gift, and showing Vi that she deserves to live.

She needs Vi to live, so Jinx, the persona, can finally die.

"He (Silco) didn't make Jinx. You did."

She's basically saying, "I love you, I will always be with you, but you are no longer responsible for my actions. Please move forward with your life, and grant me the choice to do the same."

It's two sisters embracing everything they've meant to each other, acknowledging the pain weighing them down on both sides, and welcoming the new so they can each slough off old paradigms and live life as a whole person - or at least take steps to remembering what wholeness feels like.

That's the reason the show's final shots linger on the Hexgate tunnels, Jinx's monkey bomb, and the aircraft.

It's the show's way of reminding us that Jinx has ascended to a different version of her identity - one removed from the past that haunted her. It's Jinx, finally striking out alone, away from the sister whose memory she clung so desperately to, and who was, in turn, horrified by her hand in making Powder a monster (perceived guilt or real, fandom may debate ad nauseum) due to past mistakes and abandonment.

The ending of Arcane isn't tragic. It's deeply hopeful, and serves as a reminder that no matter how damaged you think you are, and no matter how monstrous the world finds you, there are still ways to come back to yourself - or to walk the path toward a new you.

Jinx is symbolized by crows. Jinx is shown with firelights emerging from her mouth. Jinx is depicted holding a torch like Janna ushering in the winds of change.

Thematically, Jinx is change.

And the best way she can embody that change is to write her story, and make it her own.

[the-ancient-dragons]

LeafWing Study!

Featuring the colours of Roridula, a character from a possible future project. She's named after a carnivorous plant :)

Details, explanation, and more art below. Otherwise, next week are the SeaWings. See you then!!

More Tribe Studies

Here is the first time I'm showing my full-body headcanon LeafWing design. I remember being disappointed that they didn't have four wings, and when I learned that technically the SilkWings/BeetleWings were the only tribe with four wings?? (The HiveWings got them only for being an offshoot of the BeetleWing tribe, but I still couldn't cope, lol).

I am not up to date on WOF lore so while you can correct me, please keep that in mind XD

I simply had fun designing them after lead-mimicking insects and geckos. I wanted to keep as much of the original design as possible while serving more of a leaf mimicry design. So the four wings work in tandem with the enlarged tail sail to make the whole dragon look like the end of a branch. They would do this formation on specific trees, otherwise they keep all 4 flat along their tail to look like one leaf. They have the extra frills on their legs so they can do a standing version of this if they're caught off-guard.

All of this would serve the purpose of visual camouflage. I read on the wiki that the Poison Jungle had extra large fauna and I ran with it. Perhaps in the past the jungle stretched farther, or the megafauna had access to more of the continent. Either way, the LeafWings had to hide, and they learned how to do it quite well.

The last thing I did was double the back sail and move it to the sides, so it doesn't look like a discount SeaWing. Sorry, but I wanted a more unique silhouette. That back spine design was already used for the SeaWings and I thought a smooth back would serve their camouflage better. They use their double frills to make their necks look thicker when they pretend to be a single leaf. I'll post some sketches of LeafWings camouflaging sometime!

[srslylini]

do you remember that show, the one that was praised for its narrative and tight knit story, the one that was said to have one of, if not the best, portrayal of: mental health/illness, classism, women, character development, characters in general and show not tell? that one??

well it killed its 3 suicidal characters, sidelined the women in favor of a "bigger story" that forgot its central theme of classism

BY KILLING THE OPPRESSED IN THE CLOTHES OF THE PEOPLE THAT OPPRESSED THEM.

It brought together a lesbian couple in a cell in a prison one of the lesbians was tortured in and depicted it as her kneeling infront of the rich woman because the show loves its show not tell. It brought in new characters and killed them off, they had no overarching purpose in the story.

Yeah that show.

[ppssession]

Wonderful freedom

In a long time there used to be a group of demons that lived in the human world. They were extremely lustful demons but sadly their bodies were not attractive to them. These demons that craved hot bodies came to the human world. They often lured many humans into falling for their sweet offers. Humans who fell for their sweet offers would eventually have their bodies snatched away. These demons would then possess humans.

Legend also says that it was so greedy for male genitalia that it didn't care whose body it belonged to. Kings, royalty, knights, peasants, and many others were possessed by the demon and used for sexual purposes.

Fortunately, at one point, the world of those demons was sealed off by a group of people with special powers, and the stories of demons possessing human male bodies were gradually forgotten.

When he finished reading, Brandon closed the book. “These legends are so ridiculous, where in the world would there be demons possessing men for sexual purposes?” Brandon complained about the collection of stories he had rented from a bookstore.

The handsome young man, Brandon, put down his book and prepared to go to the library to return the boring book he had borrowed.

Shortly after Brandon returned the book, he began wandering around the large library, looking for interesting books to take home and read.

But suddenly the library became dark. Even though he wondered what was going on, he continued walking to find the book he wanted to read. He walked back and forth in the darkness where he could see things.

After a while, he found a strange-looking book. It was a black book with an eye in the middle. At first, Brandon thought it was just a fancy book with just plain paper inside.

But as he was about to walk away, his mind felt strange, as if his body was being led to open that book, his mind ordered it to be that book, he slowly walked over to touch the book, when he picked it up, he felt that something was definitely going to happen, but he still couldn't stop himself from opening the book.

When he opened it, he looked inside, there were countless unknown characters, and those characters slowly floated out, they gathered together and turned into a large smoke, as the large smoke in front of him rushed into his body, a large amount of smoke entered his body through his mouth, causing Brandon's body to twist, his muscles twitched, and his eyes rolled back.

The book cover slowly crawled into the smoke, and the strange-looking book turned into an ordinary book.

Brandon's body, which was inhaled by the strange smoke, slowly twisted his muscles and moved his neck a few times before speaking with an evil smile, "I confess, I'm free now. That stupid seal only locked me for a few hundred years. Do you think I can't wait?"

