#theory of love (2019) | Explore Tumblr posts and blogs

tsunodaradio · 13 days ago

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i hope this finds you well ⛐ 𝐎𝐏𝟖𝟏

“you’ll be bored of him in two years,” oscar says flatly, “and we will be interesting forever.” (or: 𝘵𝘩𝘦 𝘭𝘪𝘵𝘵𝘭𝘦 𝘸𝘰𝘮𝘦𝘯 𝘫𝘰𝘭𝘢𝘶𝘳𝘪𝘦 𝘢𝘶, 𝘸𝘩𝘦𝘳𝘦 𝘰𝘴𝘤𝘢𝘳 𝘪𝘴 𝘫𝘰.)

ꔮ starring: oscar piastri x reader. ꔮ word count: 10.2k (!!!) ꔮ includes: friendship, romance, angst. cussing, mentions of food & alcohol. references to greta gerwig's little women (2019), mostly set in melbourne, oscar's sisters are recurring characters. ꔮ commentary box: i've written way too much oscar as of late, so before i go on a self-imposed ban, i had to get this monster out. fully, wholly dedicated to @binisainz, whose amylaurie lando fic does this feeling go both ways? started all this. birdy, i love you like all fire. 𝐦𝐲 𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭

♫ let you break my heart again, laufey. we can't be friends (wait for your love), ariana grande. cool enough for you, skyline. do i ever cross your mind, sombr. bags, clairo. true blue, boygenius. laurie and jo on the hill, alexandre desplat.

Oscar Piastri is not the kind of boy who usually finds himself at house parties.

Especially not the kind with balloons tied to banisters, tables laden with sausage rolls and buttercream cupcakes, and a Bluetooth speaker hiccupping out the tail-end of some pop anthem. But here he is, cornered into attendance by his sisters—Hattie, Edie, and Mae—who’d all dressed up for the occasion and declared, in unison, that he had to come.

So he had. Because he was a good brother and an unwilling chaperone.

And now he’s bored.

Oscar stands near the drinks table, nursing a cup of lukewarm lemonade and trying to look vaguely interested in the streamers above the kitchen doorway. Hattie had already been whisked off to dance by someone in a navy jumper. Edie had found the girl who always brought homemade brownies to school. Mae was giggling wildly with a trio of kids Oscar vaguely recognized from the street down.

No one notices him lingering by himself. That suits him just fine.

Still, he can’t quite shake the restlessness crawling up his spine. The noise is too loud, the lights too warm. With a quick scan of the room and a glance over his shoulder, Oscar slips behind a long, velvet curtain that cordons off what seemed to be the study.

Except there’s already someone there.

He realizes it a moment too late, nearly landing on top of you.

“Oh my God—sorry!” he blurts out, practically leaping backward. His foot catches on the edge of the curtain and he stumbles a bit, arms flailing before catching the side of a bookshelf. His cheeks burn. “Didn’t see you. I didn’t think anyone else—sorry. Again.”

You blink up at him, wide-eyed, legs curled beneath you on the armchair he had almost sat on. There’s a half-eaten biscuit on a napkin beside you, and your fingers are wrapped around a glass of ginger ale. Contrary to everyone else at this godforsaken event, you’re not a familiar face.

“It’s okay,” you said, voice quiet. Accented. Affirming Oscar’s theory that you’re not a Melbourne native. After a pause, you tentatively joke: “You didn’t sit on me, so that’s a win.”

Oscar huffs out a laugh, scrubbing a hand over the back of his neck. “Yeah. Close call.”

The silence after is not awkward, exactly. Just shy. The two of you are tucked away behind a curtain, neither fully sure what to do next. Oscar takes the plunge first, figuring it’s the least he could do after intruding on your escape.

“I’m Oscar. Piastri,” he adds unnecessarily. He gestures vaguely toward the chaos outside. “Dragged here by my sisters.”

“I figured you were with the girls,” you reply amusedly. “I’m new. Just moved here a few weeks ago.”

Oscar’s brows lift. “So this is your introduction to the madness?”

“Pretty much.” You offer a sheepish shrug. “I don’t really know anyone, and pretending to be cool isn’t really my thing.”

“Mine neither,” he says quickly, maybe a bit too quickly. “Hence the hiding.”

That earns him a soft smile. It’s a pretty smile, Oscar privately notes.

He gestures to the empty bit of couch beside you. “Mind if I sit? Promise to check for limbs first.”

You shift slightly to make room. “Be my guest.”

He sits, careful this time, knees bumping slightly against yours as he settles. The party noise feels far away behind the curtain—muted like a dream. Oscar glances at you from the corner of his eye, curiosity bright beneath his awkwardness.

“Got a name, new kid?” he asks, because even though he had agreed that he doesn’t like feigning coolness, he’s still just a teenage boy with a god complex.

You tell him your name. He repeats it back to you, careful with the syllables like he’s folding them into memory.

A few more minutes pass, filled with idle chatter. You talk about your move, the weird smell of paint still lingering in your new house, and the fact that none of the cupcakes at this party have chocolate frosting, which is a tragedy. Oscar, in turn, tells you about his sisters. How Mae once tried to dye her hair green with a highlighter and how Hattie got banned from school discos after she snuck in a smoke machine.

The laughter between you is easy. Unforced.

Then you say it, maybe without thinking too hard. “We should dance,” you muse, finishing off the last of your biscuit.

Oscar freezes. His eyebrows shoot up, alarmed. “Dance? With me?”

“Unless you’d rather go back to pretending the streamers are fascinating.”

“I don’t dance with strangers,” he says, half-laughing, half-panicked.

“We know each other’s names now,” you point out. “That makes us not-strangers.”

With a beleaguered sigh and a scrunch of his nose, Oscar comes clean. “I’m bad at it,” he grumbles.

“Who cares?”

“My sisters. They’ll see. And I’ll never live it down.”

You purse your lips, tapping your glass lightly against your knee. Then, a spark lights in your eyes. It’s the kind that spells trouble; Oscar has seen it in his siblings’ faces, right before they do something so invariably stupid and reckless. “Come with me. I have an idea,” you urge.

He hesitates, a part of his brain screeching something like stranger danger! in flashing, neon lights. In the end, he follows.

You slip out through the back door, motioning for him to stay quiet as you lead him down the wooden steps and out onto the wrap-around porch. The party sounds are muffled here, only the faint thump of bass slipping through the walls.

“Out here,” you say, turning to him with an expectant grin. “Nobody to laugh. Just us.”

Oscar stares at you. “This is crazy.”

“Shut up and dance.”

And so he does.

Awkwardly, at first, because you start them off with wild moves and dance skills that are much more abysmal than his. It gives him the confidence to start swaying a bit, his laughter poorly stifled as he watches you flail like an octopus.

You take his hands, and he lets you spin him gently, sneakers squeaking against the porch boards. There’s no rhythm to it, not really. Just swaying and clumsy steps and the faint thrum of music in the background.

The porch light flickers above you, casting long shadows. Somewhere inside, someone cheers. But out here, it's just you and Oscar.

Two kids dancing badly and not caring.

“You’re a weird one,” he says with a smile that splits his face open.

“Takes one to know one,” you shoot back, fingers squeezing his as you twirl yourself through his arm. It’s a gross miscalculation and you end up stumbling, the two of you cackling as you attempt to detangle from the mess of limbs you’ve entangled each other in.

For the first time that night, Oscar thinks he might actually like this party after all.

Christmas morning in the Piastri household always comes with a sort of chaos—the kind born of slippers skidding across hardwood, sleepy giggles, and the rustle of wrapping paper long before the sun climbs properly into the sky.

This year, however, there’s something new. A wicker basket sits on the porch, ribbon-wrapped and dusted in the faintest layer of frost.

It’s heavy with gifts, each one handmade and meticulously labeled in curling script. Hattie, first to spot it, gives a shriek loud enough to wake the neighborhood. Within minutes, the whole family is gathered in the living room, the basket placed like treasure at the center.

“It’s from the new neighbors,” their mum announces, plucking a card from the basket. Her voice is touched with surprise and delight. “The old man and his granddaughter. Isn’t that sweet?”

Hattie unwraps a pair of knitted socks, blue and gold. Edie lifts out a jar of spiced jam. Mae discovers a hand-bound notebook. Each gift is simple but exquisite, the sort of thing you only receive from people who notice details.

“She’s the one who doesn’t talk to anyone,” Hattie says knowingly, curling her legs beneath her on the couch. You were in the same level as her, it seemed—a year below Oscar.

“That house is huge.” Edie glances out the window, towards your home. “Do you think her parents are loaded?”