A demon that desires a human body like mine can live for hundreds of thousands of years, it wouldn't know. The demon possessing Brandon replied yes as his body rubbed against it. "Wow, it seems I hit the jackpot, this body is insane, these muscles are making me horny," a large tent formed between Brandon's legs.

But unfortunately, I don't have enough power. I'll let this guy control his body for now while I take my time to recover and devour him. Haha, after speaking, Brandon's eyes rolled back and forth, he regained control of himself, and he couldn't remember anything about the strange book. "What happened? Oh yeah, I got the book from the library. Oh, I can't remember. Never mind, let's go home."

After that, about a month passed. แบรนดอนกำลังนั่งสบายๆ อยู่ในบ้านหลังจากทำธุระมาทั้งวัน เมื่อเขารู้สึกแปลกๆ ในท้อง

��Ahh, what happened?” Brandon’s body didn’t listen to his commands, it started moving on its own without his control, his muscles tensed, his penis hardened uncontrollably.

His hands were rubbing his body, now Brandon's mind was spinning, instead of being afraid, his mind was enjoying this feeling, the feeling that something was slowly taking over him, his eyes rolled back, that was the last time the real Brandon was conscious, suddenly his eyes returned to normal.

I'm so horny

The devil has taken over Brandon's body.

Okay, I have to deal with my hard cock first. One hand unzipped my pants and pulled out my big, thick, long cock from my pants.

His thick hand lightly touched the large cock, the other hand played with the nipple that was on his shirt. The moans of a man possessed by a demon echoed throughout the room that only he could hear.

Soon, the new Brandon was chasing after the climax, the speed of his hand was increasing, the rhythm was becoming unstable. In no time, the moan of the possessed man was heard along with the semen flowing out of the tip of his cock. “Ahhhhh.”

Brandon took a weak breath, this was his first release after being sealed away. He picked up his phone and found news of a new park being built in a nearby town. “Oh yeah, that’s where another one of my friends is locked up. I should probably go help him out, since he has the same taste in body possession as me.

Then the devil took a photo of himself with his new hot body a few hours later. The new Brandon was busy masturbating all night long.

After finishing, I must say that this story will have a sequel where Brandon will release the demons that are imprisoned in various places. Let's see what kind of demon friends the new Brandon will meet. See you, bye.

[loviesbloggies]

ACT 3 SPOILERS FOR ARCANE UNDER THE THREAD!!

jinx is not dead!!! here’s why (AND NO ITS NOT COPE>:()

1. vi’s reaction, why would she be so content if jinx JUST died, seeing as she was so upset when she thought she died

2. caitlyn was studying the place jinx died, showing the top of her bomb (purposely left by jinx to signal she’s ok???) and the ventilation system which matches up with the shimmer streak

3. the shimmer streak ofc. it’s brief but it’s there

4. the conversation with silco: he explicitly states “to break the cycle is not to die, but to have the will to walk away” she broke the cycle by walking away from vi, from everything

5. isha’s sacrifice : if jinx was dead, isha’s sacrifice would mean absolutely nothing. isha wanted jinx to live, that’s why she sacrificed herself for her.

6. the blimp looking thing at the end: in season 1 episode 1, powder says she’ll one day ride those blimp things, after showing the other implications, they ended it off with that same blimp she mentioned previously

we know the writers do things intentionally, these things aren’t coincidences they’re meant to be there for us to eventually notice. it will take a long time before we see anything from any of the characters again unfortunately but hopefully i can make some people feel better!! <33

[mystybelle]

Adding on because I find it relevant-

Knowing which style of world building, or type of storytelling you're doing really, requires knowing what parts of your story are actually important for the purpose of communicating your story the best. Because Art, is communication through aesthetic. And in order to do communicate well, you have to understand what your message is AND what parts of your message are most important before you can decide how to convey them.

The Hard magic vs Soft magic spectrum is a measure of how important the utility of your magic is for solving problems that exist in the narrative. E.g. ATLA's magic is harder than Tolkien's or Lewis' because the characters in ATLA solve a majority of their problems with the power of kung fu magic, and their interpersonal struggles mostly help them learn how to either use martial arts magic better or new ways to employ it. But the fantastic foot-up-your-ass magic is the most important tool. Meanwhile Frodo is a weak hobbit, and his struggle is about whether or not he'll be able to maintain the emotional bandwith to make a horrific trek into the heart of darkness; the rest of the events we see in the book/movie are largely to impress upon us just how much is riding on the mental health of one little guy. Lewis' is slightly harder (barely) because Narnia is ultimately a very christian(colonial) fairy tale, and the wonder of the new and foreign world is the most important part of the story. Even the characters are pretty "soft" in Narnia, because the point is the vibe of the fairytale world, and you're not supposed to care about Snow White's intense psychological anguish at her step mom trying to have her killed because she can't handle being a milf. You're supposed to care about the vibe of the dwarves she's staying with and the overall plot.

Likewise with the worldbuilding-

Narnia gives you a middling amount of detail for it's fantasy world, but it paints in very broad strokes. Because the vibe of the world, the feeling of wonder and awe that unfamiliarity with it provides, is more than the details of Cameroon's culture or borders in contrast with Narnia's.

ATLA's setting is much harder by contrast, because you're explicitly not meant to be a gawking tourist to this world, the viewer is meant to see it through the cast's eyes. A deeply affected member of the world, who is trying to familiarize themselves with it's complexities. The kung fu magic is a part of the complexities of that world in a very fundamental way, so those two things get a lot of details. The show even beats you over the head with the idea by constantly telling you that the Avatar must be connected to the world, verbatim in a few episodes in fact.

LOTR sits somewhere between the two because it's world is... Frankly more fleshed out than it probably needed to be for the sake of it's story. Tolkien wrote his story to make you care about his world, not the other way around. So it's actually probably an awkward example here, but even still! Through the narrative, we're given information about the world within the context that the characters would experience them in order to impress upon us the complexity of the problems they're facing. The world itself provides the challenges, and the solutions come from the mettle of the characters. So we spend more time with the characters and learning about the routes they'll take, the challenges on them, and the sociopolitical structures of the various nations they pass through, than we do learning about the magic.

In order build stories like this, like OP said- you have to do it on purpose, and in order to do it on purpose, you have to know why you take each step that you do.

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[vervainandspritz]

HEADCANONS - what would he do to get you in the mood?

Characters: Lenny Miller, Jonathan Crane, Robert Fischer, Jackson Rippner, Raymond Leon, Emmett (TQPII), Tommy Shelby,

A/N: Requested by @lau219 ,y'all feel free to send requests.

~~

Lenny Miller - Leonard is an experienced man, he knows how to get his way around Y/N. Pretty frequently on his way home, he would already have a rough plan on the evening ahead of them. Sometimes grabbing a bouquet of flowers in the nearby florist shop or a bottle of wine. After coming home, Lenny impatiently would find her around the house, searching for any physical contact he could get. "Did you miss me like I missed you?" He'd ask her in that velvety voice, thumbs rubbing up and down on the little crevice of her hips, almost teasing. Sometimes they end up sitting on the couch, Y/N's feet on his lap as she told him all about her day, while Leonard listened and gave her a massage, hands barely visibly moving higher with each stroke. "Poor girl" He liked to tease, closing the proximity once his pants became too tight in a crotch from the simple touches. "Left you all alone here" From that point, he didn't play coy. Knowing all the right spots to touch, he effortlessly kept making her go soft, almost putty in his hands.

~

Jonathan Crane - Jonathan's methods differed depending on the mood he was in. Sometimes days in Arkham were more difficult than the others, and so his patience ran thin. He'd come back home abruptly, peeling the layers of clothing away. The way he'd press his bare, hot chest against Y/N's back, searching closeness he could get only from her. "Was it a bad day?" She would ask, turning around to face him. Sometimes it would all start from the touch as innocent as holding hands, when he'd direct her hand to his cheek, steely blue eyes carefully studying her body covered in the clothes she was wearing. Pulling her closer till their fronts would connect, and she'd feel the proof of his urgency. His own hands landing on her back, massaging the skin and pulling her against his chest while simultaneously hiding his face in her neck. The way she'd feel him so intensely slightly trembling, connected with shivering delightfully from how his hot breath bounced off her skin could come off as symptoms of fear to a mind so great in his very major.

~

Robert Fischer - Robert's favourite way of showing affection would come on display as soon as he made it through the door. He thoroughly enjoyed the ability Y/N taught him - talking. Using words of affection was one of the greatest joys for both of them, after all the time it took for him to get used to doing so. "I couldn't stop thinking about you. Missed you so much" He spoke softly into her ear, the vulnerable tone of his voice showing nothing but honesty. Y/N immediately mirrored his mood most of the time, growing warm in his embrace. In a couple swift movements he'd gain access to her skin, caressing it delicately while simultaneously holding her gaze. "I need you" he'd confess quietly, leaning to capture her lips in a kiss so needy, Y/N could barely breathe.

~

Jackson Rippner - Jackson was anything but patient when this urge would hit. It wouldn't matter whether she was busy or not, his hot hands would grasp her hips, often pressing her against something to gain control. Leaning down to graze his nose against the sensitive skin of her neck, taking in the scent that never failed to make him hard. "Jackson, I'm busy" Y/N would sometimes manage to stutter out, feeling the heavy weight of his body against her back. A quiet chuckle would push past his lips, as he pressed harder. "What can possibly be more important than taking care of your man?" His voice would come off arrogant, often purposely. Knowing how well it worked on working her up. His roughed up hands would move higher, barely brushing against her breasts to come resting on her throat, not squeezing just yet. "Feel what you do to me, sweetheart?" He'd growl, nearly on the edge of just... Bending her over the desk and taking what he wanted. Giving her throat a little squeeze, he'd quickly reach between her legs, getting a hold of her. Jackson's lips would stretch into an arrogant grin as he'd feel the wetness beneath her panties. Lightly rubbing against her covered slit, he'd lean closer to whisper. "So wet and needy. I'll give you what you need, but you owe me one, hmm?"

~

Raymond Leon - Raymond wasn't one to ask, not to.. talk too much. He liked to use the advantage of how easily bothered Y/N would get seeing him like that. "What are you doing?" he'd ask like it mattered, leaning on the counter, crossing his arms over his bare chest. His scent and warmth would be enough to make her notice the close proximity, causing Y/N to squeeze her thighs together lightly. Not going unnoticed under his watchful gaze, as he'd keep looking at her, knowing well she could feel him watching. Brushing his arm lightly against hers, he'd move around pretending to be busy before finally having her cornered. She'd be breathing heavily, eyes taking greedily the sight of his bare, freckles skin and muscles on his torso. Sooner or later his hands would end up on her face, pulling her closer. Their noses brushing against each other as he'd smile, looking deeply into her eyes. "What got you so bothered, honey?" Raymond would ask, because even though he hated talking, he secretly loved hearing her talk.

~

Emmett - His favourite thing to get Y/N in the mood would always be kissing. He'd lean in for a kiss, his arms wrapping tightly around her middle to keep her in place. The deep groans leaving his lips would echo in her stomach, making the heat pool to the lower side of it. "So beautiful" He'd murmur in a deep voice, keeping her lips occupied with his own while slowly touching and grasping every inch of her skin he could get to. "Emmett–" Y/N's whiny voice would never cease to make him lightheaded as he moved lower, kissing a trail they both knew by heart already. "Keep saying it, baby. Keep saying my name" His voice was rougher with lust as he kept her legs apart, kissing her stomach and hips. She had a hard time staying still, squirming needily in his grasp. "Come here.." He cooed, looking her in the eyes as his face moved closer to where she needed him the most. "Let me take care of you" Emmett whispered, as his face leaned down, diving between her legs.