“I heard they aren’t even around,” Mae whispers. “Just her and the grandfather. He looks ancient, though. Like, fossil ancient.”

“Girls,” their mum cuts in sharply. “That’s enough. They were kind enough to send gifts. We will be kind in return.”

Oscar, perched on the armrest of the couch, stays quiet through the speculation. His hands toy with the tag on his gift—a simple wooden bookmark, engraved with an amateur sketch of a stick figure dancing. He doesn’t say anything about the study, or the curtain, or the ginger ale.

But the memory floats to the front of his mind: the soft hush of the party behind a curtain, the brush of knees, your laugh when he had called you weird.

“We should make friends with them,” Oscar says finally, looking up. “It’s Christmas, after all.”

The girls pause. Hattie raises an eyebrow. “Since when do you care about new neighbors?”

He shrugs, trying not to look too interested. “Just saying. It wouldn’t kill us to be nice.”

Their mum smiles, pleased. “That’s the spirit.”

Oscar glances back down at the bookmark, running a thumb over the edge.

He finds your family acquainting with his soon enough.

On a sunny afternoon, right as Edie is pouring cereal into a bowl and Oscar is elbow-deep in the dishwasher, the home phone rings. Hattie picks up, listens for a moment, then calls out, “Mae’s at the neighbor’s. She fell off her bike.”

There’s a rush of clattering cutlery and footsteps, and in no time, Oscar finds himself trailing behind his sisters down the sidewalk, toward the big house next door—the one with the sprawling lawn and mismatched wind chimes on the porch.

When they arrive, Mae is perched on your front steps, a bandage already wrapped around her knee and a juice box in hand. She waves lazily as Hattie and Edie fall upon her with a dozen questions. Your grandfather, white-haired and kind-eyed, stands nearby, looking amused by the commotion. He introduces himself and ushers them all inside despite their protests.

Oscar hangs back for a moment until he spots you just behind the door, barefoot and half-hidden by the frame. You glance up, catch his eye, and grin.

“You again,” you say, stepping out onto the porch. “Is she alright?”

“Yeah, just scraped her knee,” Oscar replies, shoving his hands into the pockets of his hoodie. “Thanks for patching her up.”

“We had a pretty solid first aid game back at my old school. I’m well-versed in playground accidents.”

He chuckles, leaning against the porch railing. “That so? Must be a pretty rough school.”

“Brutal,” you agree solemnly. “There were snack thieves and dodgeball champions. It was a jungle.”

“Sounds terrifying.”

“It built character,” you say with mock seriousness, then flash him a grin. “Want to come in? I made too much lemonade.”

Oscar nods and follows you inside. The kitchen smells like lemon zest and fresh biscuits. Hattie and Edie are now harrowing your grandfather with questions about the old piano in the corner and whether the house is haunted. He answers everything with a twinkle in his eye, clearly enjoying the attention.

You hand Oscar a glass and settle across from him at the kitchen table. He takes a sip. “You weren’t lying,” he says through another swig. “This is good.”

“Of course not. I take my beverages very seriously.”

“You’re weird,” he says, but there’s no heat behind it.

“You keep saying that like it’s a bad thing.”

“I’m starting to think it might be a compliment.”

You clink your glass against his in cheers. He smiles, and something warm unfurls in his chest. A startling kind of certainty. Like something’s taking root—a real friendship, honest and surprising and entirely unplanned.

Oscar is surprised to find that he doesn’t mind.

It happens gradually, like most real things do.

You begin spending Saturday afternoons with the Piastri bunch, lounging on their back deck with Hattie and Edie, gossiping about the neighbors or watching Mae attempt increasingly dangerous trampoline flips. You get good at knowing who takes how many sugars in their tea, when to duck because Edie’s chucking a tennis ball, or when Oscar is about to try and quietly leave the room.

You’re there for board games on rainy days and movie nights on Fridays. You help Hattie with her French homework, braid Mae’s hair when her fingers get too clumsy with excitement, and lend Edie your favorite books. Their mum always saves you an extra slice of cake, and their dad asks how your grandfather’s garden is faring this season.

It starts to feel like you’ve always belonged there, wedged into the rhythm of their household like a missing puzzle piece finally found.

Oscar is often quieter than the others, but he’s still a constant. You and he become fixtures in each other’s orbit. Trading messages about school, tagging each other in silly videos, or sending one-word replies that only make sense to the two of you.

Despite being one year his junior, the two of you are close in a way that you aren’t with the girls. He swears it’s because he met you first, because the two of you have emergency dance parties and cricket watch parties that nobody else knows about.

He leaves for boarding school, and the absence sits awkwardly on both your chests at first. But he never really disappears. He always texts when he’s back. Always walks you home at least once before he has to leave again. Always makes you laugh, even when you don’t want to.

And then—one summer—he comes home and something’s different.

It isn’t dramatic. You don’t swoon. He doesn’t speak in slow motion. It’s just... subtle.

Oscar stands taller. His shoulders are broader. His voice has deepened slightly. There’s a small scar at the corner of his lip you don’t remember, and when he grins, it strikes you—how he’s grown into himself, soft and sharp all at once.

You catch him staring at you too, once or twice. Like he’s trying to recalibrate what he thought he knew. Your hair is a little longer, and your skin is tanned from all the days in the sun. He remembers the freckles; he doesn’t remember when they became so prominent.

But it never becomes a thing. You don’t talk about it. You fall back into your usual rhythm.

Because even if your faces are a little older, your banter is still quick and familiar. You still chase each other down the street. You still squabble over the last biscuit. He still rolls his eyes at you, and you still prod him for his terrible taste in music.

Whatever has changed, whatever is beginning to, you both keep it tucked away. For now, it’s enough just to have each other nearby.

It’s a fact Oscar remembers as digs his toes into the hot sand. His jaw is tight; he watches the waves break in even swells. The sun’s beating down hard, but he barely feels it. Not with the way his chest still burns from the shouting match earlier.

Hattie had stormed out of the house with her towel clutched like a shield, and Oscar had followed, only because everyone else was pretending like nothing had happened. His sisters always expected him to be the reasonable one, and today—he hadn’t been.

He’d snapped. Something petty. A dig at her choice of music in the car. Then something sharper about her always having to be right. And before he knew it, she’d looked at him like he was someone else.

He hadn’t apologized.

Now, he sits beneath the shade of a crooked umbrella, arms wrapped around his knees. He watches the group scatter across the sand and into the waves. Hattie’s already out with her board, paddling strong into the break like she’s trying to prove something. Edie is further down the shore, half-buried in a sandcastle war. Mae’s running between them, laughing.

You drop into the sand beside him, skin glinting from seawater, hair tied back and still damp. “You two going for the title of Most Dramatic Siblings today?” you ask, unsurprisingly up to date. Hattie probably told you all about it while the two of you were getting changed.

Oscar sighs, rubbing a hand over his face. “I was a bit of a tosser this morning,” he says dryly.

You nod, not offering him an out. Just letting the honesty settle.

“She’ll forgive you. Eventually,” you add. “You Piastris always find your way back.”

He tilts his head, watching you. The sunlight makes your nose wrinkle when you squint toward the water. Your shoulders have lost some of their shyness from when he first met you. You’ve become more sure of yourself, laughing louder, teasing easily. Comfortable. Confident. Certain.

He likes that.

The two of you sit in silence until Oscar stands, grabbing his board. “I’m going out.”

“Be nice,” you call after him, and he flashes a grin over his shoulder—tight but genuine.

In the surf, Oscar feels the tension bleed out with every push through the waves. The water’s cold and biting, salt sharp in his mouth. He catches sight of Hattie up ahead and paddles after her, trying not to let the guilt slow him down. Hattie notices him, grimaces, and rushes on.

Trying to prove something.

The waves pick up. Hattie catches one, standing briefly before wiping out. She resurfaces quickly, almost laughing, but Oscar watches her expression shift just moments later. There’s a sudden pull in the water, subtle but unmistakable. A riptide.

She paddles against it. Wrong move.

Oscar feels the fright hit like a tsunami.

He’s been scared before. Of course he has. He’s terrible when it comes to horror movies. He’s seen his karting peers fissure into pretty nasty accidents. But this, the fear of this, of his younger sister—

He starts shouting, but the wind carries his voice sideways. Instinctively, he glances to shore—and sees that you’re already running. Board abandoned, feet flying across wet sand. You make it to him in record time, that crazed look in your eyes mirroring his.

Together, you plunge into the surf. Oscar’s strokes are strong, slicing through the current. He reaches Hattie just as she starts to panic.

“Float! Don’t fight it!” you yell, coming up on her other side.