~

Tommy Shelby - Thomas loved the control he secretly held over Y/N when it comes to her needs. Being so fluent in directing them with his touch or affection. The way she'd move around, doing her own thing while pretending to not feel how he looked at her. "Come here, darling" He'd eventually call out, patting his thigh. He'd use the close proximity to look her in the eyes, encouraging to talk about her whereabouts when he was at work, while petting her thighs lightly. He touched and felt, eyes following the tender lines of her body beneath the clothes she wore. He'd proceed to touch caress her cheeks, pulling her closer as he murmured how beautiful she was. Y/N could never remain unaffected under his rough fingers and soft words, leaning into his touch with a sigh. "You're my good girl, aren't you? Always so good for me." He purred, feeling how fast her heartbeat became under the weight of his seductive words. He'd gently rub her inner thighs, before parting her legs and letting his hands claim what was his Swallowing every cry that would come out of her mouth not longer after, as she writhed on his lap in orgasmic spasms.

[letorip]

aline

“et j'ai crié, crié "aline!" pour qu'elle revienne, et j'ai pleuré, pleuré, oh j'avais trop de peine”

===+++===

pairing: wednesday addams x reader

summary: sometimes you’d talk about dying to wednesday, though it was something an addams couldn’t ever really fear. that was, until the person being lost was you.

warnings: erm you die lol, major character death, wednesday being sad, mentions of blood, self sacrifice, maybe a little contrived way to die but too bad

word count: 1.6k

A/N: i promise im okay but this was truly an interesting plot line to follow, and i couldn’t bear not writing it down. if it made you sad, don’t worry, because i have more fluffy stuff on the way. it was something short i had considered doing for a long time, so even if this flops i'm completely happy with how it came out.

===+++===

===+++===

"Wednesday?" you asked, eyes on the wooden ceiling of her room. From the way her head rests against the warm plane of your chest, she can feel the smooth skin move as you say her name, heart right under her ear. It nearly lulls her to sleep, had it not been a question.

"Yes?" she purrs, lazily propping herself up on her arm. There are heavy weights on her eyelids, but the line of your mouth tells her something is troubling you. You’re too saturnine, much too glum for what you and Wednesday just did, and her eyes soften imperceptibly, her thumb going to your side to quietly stroke itself back and forth there. “What’s plaguing you?”

You can’t help but shudder at the contact of her hand and the goosebumps the pads of her fingers leave in their wake. “Are you... do you...," you attempt, the question falling flat on your tongue. She furrows her eyebrows at your hesitation.

"Say your thoughts,” she says, forehead creased in concern. It's almost funny, how caring and soft she is, now that she's given up on trying to seem aloof and apathetic towards you, her skin warm against your own.

The Addams Curse to love someone with every fibre of their being had taken hold of Wednesday entirely, and she looked at you sometimes like you held her beating heart in your hands, or at least like she'd cut it out for you, if you were to need it. She raises a hand, gently brushing a few hairs from your forehead.

“Are you afraid of dying?”

Her eyebrows furrow even further, scanning your face for any indicators of harm. “Where is this coming from? Has something been done to you?”

But you shrug, finally looking down to look her in the eyes with softness. “I was just wondering… are you?”

She narrows her eyes. “You know I’m an Addams. Death is a friend, not a foe. Fear of that serves no purpose. Only cowardice from facing a fight. Only to make you weak.”

Your eyes flit away. “Hm.” There’s no hiding of disagreement in your tone, and it has an embarrassing amount of power over her, how she itches to know what goes on in that head of yours.

“What?”

“I think… I think my fear is what makes me strong. I’m afraid of losing those I care about. And so I fight with every bit of sweat, blood, and tears that I have. Your loss is my deepest fear, Wednesday. My deepest.”

She stared at you momentarily, then looked out the window to the stars. “How is one to fear death when it is far from the end? Death may take me from your sight, but it cannot take me from your heart. There I live, vibrant and whole. Forever.”

===+++===

You’d never even realised how much blood the human body could actually hold, until you were standing there in the centre of the quad with an arrow straight right below your heart, its steel tip poking from your back. Your own blood coated your hands where you cupped it, dribbling down the splintered wood and splattering in droplets to the cobblestone in thick, dark red splotches.

The blood— your blood— is coming out even more now, and you turn to look at Wednesday, where you had shoved her out of harm’s way. Her eyes are wide in horror, like she's seeing something straight from a nightmare of hers, and you take a clammy step towards her, frigid and burning at the same time.

“Wens—” you stammer, and suddenly your knees are giving out. She rushes forward, trying to catch you in her arms, but you're too heavy, deadweight that tugs on her. You fall onto them, your knees, clutching at the newly opened maw of your chest with a gasp, and before you know it you’re falling forward towards the floor.

Wednesday follows you down, catching you before you can land, and she holds you tight, turning you over onto your back as the arrow sticks straight up from the heart she cherishes so much. The wood is already splintering, nearly falling apart, and her hand goes to your wound as if trying to put your blood back into your body.

It’s uncomfortable, with the metal tip of Xavier’s arrow sticking from the back of your chest and lightly prodding at her front, but she squeezes you tightly against herself, hands frantically travelling the length of your torso and raking over your arms, anywhere she can reach. But there’s nothing she can do. It’s a thought she refuses to confront, but Wednesday specialised in dealing with dead things; she was unfamiliar with how to keep things alive, no matter how much she needed you to stay that way.

Crackstone is cackling from his belly, a toothy sneer spreading itself out onto his leathery face as he looks at the damage he’s done, stomping towards you. “Hey!” Bianca yells from the opposite door, and the pilgrim whips around, as Xavier takes another shot at him. It lands in the pilgrim’s arm but he pulls it out like a twig, snapping it and tossing it to the ground, before he makes his way towards Bianca.

Your white shirt is completely soaking itself in your blood, droplets running down Wednesday’s fingers where she tries to hold the wound and apply pressure. But there was no saving a skewered heart.