Oscar grabs her wrist, firm but steady. You’re on the other, speaking calm, clear instructions, guiding her body as the three of you angle sideways out of the current.

You’re the voice of reason; Oscar is the force that perseveres.

It’s slow. Exhausting. But eventually, the pull lessens.

You reach the shore heaving, salt-stung, and shaking. Hattie collapses onto her knees, coughing up seawater, and Oscar sinks beside her, heart hammering. His hands rest at her back, as if he’s scared she’ll go down under the moment he lets go.

Hattie says nothing at first. She just looks at him with wet, furious eyes.

It’s a look Oscar is used to seeing on Hattie’s face. They’re siblings. Of course they squabble, and they fight, and they know where to hit for it to hurt. Such was the curse and blessing of being a brother.

Underneath all that, though, Oscar goes back to two cardinal truths: Being the eldest, he made his mum and dad parents—but when Hattie came around, they made him a sibling.

And a sibling he would always be, come hell or high water.

“You didn’t even say sorry,” Hattie sputters, like that’s still the worst thing that has happened this afternoon.

Oscar can’t decide if he wants to cry or laugh. You hover nearby, giving them space. But not too much.

“I’m sorry,” he says, and it’s I’m sorry for picking a fight, and I’m sorry for being a bad brother sometimes, and I’m sorry I never taught you about riptides.

Hattie sniffles, then swats at him. “You better be.”

And that’s how they make up.

Later, as the sun begins to dip, casting everything in amber, Oscar finds you rinsing your arms at an outdoor shower.

“Hey,” he says, stepping close with your towel in his hands.

You look over your shoulder. “Hey.”

He shuffles awkwardly. With salt in his hair and gratitude tangled in his ribs, Oscar thinks there’s no one else he’d rather have next to him when the tide pulls under.

But there’s something deeper, something closer to guilt gnawing at him.

You sense it, in the same way you know when Oscar’s about to have a bad race weekend or when he’s overwhelmed with schoolwork. Stepping out of the shower, you take your towel, wrap it over your shoulders, and gesture at Oscar to follow you.

The two of you walk along the shore, away from where Edie is snapping photos of her sandcastle and Mae is reading some trashy romance novel. Hattie is passed out on a beach blanket, the excitement of the near-drowning taking the fight out of her.

“If she had died,” Oscar tells you, his tongue heavy as lead, “it would’ve been my fault.”

It’s the kind of thought he figures only you will understand. Not because you have any siblings of your own, not because you had been there, but because you’ve always read Oscar like he was a dog-eared book you could keep under your pillow.

“She’s fine, though,” you say delicately, but he’s started and he can’t stop.

“What is wrong with me?” A laugh escapes Oscar—the self-deprecating kind, one that grates more than the sand beneath your feet. “I’ve made so many resolutions and written sad notes and confessed my sins, but it doesn’t seem to help. When I get in a passion—”

A passion. A fit. With his siblings, with his mates, with you. He can’t count the amount of times his sarcasm has offended you. The instances where he’s made you cry, intentionally or not.

And when he’s racing. God, when he’s racing.

In a couple of months, he’s slated to join Formula 4. He has a stellar karting career behind him, one he can barely even remember—because he had seen red throughout it all. Oscar was clinical and cutthroat and cruel the moment he got behind a wheel, and a part of him worries that’s who he’ll always be.

A man who would stop at nothing to be at the top step of any podium. A boy who would insist on being right like his life depended on it.

“When I get in a passion,” he tries again, “I get so savage. I could hurt anyone and enjoy it.”

It’s a damning confession. The kind that could absolutely ruin and unravel Oscar. But he knows, he trusts that it’s safe in your hands. You hum a low sound like he hadn’t just bared his heart out for you to sink your claws into.

“I know what that’s like,” you say, and he has to do a double take.

“You?” He studies the side of your face, as if checking for insincerity. “You’re never angry.”

You’re annoyed with him often and you’ve got a hint of fire in everything you say. But there’s never been rage, never been the sort of flame that could incinerate. And so it shocks him all the more when you confess, “I’m angry nearly every day of my life.”

“You are?”

“I’m not patient by nature. I just try to not let it get the better of me,” you offer, glancing up at Oscar.

The two of you have come to a stop at the edge of the shoreline. Soon, you’ll have to get back to his waiting sisters. For now, though, he surveys your expression and finds nothing but the truth.

He files the facts away in that mental cabinet he has containing what he knows about you. Angry, nearly every day. And then he takes to heart the rest of your words, the roundabout advice of not letting it consume him.

The blaze in him stops roaring for a minute. With you, it’s like a campfire. Inviting and warm.

Better. You make him better.

“Look at us,” he says, tone almost awed. “After all these years, looks like I can still learn a thing or two from you.”

There’s something in your eyes that Oscar can’t quite place. You’ve always looked at him a certain way, but he could never really put a word to it. It’s tender and pained all at once; subtle, ultimately, buried underneath whatever he needs you to be at the moment.

“It’s what friends are for,” you respond, your voice catching on the word in the middle. He pretends not to notice.

Friends.

Oscar’s Formula 4 debut is everything he thought it would be.

The pressure, the lights, the nerves so sharp they buzz under his skin—it’s all there, and then some. He tries to soak in every second, from the chorus of engines roaring around him to the feel of the wheel under his gloved hands. But even with everything happening so quickly, even in the blur of adrenaline and pit stops, there’s still time for his thoughts to drift back home.

More specifically: To you.

It starts small. Just a notification that you’ve made a new post. A photo.

You with your boyfriend.

A guy Oscar’s met once, maybe twice. The sort of guy who plays guitar at parties and wears cologne that smells like department store samples. He isn’t bad—just doesn’t fit. Doesn’t match the version of you Oscar has always known. The one who once danced on a porch, hair a mess, daring him to keep up.

He doesn’t know what to do with the bitter feeling that curdles in his chest. You’re not his, per se. You’ve never been. But surely you could do better than this Abercrombie-wearing, Oasis-playing asswipe.

Summer arrives like it always does—hot and sprawling, with cicadas humming in the trees and long days that stretch lazily into nights. Oscar is home for a few weeks between races.

You’re still around, too. A little less, though, because your boyfriend is a demanding thing who insists he “doesn’t like Oscar’s vibe.” You fight for the friendship, citing it as a non-negotiable, and when Oscar finds out, he doesn’t even try to hide his smugness.

The two of you steal away one evening, climbing onto the roof of the Piastri house with cans of lemonade and a bag of sour candy. It’s tradition by now. The tin roof is warm beneath you, and the stars blink faintly above, a faded scattering against the navy sky.

You sit close, your shoulder brushing his every so often.

“You’ve changed,” you say, head tilted toward him.

“Have not.”

“You look taller.”

“I’ve always been taller.”

You laugh, a soft sound. “Okay. You’ve changed in a good way.”

Oscar bumps your knee with his. “So have you.”

The two of you are older, now, more accepting of the facts of life. Time is not your enemy. It’s just time. You’re still in school, and Oscar is still racing. Your paths have diverged, but the road home is one you both know like the back of your hand.

You go quiet, fiddling with the tab on your lemonade. He watches you closely, trying to read what you’re not saying. You’re nervous. He figures that much out from the fiddling. Nervous about what, though, he can’t—

“I want to run away with him,” you say suddenly.

Oscar stiffens. He wants to call you out for making such a stupid joke, for not having all your screws on straight. You go on, eyes fixed on the dark street below. “Doesn’t sound too bad. Eloping,” you muse. “I’ve never been one for big weddings, anyway.”

“Why?”

“Why don’t I like big weddings?”

“No, stupid. Why the sudden plan of eloping?”

“Because I love him.”

He looks at you, really looks at you, the slope of your cheek in the half-light, the determination behind your words. It doesn’t sit right. This isn’t you. You make rash decisions, but none so life-altering. Not anything that would give your grandfather grief, and most especially not anything that would disclude Oscar.

“You’ll be bored of him in two years,” Oscar says flatly, “and we will be interesting forever.”

You don’t respond right away. Instead, you let the words hang between you. Those two things could co-exist. Your love for this loser (Oscar’s word; not yours), and the fact that there was nothing in the world that could electrify quite like your friendship with Oscar Piastri.

He doesn’t know where this is coming from. He hadn’t realized this would be so serious, that he’d been away long enough for you to start considering marriage with what’s-his-face.

“I don’t expect you to know what it’s like, Oscar,” you say eventually. “To want to be shackled.”

And there it is.

You’ve always supported Oscar’s career. You have years worth of team merchandise for all his loyalties; you’ve been there for every race that mattered, each one that you could make.