"No, no, no," she coos, voice barely above a whisper and tears already pricking at the corners of her eyes. You're crying out in pain as the arrow shifts within you, fingers scrabbling at Wednesday's arms where they hold at you. Your fingernails sink into her skin, and she winces but doesn't pull away.

"Wens," you say again, infinitely weaker than before. "Wednesday…” It’s like your mouth won’t move coherently with your brain, like words mean trudging through ice and slush to come out, even the red-hot ones you need to say. “H—Hurts,” you spit out, and with it comes a small stream of blood from your mouth as you cough and air becomes less and less available.

She nods in a rush, tears beginning to stream down her cheeks. “I’m aware, I know,” she’s completely crying now. “We will get you care, cara mia, just hol— just hold on for a little while.” But you’re shaking your head.

“Don’t have— I don’t have—” you’re coughing up more blood, and she wipes it from your chin with a shaky hand. There’s just too much of it, everywhere. You had once gifted her some as a token of your devotion and it was a prized possession of hers, but now there was so much and she would have given it back in a heartbeat if it gave you any more of those.

She can vaguely hear Bianca and Xavier yelling on the other side of the quad, and various fires rage on in their chaotic yet vibrant corners, tickling against her skin in large crackles, burning in the reflection of your eyes that stare up at the sky. Your head is leaning against her shoulder, and she raises her hand, stroking through your soft hair as you heave in her arms.

“You must live, I promise you,” Wednesday insists fiercely, “I promise you, if you die right now, I will kill you.” But its tears that streak down her face, her jaw clenching and dark eyeliner running down her cheeks. She’s squeezing you right against herself, feeling the pain of the sharp arrow poke at her own skin.

“Vibrant and wh—whole?” you said with a smile, feeling your voice begin to slow down and with it, the beating of your heart. The blood has pooled in a sick puddle around your body.

She’s shaking her head. “Cara mia, we don’t need to do this, we will get you to a doctor. You will be—”

“—Wednesday,” you interrupt. Your voice has reached an eerie calm that sends a shiver down her spine, and it snaps her from any sort of hope. “Vibrant… and whole?”

She looks down at you for a moment, tracing the features of your nose, the planes of your cheeks, the colours of your eyes and the wryness of your smile. Wednesday swallows. “Forever. You know that. You must always know that.”

You nod, letting out a small laugh. It hurts, she can hear you wheeze right after you done it, but you sit in silence for a moment, and she can feel you get slower and slower, and your shirt gets redder and redder. The tears are uncontrollable, now, as she sits there with you. Her friends are losing in the corner, but she's losing something unthinkable, and she's so damn scared the entire time it's happening.

"The stars look beautiful tonight," you whisper so only she can hear it, your voice cracking at the end. In seconds, you're gone. She can feel the life, the glorious life, evaporate from you, your head lulling back against her and your weight becoming a hundred times heavier, but she doesn't move, squeezing you against her.

She's unsure how long she stays like that, but when she can no longer take it, she shifts, laying you down on the ground. You look peaceful, looking up at the stars, and it takes an effort to close your eyes that Wednesday had never felt with the dead before. She gently closes them, shutting the door on the eyes that used to captivate her very heart. It's almost like she could convince herself that you're only resting for a moment, and she leans over you, placing a meaningful kiss upon your forehead, just like she would when she snuck out after a night of sleeping over, and there were no prying eyes there to watch.

"Vibrant and whole," she whispers like a promise, turning back to the fight with a piece of the sword in her shaking fists. "For you, cara mia."

===+++===

well that was sad... anyways more happy stuff coming next time

[saffronstoats]

im genuinely really sorry because i dodnt know if you like? actually want their names? but heres them [ if you didnt really want to sorry for the notif! ]

these two are the same guy! his name is vincent, and hes one of my five shared ocs with an irl friend i refer to as vilan typically [they cannot spell to save their life, so its misspelled on purpose ]

here's another one of he above, named walter! the firat doodle was my vilan at 1 am, typically their drawings are higher quality haha

and jeffery, the third of the trio! the traditional drawing is by vilan as well

while all 5 belong to the same story, the other two are more seperate from this trio. their names are luca and syanide. [ again, spelled wrong on purpose. that was my bad, actually! i thought cyanide was spelled syinide and we kept it similar. ]

if you ask abt any of them ill probably ask vilan to help out!

buggycat! a slugcat oc of mine. buggycat is made by an iterator named thirteen watchers of endless night [ TWOEN ] and is from the rain world dewdrop mod im planning to make one day. the following slugcats and iterators are from that same mod.

shredder, thistle, and fraud, in that order: shredder is a slugcat from faraway lands, able to carry pearls in their stomach and review past read data for pearls in game. shredder is massive and thus forth needs much more food.

thistle has the standard diet, and is mostly your average slugcat- except with meows and spines to use for a one time huge range attack!

fraud is completely carnivorous, and eats with its superpowered mauling capabilities.

OWT, Recollections, Starburst, and TWOEN

iterator ocs. OWT and atarburst are in a different local group than recollections and TWOEN.

emerald. a REALLY old wof oc.

orbit/astro

a cat oc ive had for a long time. from a story named banjoback, and main antagonist of a game called lightfallen sun [ that im going to rename because. what. ] that i started working on around 2 years ago

also countless tired before noon characters [ ideas die in eternity ( ignitied flames/if i die, wren's hover emongst daybreak/when i die ), carrymy/to be renamed ( dreams [w]ritten emongst adolescent [m] starlight/carry my dreams, hour of paradoxical entities/carry my hope, light's everlasting grasp adorned [by the] celestials yearn/carry my legacy/to be renamed ]

some characters are like. glow. hourglass. celestia. raccoon. um. you could ask for all of these but why would you

i have some more but they arent very important [ should i add fernwehgrand. umm. ]

i wouldnt mind if you sent asks about any enotpocalypse characters either, but im still hesitant to call them ocs

[pomefioredove]

@hxney-lemcn said more cater fics and I am here 2 deliver ✌️✌️

*ੈ✩‧₊˚ friends kiss, too

type of post: short fic characters: cater additional info: romantic, reader is gender neutral, reader is yuu, friends 2 lovers ON TOP! a little making out

Every time Cater drags you through one of these things, you ask yourself why you let him, and every time, the answer is the same: he's your best friend, and you love him.

It's the very same reason you let him spam you with texts and annoy you with surprise selfies. It's the reason you rarely hang out with anyone else, because you know it makes him jealous, though he'd never admit that.

It's the reason you're here, now, awake in your room well past curfew.

Despite the threat of a Housewarden who would flay you alive if he caught you and Cater sneaking around in the dead hours of the night, your bestie was absolutely insistent on this all-nighter.

It's a trend on Magicam, he said, and he had, of course, pouted and whined like a sad puppy until you agreed to "support him" by keeping him awake.

By two in the morning, you were more bored than tired.

"Pass. Pass," Cater says, swiping through dating profiles on his phone. "Hm... no, pass."

You sigh and slump against the headboard of your bed. "You've said that word so many times, it doesn't sound real anymore,"

"Ughhhh. Is Sage's Island where hotties go to die? I just want a cute holiday romance!" he exclaims. "Think of the pics!"

You roll your eyes. You'd heard that exact string of words probably ten times in the past few days.

"You can't date someone just for couple photo ops,"

Cater pouts. "Oh, yes I can. I specify "nothing serious" on my profile! It's not like I'm lying!"

Another eye-roll. He's technically right, as always, which just makes you even more annoyed.

But you don't want to get into an argument about the morality of flings right now.

"And it's cold out. Who am I gonna hold when it gets even colder? It's cuffing season, hon,"

Something about the way he says that bothers you. You try not to think about it so much.

"Well, you'll always have me," you tease.

Cater giggles, and sets his phone down on the bed, a subtle way of showing you that you have his full attention now. "Oh? What's this? Sounds like you're offering,"

"Not what I meant," you counter. "I'm your bestie, not your bae."

"Boooo. What are you, a nun? Friends cuddle all the time,"

Again, he's right. He likes being right, and you can see that on him now, too. He has that competitive glow on his face.

You smile. "Sure, sure, but we all know that cuddling isn't what you're looking for,"

Cater gasps, feigning offense with a hand placed delicately over his heart. "I am not that easy! I'm starting to think you really do want me all to yourself,"

If anything, it's the other way around. Since befriending him at the start of the school year, you'd always had the feeling that he took up all your time on purpose. But you don't say that.

"Besides," he goes on. "There are a lot of things that besties can do that are perfectly friend-like. The segregation of romantic and platonic is a totally oppressive amatonormative structure, anyway."

You roll your eyes. "You have got to stop reading those infographics. Do you even know what any of those words mean?"

"Not the point! I'm saying that there's lots of cute stuff we can do while remaining besties,"

He's very enthusiastic about this. You can't tell if it's his penchant for being right, or something more.

"Pfft. Okay. So, what, friends can kiss?"

"Obviously," Cater crosses his arms over his chest, giving you that smug look of his. "Friends kiss, too."

"Then prove it,"

The words that had you had been holding in the back of your mouth for the past few minutes escape before your brain can stop them.

Even Cater, who's never surprised, pales a little.

Your mouth opens, then closes, then opens, again without your thoughts offering any support.

"I didn't mean-"

"Okay,"

You blink. Something hot and cold at the same time runs through your body- adrenaline, anxiety, maybe it's just your own blood heating up at the way Cater leans closer, cupping your face in his hand, his fingers curled under your jaw and thumb gently brushing against your cheek.

His hands are kinda sweaty. You don't really mind, and even if you did, it wouldn't have mattered, because his lips are now sweetly pressing against yours.

You fit together quite nicely. As if he was just meant to kiss you.

It's hard not to think about everything all at once; his warm hand moving to cup your chin and hold you close to him, his hair brushing against your face, the way his lips still linger with spice from whatever he'd eaten earlier...

It's not perfect. But it's him, which is close enough.

Cater pulls away, his breath dancing across your lips, but he gives you no time to recover before he's closer, kissing you again with a sort of heat that matched the taste of his mouth.

He holds your face in both hands, shamelessly pinning you against the headboard and sitting in your lap as if he belonged there, always.

Minutes go by. Maybe hours. You wouldn't have noticed, or cared, either way. When you finally part from one another, it's felt like years.

You feel like an entirely different person. As if the world had ended and begun again in the six minutes you had been kissing him.

Cater sits atop your thighs, panting, his face redder than his Housewarden's hair, that of which would have flayed you both if he were to catch you like this.

Luckily, it's just the two of you.

"See?" Cater finally mumbles, dismounting you and scooting back to where he left his phone. "Platonic."

You're too breathless to argue.

You suppose you'll let him be right again.

[faelapis]

first three eps of the season were good. after that, arcane season two just completely fell apart.

it ignored all themes of oppression, police violence, cait's slip into fascism, the zaunite revolution, etc. all in its need to introduce a bunch of pointless league lore and create 762 new storylines, despite only having one season to tell them. and so it told zero of them well.

idgaf about the black rose. idgaf about it suddenly being about stopping the robot uprising. idgaf about warwick (vander is effectively already dead. the only purpose of this false hope was to bring him in line with league canon). ambessa started off as an interesting character, but as soon as the caitlyn storyline fell apart, so did any motivation of hers that actually made sense.

jinx became a tragically pointless character who ended up in the exact same self hatred-spiral she started the season in. except instead of being brought on by silco's death, now it's isha's death. sevika gets a pointless minority seat on the council, but it's only one seat, with no assurances that anything will actually change for zaun. ekko gets no character arc whatsoever. he's just a generic good guy who does good guy stuff. the viktor/jayce story had a sweet ending, but it took up far too much screentime in a show whose main characters are supposed to be vi and jinx. vi never gets to have a moment where she either accepts or learns from her failures. she ends up a surprisingly passive role the entire season, which could serve an interesting internal character arc, but that never happens. her only "arc" is to be comforted by her cop gf.