But you were also selfish in ways that his family wasn’t. You got moody whenever he had to go away after breaks. You made snide comments about him always being the one who leaves. He’s grown to tolerate that petulance, to take in stride your fears of him failing to come back in one piece.

For the first time ever, Oscar feels what you do. And, God, it doesn’t feel good.

“I just hate that you’re thinking of leaving me.” The words are past his lips before he can reel them in.

It sounds desperate, so unlike him, that he understands the shock that flits across your face. There’s a split-second where he sees a hint of anger, too, like you’re mad at Oscar for being honest, for saying all this after his redeye flights and janky timezones.

He goes on, because what’s the point of backing down now? “Don’t leave,” he presses.

“O…”

You’re the only one who calls him that. O. OJ, when you’re feeling playful—Oscar Jack. He’s teased you time and time again about not falling back on Osc, as if you were desperate to carve out a nickname that belonged to you and you alone.

“God,” he interrupts, eyes turning skyward, as if the stars might hold answers. “We’re really not kids anymore, huh?”

You were kids together. Now, you’re teenagers—young adults. Complicated, messy. Entangled in more than limbs and waves.

“Our childhood was bound to end,” you say, and then you reach out to put a hand on his knee. He considers joking something like Careful, your boyfriend might try to pick a fight and you know I have a mean left hook, but then you might come to your senses and pull your touch away.

He doesn’t say anything more, and neither do you. You just sit there on the roof, side by side, listening to the quiet hum of summer and the distant echoes of who you used to be.

You break up with your boyfriend sometime in early spring, citing incompatibility in a text that Oscar reads while lying flat on the floor of his hotel room in Baku.

He blinks at the message, reads it twice, and then tosses his phone across the bed. The relief that floods through him is disproportionate, almost unsettling. He chalks it up to instinct. Or something like that.

He tells himself it’s just the same feeling he gets when Edie starts seeing some guy from her literature elective, a summer not too long after you joked about eloping. Maybe it’s the older brother in him, wanting to be protective of the women in his life.

That’s what he’s muttering to himself when you catch him scowling at Edie’s date from across the local food park. He was chaperoning once again, though this time Edie had banished him to hang out with you while she was making heart eyes at this lanky transfer student.

“I thought you’d be pleased,” you tease Oscar, popping a chip into your mouth.

Oscar doesn’t look away from where Edie is laughing at something the guy just said. “At the idea of anybody coming to take Edie away? No, thank you.”

You smirk. “You’ll feel better about it when somebody comes to take you away.”

He finally glances at you, one brow raised. “I’d like to see anyone try.”

“So would I!” you shoot back, grinning as you sip your soda. Oscar’s withstanding singleness was something the two of you joked about often, even though he always reasoned that he was busy. Busy with racing, busy with family, busy with you. “That poor soul wouldn’t stand a chance.”

Oscar opens his mouth to reply, but then you pull a cigarette from your coat pocket. It’s a thing you picked up since you got to uni, and Oscar’s frown deepens at the sight of it. At your audacity. Before you can light it, he snatches it from your fingers.

“Oi!” you protest.

He waves it out of your reach. “None of that.”

“Says who?”

“Says me.”

You lunge for it, but he’s already up and jogging backward, the cigarette held aloft in triumph. You chase after him with a string of cusses, half-laughing, half-serious, and Edie and her date pause to watch you and Oscar bolt down the street like kids again—legs flailing, shouts echoing against the sidewalk.

“Are they—?” Edie’s date asks, and the Piastri girl only heaves out a sigh.

Oscar doesn’t stop until he hits the corner, chest heaving from laughter. You skid to a halt beside him, hair wild in the wind, eyes bright. The cigarette’s long gone, tossed in a bin somewhere behind them.

“That was expensive,” you whine.

“More incentive for you to quit it, then,” he responds.

You glare up at him. He rubs a knuckle into your hair, his free hand snaking to your pocket to grab the rest of the pack. You screech profanities as he bins it, but he makes it up to you with a meal of your choosing. It takes a sizable chunk out of the racing salary he sets aside for leisure, but you’re unrepentant and he’s wrapped around your finger.

You’re both older now. But sometimes, it still feels like nothing’s changed at all.

Albert Park is golden in the late afternoon.

The sun spills through the treetops, casting shadows across the path as Oscar kicks absently at a stray pebble, hands buried in his jacket pockets. You’re walking beside him, careful to match his pace even as his strides grow longer with whatever is bubbling up inside him.

A new year. A new contract. A new team, new plan, new person he has to be.

“It’s all happening so fast,” he mutters. “The Renault thing. Tests. Travel. They said it’s everything I ever wanted—and it is, it is—but I can’t stop feeling like I’m coming apart.”

You glance at him, brows furrowed. “Coming apart how?”

Oscar raises one shoulder in a shrug. He doesn’t know how to explain himself, but you’ve always had this philosophy that helped him be more honest around you. Say it first, you’d say. Backtrack later.

“I’m just not good like my sisters,” he blurts out, reaching and settling for a familiar comparison that might make him more comprehensible. “They’re—Hattie’s top of her class, Edie’s already talking uni offers, Mae’s got that whole ‘brightest light in the room’ thing. And me? I’m angry, and I’m restless, and I drive fast cars because I don’t know how to sit still.”

“You don’t have to be, O.”

He lets out a dry laugh. "Why? Are you about to tell me that I’m patient and kind, that I do not envy and I do not boast?"

You stop walking. He does too, when he notices.

You’re just a step or two behind him, the afternoon sun bathing you in a light that practically rivals the warmth you radiate. But there’s something so utterly stricken on your expression, something so undeniably raw that Oscar feels everything click into place.

The look on your face is one his parents sometimes give each other. He’s seen it in movies, seen it in the photos of his mates with long-term relationships. It’s the expression you’ve given him for years, and years, and years, and he feels like the world’s biggest fool for missing all the signs.

“No,” you say softly, denying him of his cruelty, of his failures. You think of him like that—patient, kind, humble.

The makings of a person who deserves—

Oscar begins to shake his head, saying, “No. No.”

“It’s no use, Oscar,” you say, your fingers curling into fists at your sides, and that’s his first sign that this is really about to happen. Not O, not Piastri, not any of the dozen annoying nicknames you’ve assigned him over the years.

“Please, no—”

“We gotta have it out—”

“No, no—”

Your conversation overlaps. It’s a twisted kind of waltz, as if the two of you are out of tune and out of step for the first time in your lives. Oscar starts pacing. Like he might somehow be able to run from what’s about to come.

You barrel on. “I’ve loved you ever since I’ve known you, Oscar,” you breathe, following his panicked steps. “I couldn’t help it, and I’ve tried to show it but you wouldn’t let me, which is fine—”

“It’s not—”

“I’m going to make you hear it now, and you’re going to give me an answer, because I can’t go on like this.”

He flinches, takes a half-step back. Tries to say your name with more of those despairing please, don’ts, which fall on deaf ears.

You step toward him like the whole park is tilting and he’s the only thing keeping you upright. The words pour out too quickly now, too long held back. Years worth of yearning, bearing down on an unassuming Saturday.

“I gave up smoking. I gave up everything you didn’t like,” you say. “And I’m happy I did, it’s fine. And I waited, and I never complained because I—”

You stutter, swaying on your feet like the weight of your next words was too heavy for you to shoulder. You soldier through like a champion; that’s why Oscar listens, hears them out, even though they rip through him as if he’s crashed right into a wall.

“You know, I figured you’d love me, Oscar.”

A damning confession. The kind that should be safe in Oscar’s hands, but his fingers are shaky and his eyes are wide and he thinks he’s going to die, then and there, over how absolutely heartbroken you look that he’s not agreeing with you immediately. That his love was something vouchsafed, a promise for a later time.

“And I realize I’m not half good enough,” you whimper, “and I’m not this great girl—”

“You are.” Helplessness wrenches the words out of Oscar’s chest. It’s the same emotion that has him surging forward, his hands darting out to hold your shoulders and keep you upright, keep you looking at him. “You’re a great deal too good for me, and I’m so grateful to you and I’m so proud of you. I just—”

He falters. You gave him your honesty, so he fights to give you his.

“I don’t see why I can’t love you as you want me to,” he confesses. “I don’t know why.”

Your voice gets impossibly smaller. “You can’t?”

His eyes close, just for a moment, before he answers. “No,” he says slowly, each word measured against your frantic ones. “I can’t change how I feel, and it would be a lie to say I do when I don’t. I’m so sorry. I’m so desperately sorry, but I just can’t help it.”