and really that is the original sin here. because the season's first three episodes promised so much about cait. it promised not just her slip into authoritarianism, but to explore why and what impact it has on her relationship with vi. who vi wants to be, in relation to this person and this system.

this image is the embodiment of what i wanted this season to be. it's a conscious reference to macbeth, the shakespearian tragedy in which the main character's obsession with becoming king and remaining in control results in war and bloodshed. if told carefully, it could be brilliant commentary on cait, on fascism, on social hierarchies, personal trauma and the nature of power.

we get none of that. instead, her fascism arc is lazily resolved by just undoing it as soon as she sees vi again - and no, this does not count as a "love conquers all" resolution. i'm not opposed to that ending! but cait's heel-turn came out of nowhere!! it felt like a cowardly move on the writers part, because they didn't want to make viewers uncomfortable with the main ship.

vi became a complete mush of a character. she just reacts to whatever others (mainly cait) does. she has no motivations of her own. and like i already said, this does not fuel a compelling arc about her depression or trauma. the question of whether she should believe in others never goes anywhere. except of course, to be comforted by cait. so vi, in her own right, does not exist for any narrative purpose this season. she just... is sad and looks good. she puts on her big punching gloves and does a few show fights. download league of legends. unlock the depressed punk vi dlc costume today.

[pixeltwix]

👁‍🗨Ciphertology & The Dixons👁‍🗨

Sooooo…Emma May’s family was involved in a cult, right? Let me elaborate. As a fellow creative I have been known on many occasions to forget details big and small about my own world, but names? No, names are never something I tend to duplicate unless for a very specific thematic or world building reason. So color me stoked when I was curiously learning about Bill’s cult arc in the 1950’s and found one of his first followers was a young girl with the surname, you guessed it, Dixon!!

Considering Alex Hirsch is very purposeful with things and little hints, while also leaving the audience to figure things out for themselves while he sits back and laughs, I can’t help but feel the surname Dixon is a bit TOO coincidental in this instance. From what we see, Ciphertology and the followers were a mash of a bunch of real life cult references while doing the usual Hirsch thing of filtering Bill into a concept perfectly well.

All in all it’s a very interesting thing, but what I found more interesting were the people involved. Sure you have the puppet leader, Silas Birchtree and a bunch of other out there names, but amongst sits a simple ‘Madeline Dixon’….. Alex Hirsch I’m going to screAM :D

From what we learn, after the cult is forcibly disbanded by the US government and every trace of the town is wiped off of maps and history books, the people are spread throughout the country and given opportunities to start life over again. Not everyone followed that however and some continued to follow the Bill Cipher cult. And honestly I can’t help finding myself bouncing back to the very concept that is-

What if Emma May Dixon grew up in a recovering cult family? What if her family still believed in the cults teachings like some and practiced it in secret at home? And if that is true how am I meant to feel towards the idea that her future husband, Fiddleford McGucket, would become a cult leader himself all because of the very thing that was the foundation of her own cultish upbringing?

Honestly if that’s what Alex was shooting for, I’m calling him a genius cause that’s such a fascinating idea to work with. The concept that Bill has personally affected and rooted himself so deeply into the show and it’s characters that even those we don’t get to see still have dealt with him to some degree.

It just all feels too perfect too. The surname Dixon implies enough, thanks to Alex’s upfront and to the point naming, that Emma May too is a southerner like her husband. Or at the very least she’s in that farmy side of the country. And where did Ciphertology come from? Orchard Lake, Kansas. Madeline Dixon very well could be Emma May’s aunt or older sister considering the cult began in 1952. And assuming Em’s the same age as Fiddleford and the Stan twins then we can assume vaaaaageuly that she’d be born in 1955. Meaning she’d be either growing up in that recovering environment or indoctrinated into it.

We can assume well enough then that she didn’t follow the cults teachings considering she seems well adjusted with her family, living in Palo Alto, but it also kinda reaffirms why she’d be so quick to throw divorce on the table once she sees Fiddleford’s memory wiped condition. That on top of we can only assume his behavior was alarming and erratic and a far cry from the personality of her husband that she was used to (especially when you consider bRO made a homicidal pterodactyl robot because he was so distraught and upset towards the idea of being divorced..like yeah man..that might solidify her decision my guy..)

But if she ever saw the symbol of Bill’s eye or anything in relation to him anywhere in Gravity Falls?? Especially the Society of the Blind eye symbol spray painted all over? After either learning to fear Bill or worship him in her upbringing depending on what their family did after the cult was disbanded? I wouldn’t blame her for high tailing it out of there and worrying for her and her sons life- (Fiddleford..Emma May..I am your biggest fans, but y’all have me bonkers sometimes) But also consider how most ex cult members naturally want to give the very opposite traumatic life that they lived to their child? If Emma May were to see semblances of what she relates to Ciphertology in Gravity Falls, I don’t have a hard time believing she was getting tF out of there for the sake of Tate’s well being & future

In short- hi, I now believe Emma May’s family was in a cult and the very idea of that will ruminate with me for awhile :D But also double hi?? Madeline DIxon looks vaguely similar to how I envisioned and draw my Emma May design? Coincidence, I think nOT :P

[blessthosewhocurseyou]

Character in an out of universe this is a story way did everything right - they were entertaining and served their narrative purpose

Character in an in universe way is an evil piece of trash who made the most evil choices at every turn

Immersion is all good but sometimes you will have better takes on the stories if you let yourself remember it was fiction for a few minutes

kill 'character did nothing wrong'. nurture 'character did everything wrong and i was whooping and cheering the whole time'

[villainvirus]

turn your back / hello world

[hyperions-light]

The Poison Fruit Ripens

#defendingtheending here we go

First of all mega super ultra spoilers for the ending teaser that Steam says like… 6% ? Of players have seen? So you’ve been warned. No cuts baby, it’s Miyazaki style

Okay, so it’s the Executors, and they’re probably coming across the sea in the next game (if EA doesn’t nuke BW), from what I can gather. I mean, this is fine from a lore perspective. All we knew about those people before is that 1) they are mysterious 2) they are from over there, across the ocean

And now they’re maybe connected to the revealed Qunari lore, which I am ! So excited to have! We already knew that the Qunari fled across the ocean for unspecified reasons, and that going back there was Not A Thing. But now we know that they left because of the (probably metaphorical?) Devouring Storm, which could be connected to the Executors. What are the odds that there are two separate Huge Bad Things Over There that both want to destroy Thedas? Probably is just one big thing— also the title Executor implies they are doing the bidding of someone else, so whatever the Qunari were talking about could be it. (They also talked about being agents of someone else’s will in the Inquisition War Table quest).