You step back; his hands fall to his sides. The distance opens like a wound.

“I can’t love anyone else, Oscar,” you say dazedly. “I’ll only love you.”

“It would be a disaster if we dated,” Oscar insists. “We’d be miserable. We both have such quick tempers—”

“If you loved me, Oscar, I would be a perfect saint!”

He shakes his head. “I can’t. I’ve tried it and failed.”

And he has. He’s had sleepovers with you, wondering what it might feel like to wrap his arm around your waist. He had once contemplated holding your hand during a movie. He figured it would be a given; no one would bat an eye. You and Oscar.

Except his heart had never fully gotten the memo, and now he pays the price for only ever being able to love the thrill of a race.

Your voice catches on your next words. “Everyone expects it,” you say in a ditch attempt to change his mind. “Grandpa. Your parents, your sisters. I've never begged you for anything, but—say yes, and let’s be happy together, Oscar.”

“I can't," he repeats, each syllable heavy. “I can’t say yes truly, so I’m not going to say it at all.”

The evening light keeps on glowing. The world doesn’t end. But you feel like it might've anyway, and he’s right there in that boat with you. You’re willing to settle for scraps, while Oscar refuses to give you half-measures. The silence between you stretches taut, pulling thinner and thinner until it threatens to snap.

“You’ll see that I’m right, eventually,” he says. Like he believes it will make the truth hurt less. “And you’ll thank me for it.”

You laugh bitterly. “I'd rather die.”

He looks like you slapped him. “Don’t say that.”

You’re walking, now, your pace quick as you hurtle down the park pathway with the vengeance of a woman scorned. He calls your name and follows, keeping a sizable distance between you should you not want him too close.

“Listen, you'll find some guy who will adore you, and treat you right, and love you like you deserve,” he pleads, skidding in front of you and forcing you to do a full stop. “But— I wouldn’t. Look at me. I’m homely, and I’m awkward, and I’m mean—”

“I love you, Oscar,” you say, as if you’re savoring the first and last times you will get to say the words.

He goes on. He can’t answer that, can’t say anything to those words. “And you’d be ashamed of me—”

“I love you, Oscar.”

“And we would always fight. We can’t help it even now!” He rakes a hand through his hair. “I’ll never give up racing, and you’ll have to hide all your vices, and we would be unhappy. And we’d wish we hadn’t done it, and everything will be terrible.”

He gasps for air. You blink back the sting in your eyes. “Is there anything more?” you ask.

He meets your gaze, and finds nothing there but rightful heartbreak. “No,” he murmurs. “Nothing more.”

You shoulder past him. He tilts his head back and eyes the sky for a moment, praying to be struck down by any higher power that exists. “Except that—” he starts, and you turn around so fast.

You turn, retracing your steps, and the guilt wells up in him like a faucet that had burst. He realizes—you think he’s going to take it back. You think it’s going to be a … but I love you instead of an I love you, but…

“I don’t think I'll ever fall in love,” he manages. “I’m happy as I am, and love my liberty too well to be in any hurry to give it up.”

Your expression crumples. “I think you’re wrong about that,” you sigh.

“No.”

You shake your head, slowly. “I think you will care for somebody, Oscar. You’ll find someone, and you’ll love them, and you’ll live and die for them because that’s your way and your will.”

Oscar’s way. Oscar’s will. Two things he’s believed in wholeheartedly, until they’ve both failed him. Failed you.

You take a step back. The anger you once claimed to always have is somewhere, there, beneath all the hurt and the love. Oscar sees it, now. All of it; all of you.

“And I’ll watch,” you add.

Oscar will love someone— and you’ll watch.

The wind rustles the leaves above. A bird sings somewhere in the distance. But all you hear is the sound of something breaking open, and bleeding between you.

The deep and dying breath of the love you’d been working on.

Oscar doesn’t see you much after that night in Albert Park.

You’re still around, still next door. He hears you laughing with Hattie, helping Mae with a school project, or chatting idly with his mum over the fence. But it’s not the same. Something fundamental had shifted.

He tries. God knows he tries. He greets you when he sees you on the street. Makes light jokes. Keeps it easy, breezy, friendly. But every conversation feels like a performance, a pale imitation of what it used to be.

He’d broken both your hearts. He knows that too well.

Oscar doesn’t tell anyone, not even Hattie, who always had a sixth sense for these things. He lets you control that narrative; he’s sure you’ll tell his sisters, and they’ll all have something to say. Surprisingly, none of them bring it up. He wonders if that’d been your condition with them, and he is grateful, and he is angry, and he is so, so sorry.

He channels everything into racing. He throws himself into his training, enough that it gets him trophies and podiums and a contract with a frontrunning team.

His dream—the one he’d chased his whole life—is here.

And it’s everything he ever wanted. Almost.

A few days before he’s due to fly out for testing with McLaren, he finds himself in the backyard, watering the garden with Mae. She’s picking mint leaves with the same dramatic flair she does everything. He doesn’t notice when she says your name until the silence that follows makes him realize he’s been staring blankly at the hose.

You have a part-time job now, Mae had said. Oscar knows. Not from you. Rarely does he know anything about you from you nowadays. He watches your life in fifteen Instagram stories, in the Facebook posts of your grandfather. He hears about you from his parents and whichever of his sisters is feeling particularly brave that day.

It’s so sudden, his urge to be honest. And so, for the first time since what happened in the park—he lets himself speak his mind.

“Maybe I was too quick in turning her down,” he says, voice low. Contemplative.

Mae looks up from the mint. She looks a bit surprised, like she hadn’t expected to be the one to get Oscar to finally crack after over a year of dancing around the topic.

“Do you love her?” she asks outright.

He fucking hesitates.

His throat feels dry.

“If she asked me again, I think I would say yes,” he says instead, his gaze fixed on the poor tomato plant now drowning in water. “Do you think she’ll ask me again?”

From the corner of his eye, he sees Mae straighten. She brushes her hands against her jeans and stares straight at him, willing him to look at her. “But do you love her?” she repeats, and he knows it’s not a question he’s going to escape.

“I want to be loved,” Oscar admits. The words taste like copper.

Mae doesn't flinch. “That's not the same as loving. If you wanted to be loved, then get a fucking fan club,” she spits.

Her voice is firm, but not cruel. It lands with the weight of care disguised as exasperation. And Oscar feels so much, then, but above all he feels gratitude that his sisters love you like one of their own. Their fierce protectiveness of your welfare—in the face of Oscar’s indecision—knocks some much-needed sense into him.

“You’re right,” he says quietly.

“She deserves more than piecemeal affection, Oscar,” Mae adds, softening. “You can’t go halfsies with someone like her.”

Oscar knows his sister is right.

Something aches in his chest, then. He can’t tell if it’s loneliness or the shape of losing you, still carved somewhere in his chest. Beneath the ache of what he turned away is the terrible fear that he never really understood what he was saying no to.

“I won’t do anything stupid,” he promises Mae.

Later that afternoon, Oscar is pouring himself a glass of water in the kitchen when movement catches his eye through the window. He turns and sees you biking past with Hattie. Your carefree laughter carries across the breeze, light and familiar. Your hair catches the sun.

You glance up and see him. There’s a pause. Beyond the cursory small talk, the two of you haven’t really talked much this break. He understands why you need your space., and so he never presses, never pushes.

Even though he can’t help but think of how a pre-confession you might have reacted. How you would’ve ditched your bike and slammed into the house, demanding he pour you a drink, too. Or how you would’ve goaded him into a race until the two of you were spilling onto the pavement, all breathless laughter and skinned knees.

As it is, all Oscar gets is a polite smile and a half-wave. He doesn’t know if it’s a hello or a goodbye.

He raises his hand, waves back. He watches until you disappear around the corner.

And then he keeps watching, long after you’re gone.

To: [email protected] From: [email protected] Subject: Stupid stupid stupid

I hope this email finds you well.

Actually, I hope it never finds you. This is a bit stupid. A lot stupid. But I’ve just had my first proper testing and I wanted to text you about it, except I wasn’t sure how you might feel to hear from me. I reached for my phone, opened our text thread, and then decided to fake an email to you instead.

You’re right. It’s definitely more orange than papaya.

And Lando Norris is not so bad. I think you’d like him. But not like like him. I’m not sure, actually. We could find out. Or not.

This is stupid. Bye.

— O. (McLaren Technology Centre)

---

To: [email protected] From: [email protected] Subject: I don’t know what to call this one

Hey,

Doha's airport smells like cleaning chemicals and tired people. I watched a family fall asleep upright on a bench. The dad had his hand curled around the kid's backpack like he was scared someone would run off with it. I don't know why I'm telling you this.

Maybe because it's 2AM and I'm tired and I can't sleep on planes unless you're next to me. Which is stupid, because you were never on that many flights with me. But the ones you were? I slept like a rock.

I hope you're well. I hope you're sleeping.

—O. (Doha International Airport)

---

To: [email protected] From: [email protected] Subject: New Year

Happy New Year.

I watched the fireworks from the hotel rooftop. I wish I was back in Melbourne, but stuff made it not-possible.

It was cold. Everyone had someone to kiss. I had a glass of champagne and a view.

You came to mind. You always do when things start or end. I'm starting to think that's what you are to me. The start and the end.

Love, O. (Hotel de Paris Monte-Carlo)

Edited to add: It was midnight when I wrote all that stuff. I’m rereading it now, hungover at the breakfast buffet. Guess I can be a bit of a romantic too, huh? Although I think it’s only ever with you.

---

To: [email protected] From: [email protected] Subject: You're in my dreams

I dreamed about you again. You were wearing that ridiculous jacket you got on sale for $5, the one you claimed made you look mega. You did not look mega. You looked like someone lost a bet.

You hugged me and told me everything would be okay. Then I woke up and it wasn’t.

I know I don’t get to tell you this anymore, but I miss you.

—O. (Tokyo Bay Ariake Washington Hotel)

---

To: [email protected] From: [email protected] Subject: Hahaha

I heard someone with your exact laugh. Turned my head so fast I nearly gave myself whiplash.

It wasn’t you.

You’d tease me for how dramatic that sounds. You always said I was a little too sentimental for a boy who liked going fast.

Still thinking of you.

—O. (Silverstone Circuit)

---

To: [email protected] From: [email protected] Subject: If I had said yes…

Sometimes I think about what would have happened if I’d said yes that day in Albert Park.

I don’t know if we would’ve worked. Maybe we would have burned bright and fast and hurt each other in the end. Or maybe we would’ve grown into each other like roots. I don’t know. I just know I still think about it.

And that’s not fair. And I would never tell a soul. I just

wonder.

Sometimes.

Always your O. (Yas Marina Circuit)

The glitch hits sometime between 2 and 3 a.m. local time.

Oscar doesn’t notice at first. He’s still jet-lagged from the flight from Abu Dhabi, half-awake on his phone in bed, replying to a team manager's message. It's not until he opens his inbox to forward a document and sees the string of outbox confirmations—all with your name in the recipient line—that he realizes something is very, very wrong.

His breath catches.

He stares at the screen for a long, stunned moment before scrambling up from bed, heart in his throat. He checks the Sent folder. It’s all there. Every last one. The emails he never meant to send.

They'd been his safekeepings. His way of getting through the ache without adding more weight to yours. Some were barely a few sentences; others pages long. And all of them, every last word, are now sitting in your inbox like little bombs waiting to go off.

He Googles it with trembling fingers. Gmail glitch sends drafts.

He sees the headlines flooding in. Tech sites confirm that a rare global sync error had triggered thousands of unsent drafts to be sent automatically. They call it “an unprecedented failure.” Users are up in arms. Memes are already spreading.

Oscar wants to fucking hurl.

He’s home for the winter holidays. Back in Melbourne, back in his childhood room with the familiar creak in the floorboard by the desk. And you—you’re just next door.

You. With those emails.

He covers his face with both hands, dragging his palms down slowly.

“Holy shit,” he mutters to himself.

There’s no escape to this. Just the silent, inescapable weight of every unsaid thing now said. Every truth, every maybe, every I thought of you today signed off with hotel names and airport codes and times when he was still trying to figure out how to stop missing you.

And now you know. Every word of it. Every selfish, unfair thought that he didn’t deserve to have about you, not after he’d ripped your heart right out of your chest.

He peeks out the window before he can stop himself. Your lights are on.

For some reason, Oscar is reminded of the book you had been so obsessed with as a child. The classic Great Gatsby; the millionaire with his green light at the edge of the dock. Oscar never really cared much for the metaphor of it until now, until he stares at the filtered, warm light streaking through your curtains like it’s something he will forever be in relentless pursuit of.

But then your light flickers off, and Oscar stumbles back down to his bed.

You’re going to sleep, he realizes with a breath of relief. He sinks into the mattress with a thousand curses against modern technology.

Oscar tells himself he’ll talk to you tomorrow. Explain everything. Try to salvage what’s left of the peace you’ve both learned to live in, however shaky and distant it is. He’ll explain that he didn’t send them on purpose. That he’s sorry. That he didn’t mean to—

A soft knock at the window makes him bolt upright.

He hasn’t heard that sound in years. Not since you were kids and the ladder in his backyard was your shared secret.

His breath catches. He doesn’t move right away.

He has to be dreaming, he thinks dazedly, but then he hears it again. Three quick taps. A familiar rhythm.

Oscar throws the covers off and crosses the room in two strides. He pulls the curtain aside.

You’re standing on the top rung of the ladder, and he briefly contemplates making a run for it again.

Instead, he throws the window open. You climb in without a word, landing on the floor of his bedroom with the same ease you always had. You’re in cotton pajamas with a hastily thrown-on hoodie, which—whether you remember or not—had been one of Oscar’s from years and years ago.

“It’s the middle of the night,” he breathes.

“And you’re in love with me,” you say without preamble.

Accusation. Question.

Fact?

Oscar is frozen like a deer caught in headlights. You’re staring up at him, searching, with that same matchstick flame of anger that has carried you through life so far.

When he doesn’t immediately counter you, you go on. “Do you love me because I love you?” you ask, and the question knocks the wind out of Oscar.

“No,” he says quickly. “It’s not like that.”

He— he would never forgive himself, if his affection for you was nothing more than an attempt at reciprocation.

You stare at him through the darkness. “Why, then?” you press, because of course you deserve to know why.

His throat works around the answer. It’s a confession that’s been in the making for more than a year. In some ways, it’s been there since he almost sat on you at that damn house party. The words tumble out of him, overdue but not any less sincere.

“I love you because you’re a terrible dancer,” he says, “and you know how to swim against riptides, and you’re the person I think of when I’ve had a bad free practice and when I'm on the top step of a podium. I love you. It just took me a little while to get here, but I do.”

“O,” you start. He’s not ready to hear it.

He steps back, as if to give you space he should’ve offered long ago. “I don’t expect you to have waited,” he says hastily. “I would never—I would never ask you to reconsider, not when I know the type of person I am and how much time it took for me to get here.”

“Oscar.”

“But I love you. I don't know how not to.”

The room is silent, but it feels like it holds the weight of a thousand words left unsaid. The ones he wrote.

You remind Oscar, gently, of what you said in Albert Park those many years ago. “I can’t love anybody else either,” you say, your eyes never leaving his face even as he begins to panic, starts to retreat.

He swallows hard, his throat moving with the effort. “I should have realized sooner,” he babbles. “I should’ve known. I—”

You reach out, your hand slipping into his. “Don’t. Don’t do that.”

It feels so good—your fingers in between the spaces of his. He wishes he could appreciate it more, but his race-brain has kicked in, and he’s suddenly not the calm, cool, and collected Oscar that everybody in the world think they know.

No, he’s your Oscar. The one who’s a little bit of a wreck. The one who is always racing away from something.

“I wasn’t kind,” he says, voice tight. “I let you go. I thought I was doing the right thing. and maybe I did, but it still hurt you. It ruined everything.”

“We’re here now,” you say simply. “That means something, doesn’t it?”

“What if we ruin what’s left? What if it doesn't work?”

You smile at him, soft and sure. “Then it doesn’t. But I don’t think we’ll fail.”

“I’m still homely, and awkward, and—”

Mean, he meant to say, but then you’re pressing your lips against his.

It silences all his fretting, all his guilt. For a second, he doesn’t move, stunned into stillness, and then he kisses you back like he’s falling into something he’s wanted his whole life but never believed he could have. Like he can’t breathe unless he's doing this, unless he’s kissing you.

When he’s more sane, when he’s less panicked, this is something the two of you will talk about. He knows that.

In this very moment, though, he can only watch his sharp edges dull; the fury of his rage, extinguish. The softness of your understanding, the kindness of your patience, the gentleness of your kiss. It’s all he wanted, all he needs.

His hands frame your face, hesitant, reverent, like he can't believe you’re really here with him. That you waited. That you still want him.

In his head, he makes a promise: If he must hit the ground running, he will make sure it’s towards you.

When the two of you pull back for air, you murmur teasingly against his lips, “Your emails found me well.”