So the cinematic shows a bunch of our prominent villains from the previous games being influenced in some way by the Executors. Which I think people are upset about, but I think it’s fine because:

- They did not really specify the manner of influence. I would be annoyed if they retconned Loghain’s decision to leave Cailan on the battlefield because it makes him interesting, but they didn’t say that. They just said they influenced his decisions. They could have done that by stoking his paranoia about Orlais, or by planting Arl Howe to influence him after the battle. He did a lot of OOC stuff while he was King Regent, and this could be a chance to explain what didn’t make sense for his previously established character and was just put in there to make him seem Very Evil.

- They also were around some people doing a blood magic ritual… there weren’t enough of them to be the Magisters, technically, but that is usually what it looks like when we see them in DA art so I’m going to assume that’s them for now. I mean that’s wild if that’s what it is bc that was such a long time ago? Thee guys have really been playing the long game I guess

- The other person they directly influenced seems to be Bartrand, which is really easy because who the fuck gave him that damn map? We NEVER found out who pointed Bartrand to the Thaig! Someone did it, and they probably did it on purpose! It may as well be these guys

- the rest of the villains don’t get guys whispering to them, so I have to assume they mean to imply that they just set up the circumstances that would lead to these people gaining power. I mean someone sent the Carta to the Vimmark mountains, right? And there was like some weird demon there, too.

-So basically they’re just implying that these people have been manipulating events to make sure that shit in Thedas is hitting the fan all at once, which does kind of explain the frankly improbable number of world-ending events that have happened during the Dragon Age. I mean, three Blights, two Magisters, two Evanuris, Antaam invasion, major mage rebellion, Templar schism, and the death of the Southern Divine? It’s only been like 50 years!!! Before the Dragon Age there had only been four Blights since the Ancient Age! Shit does not normally happen this fast in Thedas

I think the phrase itself is pretty direct (also giving Southern Reach vibes). All this chaos they helped sew is reaching its culmination, and now they’re getting ready to cash in the chips. They’re coming to Thedas at the moment that all the great powers are at their weakest, when there’s basically no one to oppose them. Tevinter? Fucked. Qunari? No military anymore. Antiva? Haha! lol, even. Fereldan? Basically gone. Orlais? In shambles. Free Marches? Decimated. Anderfels? There’s like 100 Wardens left in a swamp. Nevarra? I actually don’t know, maybe the lichlords can do something. Maybe Rivain could field some token resistance if they didn’t get hit by the Antaam too badly, but that’s kind of it IMO. This is THE time to come in and conquer(?) the land, or whatever they’re trying to do. Kill everybody?? Turn them into Darkspawn? Who knows!

Some speculation about what could be done to repel invasion:

- shit ton of blood magic

- fix titans, wake them up??? But idk if they’d be into it

- adaari, but idk if there are that many

- people with dragon blood, like the Theirins, are maybe super special and can do things?

- pirates, baby!!! Woooooo!

- I guess Mythal could know something? She can see the future a bit

- dragon army! Dragon army!!

[comfort-questing]

crow's personal ranking of idioms about dead-ness, for whump purposes

"half dead." basic and classic, and can be used both actually and figuratively ("you look half dead" ie. we all know you didn't sleep last night). 6/10, not bad, points deducted for the frequency of figurative use where nothing actually happened to a character and they just need a nap

"more dead than alive." now we are committing to at least 51% dead, which is promising. I have never heard this used figuratively in a narrative so if someone says it about a character, they mean it. they looked, and dead was the predominant impression. good whump should be expected hereabouts. 8/10.

"dead on their feet." usually used for exhaustion, but honestly, a peak descriptor of exhaustion. 7/10 for that reason alone. we've all been there.

"all but dead." ...does anyone ever say this, or did I just come up with it? -/10 since I don't feel ethical rating it if I'm the only one who uses it

"threshold of death/on death's door/brink of death/verge of death" - dated but also, classic. a solid option overall, implying suspense, uncertainty of outcome. 5/10, nothing special but no complaints really

"looking like death" - equally appropriate for emotional or physical whump, but needs more detail to follow up so we know which one is meant. 4/10 in the abstract, due to ambiguity

"inches from death." have hated this one ever since I was a small crow, because it's usually used for narrow escapes - nearly stabbed, nearly crushed by a falling object, nearly bitten by the monster. emphasizes spatial arrangements to the detriment of actual effects. 2/10 since it can be used for whump, just rarely is

"dying" as an adjective describing a character. is it foreshadowing? is it a medical descriptor? it's probably foreshadowing, or else we're going to have a magical healing deus ex machina. either way, not a thing this crow is super into... 1/10, I'm sure it has potential though.

"left for dead" mmmmmmph... this one is underrated... implying either ruthless, targeted brutality, or perhaps callous abandonment by someone. either way, whump is inevitable to follow. 10/10. whumptober knew what they were doing picking that prompt, and every year I try to find a way to live up to its promise.

"deathly cold/deathly still" ... never out of place or out of style, a clear statement that something is very wrong, a sign of escalation of the situation. equally excellent for finding a teammate in a dungeon, or for checking in worriedly on a sick character in the middle of the night. next-level whump, and especially great for terrifying caretakers. 11/10.