He giggles, a short, incredulous sound, before kissing the laughter right out of your mouth. ⛐

#oscar piastri x reader #oscar piastri x you #oscar piastri imagine #oscar piastri fluff #oscar piastri fic #f1 x reader #formula 1 x reader #formula 1 imagine #f1 imagine #f1 x you #formula one x you #⛐ op81 #⛐ kae prix #felt like i just birthed this fic .. whew .. tappin out for now!!

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lilybug-02 · 4 months ago

Text

I'm gonna THEORY CRAFT for a second about Animator vs Animation 11. Because there's something SUPER WEIRD I've noticed about the way camera shots are orchestrated in recent animations. Specifically about -

THE LAPTOP SCREEN.

And even more specifically what Alan (and the real world) may look like to the stickmen.

We've known for a while now that 3D space was possible outside of the Laptop since AvA 7 (March 11, 2019).

But the camera angle on the Laptop has always been in 2D space until very recently!

Our first introduction to a 3D environment in Alan's Desktop was Green's Influencer Arc (Uploaded Sept 7, 2024).**

(Look how insanely massive the inside of the laptop looks now.)

But throughout the entire Influencer Arc the camera was NEVER pointed towards the outside of the laptop, to the real world. It is always tilted so that we can't see it.

((And even more weird in this Green's video, is which the left most wall is covered a solid white, whereas, us - the audience - can see through this wall when looking through the screen. wth is happening))

--------------

Our most recent scene of a 3D Laptop space (as of writing this) is in AvA 11, where Victim is drawn and killed.

Again, the outside world, through the screen, is never shown. Although we do get extremely close with Mitsi's Creator. But it's coincidentally obscured by the internet explorer window.

--------------

And last of all- the thing that got me really questioning this camera choice - is something I noticed back in AvA 10 (Nov 4, 2023). When The Chosen One is having his memory scanned, he purposefully causes the screen to blur as he enters Alan's Laptop. (You have to put it in .5 speed to really notice.)

And guess what The Chose One does the second he gets to Alan's laptop. He stares daggers at Alan.

--------------

So what does this mean?

It means the camera is being specifically shot at angles to never address how the Stickfigures see Alan and the rest of the world.

And what does that mean???

I HAVE NO IDEA. But I kinda hope it's leading up to a scene where we DO see the stickfigures addressing it. BECAUSE HOLY HELL THAT WOULD BE SO SICK.

..........

Wait-**

Wait wait wait wait wait-

This ACTUAL SHORT from August 2023 shows the screen??? Are you fricking serious.

I am going to explode now <3. --------

Nah, in all seriousness, I would still LOVE to see the camera angle change for dramatic effect in the "main series". Because it just feels like the hints are leading up to it. ❤️❤️❤️ I'm really enjoying the series either way and was having fun theorizing here :)

_______________________________________________

And don't even get me started on why almost all animations/stickfigures are oblivious to Humans or strait up don't know about them. LIKE- wtf are all these posters

"Are We Being Watched?", "Tiles in the Sky", "What's Beyond Our World?", "Origins of the Stick Figure"

DUDE WHAT THE HELL. Are Alan's stick figures the only ones who've seen humans??? Do any other stickmen know humans created them? Ahhhhhhh

#bread #fan theory #ava theory #ava #avm #animator vs animation #animation vs animator #i dont know what to tag #ava victim #ava the chosen one #ava tco #ava the second coming #ava tsc

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radiopixelctive · 6 months ago

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yeah so uh happy halloween guys

also

i got smth for ye @forgettable-au

that's right! DTIYS

So er by the waaay i got smth to tell you

ahem

NNGNHGHGHJDJSJSJDJCJFJCJJCNCNFNDJSKFKMDMSMEKLLLLLSKSK WHY YOUR DINGS IS SO "😼

i love him HES SILLY /VPOSSSDSS

the AU in general is so sick i swear especially since imma huge Papyrus fan since um 2019 i guess (i remember those forbidden days. oh. the Fell x Lust "boom boom boom boom i want u in my room" meme.. The Papyrus mischaracterizing and underratedneeeeeess aaahh.....)

the theory is SO GOOD ACTUALY mmmMMM yum. love it

OH AND YEAH your art style is sick. like. for real. its so badass its so 🔥🔥🔥🔥🔥🔥

#yeah #forgettable au #forgettabledtiys #pixel art #papyrus #gaster #undertale #undertale au

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planckstorytime · 4 months ago

Text

Dragon Age: The Veilguard: Strangled by Gentle Hands

*The following contains spoilers*

“You would risk everything you have in the hope that the future is better? What if it isn’t? What if you wake up to find the future you shaped is worse than what was?”

– Solas, Dragon Age: Inquisition (2014)

I. Whatever It Takes

My premium tickets for a local film festival crumpled and dissolved in my pants pocket, unredeemed as they swirled in the washing machine. Throughout that October weekend in 2015, I neglected my celebratory privileges, my social visits to friends, and even my brutal honors literary theory class. All because a golden opportunity stretched before me: a job opening for a writing position at the once-legendary BioWare, with an impending deadline.

The application process wasn’t like anything I’d seen before. Rather than copy+paste a cover letter and quickly swap out a couple of nouns here and there, this opening required me to demonstrate my proficiency in both words and characters – namely, BioWare’s characters. Fanfiction wasn’t normally in my wheelhouse – at the time, I had taken mainly to spinning love sonnets (with a miserable success rate). But I wouldn’t balk at this chance to work on one of my dream franchises – especially since the job prospects for fresh English BAs weren’t exactly promising. So, I got to work crafting a branching narrative based on the company’s most recent title: Dragon Age: Inquisition. Barely two months prior, I saw the conclusion of that cast’s story when the Inquisitor stabbed a knife into a map and swore to hunt her former ally, Solas, to the ends of the earth. Now it was my turn to puppeteer them, to replicate the distinct voice of each party member and account for how they’d react to the scenario I crafted. And if it went well, then maybe I’d be at the tip of the spear on that hunt for Solas. Finishing the writing sprint left me exhausted, but also proud of my work.

The folks at BioWare obviously felt differently, because I received a rejection letter less than a week later. Maybe they found my story trite and my characterization inaccurate, or maybe they just didn’t want to hire a student with no professional experience to his name. Regardless, I was devastated. It wouldn’t be until years later that I learned that, had my application been accepted, I likely would’ve been drafted into working on the studio’s ill-fated looter shooter, Anthem (2019), noteworthy for its crunch and mismanagement. My serendipitous rejection revealed that sometimes the future you strive to build was never meant to match your dreams. What seemed like an opportunity to strike oil actually turned out to be a catastrophic spill.

Still, my passion for the Dragon Age series (as well as Mass Effect) persisted in the face of BioWare’s apparent decline. I maintain that Inquisition is actually one of the studio’s best games, and my favorite in the series, to the point where I even dressed up as Cole for a convention one time. The game came to me at a very sensitive time in my life, and its themes of faith vs falsehood, the co-opting of movements in history, and the instability of power all spoke to me. But I will elaborate more on that at a later date. My point is, I held on to that hope that, in spite of everything, BioWare could eventually deliver a satisfactory resolution to the cliffhanger from their last title. Or perhaps it was less hope and more of a sunk cost fallacy, as an entire decade passed with nary a peep from Dragon Age.

As years wore on, news gradually surfaced about the troubled development of the fourth game. Beginning under the codename “Joplin” in 2015 with much of the same creative staff as its predecessors, this promising version of the game would be scrapped two years later for not being in line with Electronic Arts’s business model (i.e. not being a live-service scam). Thus, it was restarted as “Morrison”. The project cantered along in this borderline unrecognizable state for a few years until they decided to reorient it back into a single-player RPG, piling even more years of development time onto its shaky Jenga tower of production. Indeed, critical pieces were constantly being pulled out from the foundations during this ten year development cycle. Series regulars like producer Mark Darrah and director Mike Laidlaw made their departures, and the project would go on to have several more directors and producers come and go: Matthew Goldman, Christian Dailey, and Mac Walters, to name a few key figures. They eventually landed on John Epler as creative director, Corinne Busche as game director, and Benoit Houle as director of product development. Then came the massive layoffs of dozens of employees, including series-long writer Mary Kirby, whose work still made it into the final version of DA4. Finally, the game received a rebranding just four months before release, going from Dreadwolf (which it had been known as since 2022) to The Veilguard (2024) – a strange title with an even stranger article.

Needless to say, these production snags did not inspire confidence, especially considering BioWare’s been low on goodwill between a string of flops like Anthem and Mass Effect: Andromeda (2017) and, before that, controversial releases like Dragon Age II (2011) and Mass Effect 3 (2012). The tumult impacted The Veilguard’s shape, which scarcely resembles an RPG anymore, let alone a Dragon Age game. The party size is reduced from four to three, companions can no longer be directly controlled, the game has shifted to a focus on action over tactics a la God of War (2018), the number of available abilities has shrunk, and there’s been a noticeable aesthetic shift towards a more cartoonish style. While I was open to the idea of changing up the combat (the series was never incredible on that front), I can’t get over the sensation that these weren’t changes conceived out of genuine inspiration, but rather vestigial traces from the live-service multiplayer iteration. The digital fossil record implies a lot. Aspects like the tier-based gear system, the instanced and segmented missions, the vapid party approval system, the deficit of World State import options, and the fact that rarely does more than the single mandatory companion have anything unique to say on a quest – it all points to an initial design with a very different structure from your typical single-player RPG. The Veilguard resembles a Sonic Drive-In with a mysterious interior dining area – you can tell it was originally conceived as something else.1

That said, the product itself is functional. It contains fewer bugs than any previous game in the franchise, and maybe BioWare’s entire catalog for that matter. I wouldn’t say the combat soars, but it does glide. There’s a momentum and responsiveness to the battle system that makes it satisfying to pull off combos and takedowns against enemies, especially if you’re juggling multiple foes at once. Monotony sets in after about thirty or forty hours, largely due to the fact that you’re restricted to a single class’s moveset on account of the uncontrollable companions. Still, this design choice can encourage replay value, as it does in Mass Effect, and free respec options and generous skill point allocations offset the tedium somewhat.

While the character and creature designs elicit controversy – both for the exaggerated art direction and, in the case of demons and darkspawn, total redesign – the environmental art is nothing short of breathtaking. I worried that this title would look dated because of how long it had been in development and the age of the technology it was built upon. Those fears were swiftly banished when I saw the cityscapes of Minrathous, the cyclopean architecture of the Nevarran Grand Necropolis, or the overgrown ruins of Arlathan. But like everything in The Veilguard, it’s a double-edged sword. The neon-illuminated streets of Docktown, the floating citadel of the Archon’s Palace, and the whirring mechanisms of the elven ruins evoke a more fantastically futuristic setting that feels at odds with all three previous titles (even though all three exhibited a stylistic shift to some extent). It aggravates the feeling of discordance between this rendition of Thedas and the one returning players know.

All of these elements make The Veilguard a fine fantasy action-adventure game – even a good one, I’d say. But as both the culmination of fifteen years of storytelling and as a narrative-based roleplaying game – the two most important facets of its identity – it consistently falls short. Dragon Age began as a series with outdated visuals and often obtuse gameplay, but was borne aloft by its worldbuilding, characterization, and dialogue. Now, that paradigm is completely inverted. The more you compare it to the older entries, the more alien it appears. After all these years of anticipation, how did it end up this way? Was this the only path forward?

Throughout The Veilguard’s final act, characters utter the phrase “Whatever it takes,” multiple times. Some might say too many. I feel like this mantra applied to the development cycle. As more struggles mounted, the team made compromise after compromise to allow the game to exist at all, to give the overarching story some conclusion in the face of pressure from corporate shareholders, AAA market expectations, and impatient fans. Whatever it takes to get this product out the door and into people’s homes.

This resulted in a game that was frankensteined together, assembled out of spare parts and broken dreams. It doesn’t live up to either the comedic heights or dramatic gravity of Inquisition’s “Trespasser” DLC from 2015, despite boasting the same lead writer in Trick Weekes. Amid the disappointment, we’re left with an unfortunate ultimatum: It’s either this or nothing.

I don’t mean that as a way to shield The Veilguard from criticism, or to dismiss legitimate complaints as ungrateful gripes. Rather, I’m weighing the value of a disappointing reality vs an idealized fantasy. The “nothing”, in this sense, was the dream I had for the past decade of what a perfect Dragon Age 4 looked like. With the game finally released, every longtime fan has lost their individualized, imaginary perfection in the face of an authentic, imperfect text. Was the destruction of those fantasies a worthy trade? It doesn’t help that the official artbook showcases a separate reality that could’ve been, with a significant portion dedicated to the original concepts for Joplin that are, personally, a lot closer to my ideal vision. I think it would’ve done wonders to ground the game as more Dragon Age-y had they stuck with bringing back legacy characters, such as Cole, Calpernia, Imshael, and the qunari-formerly-known as Sten.

I don’t necessarily hate The Veilguard (I might actually prefer it to Dragon Age II), but I can’t help but notice a pattern in its many problems – a pattern that stems from a lack of faith in the audience and a smothering commitment to safety over boldness. As I examine its narrative and roleplaying nuances, I wish to avoid comparing it to groundbreaking RPGs such as Baldur’s Gate 3 (2023) or even Dragon Age: Origins (2009), as the series has long been diverging from that type of old-school CRPG. Rather, except when absolutely necessary, I will only qualitatively compare it to Inquisition, its closest relative.

And nowhere does it come up shorter to Inquisition than in the agency (or lack thereof) bestowed to the player to influence their character and World State.

II. Damnatio Memoriae

No, that’s not the name of an Antivan Crow (though I wouldn’t blame you for thinking so, since we have a character named “Lucanis Dellamorte”). It’s a Latin phrase meaning “condemnation of memory”, applied to a reviled person by destroying records of their existence and defacing objects of their legacy. In this case, it refers to the player. When it comes to their influence over the world and their in-game avatar, The Veilguard deigns to limit or outright eliminate it.

Save transfers that allow for the transmission of World States (the carrying over of choices from the previous games) have been a staple of the Dragon Age and Mass Effect franchises. Even when their consequences are slight, the psychological effect that this personalization has on players is profound, and one of many reasons why fans grow so attached to the characters and world. At its core, it’s an illusion, but one that’s of similar importance to the illusion that an arbitrary collection of 1s and 0s can create an entire digital world. Player co-authorship guarantees a level of emotional investment that eclipses pre-built backgrounds.

However, The Veilguard limits the scope to just three choices, a dramatic decrease from the former standard. All import options come from Inquisition, with two just from the “Trespasser” expansion. One variable potentially impacts the ending, while the other two, in most cases, add one or two lines of dialogue and a single codex entry. Inquisition, by contrast, imported a bevy of choices from both previous games. Some of them had major consequences to quests such as “Here Lies the Abyss” and “The Final Piece”, both of which incorporated data from two games prior. The Veilguard is decidedly less ambitious. Conspicuously absent options include: whether Morrigan has a child or not, the fate of Hawke, the status of the Hero of Fereldan, the current monarchs of Fereldan and Orlais, the current Divine of the southern Chantry, and the individual outcomes of more than two dozen beloved party members across the series. Consequently, the fourth installment awkwardly writes around these subjects – Varric avoids mentioning his best friend, Hawke, as does Isabela ignore her potential lover. Fereldan, Orlais, and the Chantry are headed by Nobody in Particular. Morrigan, a prominent figure in the latest game, makes no mention of her potential son or even her former traveling companions. And the absence of many previous heroes, even ones with personal stakes in the story, feels palpably unnatural. I suspect this flattening of World States into a uniform mold served, in addition to cutting costs, to create parity between multiple cooperative players during the initial live-service version of Morrison. Again, the compromises of the troubled production become apparent, except this time, they’re taking a bite out of the core narrative.

Moreover, the game’s unwillingness to acknowledge quantum character states means that it’s obliged to omit several important cast members. At this point, I would’ve rather had them establish an official canon for the series rather than leaving everything as nebulous and undefined as possible. That way at least the world would’ve felt more alive, and we could’ve gotten more action out of relevant figures like Cassandra, Alistair, Fenris, Merrill, Cole, and Iron Bull. Not to mention that The Veilguard’s half-measure of respectful non-intereference in past World States ultimately fails. Certain conversations unintentionally canonize specific events, including references to Thom Rainier and Sera, both of whom could go unrecruited in Inquisition, as well as Morrigan’s transformation into a dragon in the battle with Corypheus in that game’s finale. But whatever personal history the player had with them doesn’t matter. The entire Dragon Age setting now drifts in a sea of ambiguity, its history obfuscated. It feels as gray and purgatorial as Solas’s prison for the gods.

Beyond obscuring the past, The Veilguard restrains the player’s agency over the present. When publications first announced that the game would allow audiences to roleplay transgender identities and have that acknowledged by the party, I grew very excited – both at the encouraging representation, and at the depth of roleplaying mechanics that such an inclusion suggested. Unfortunately, The Veilguard offers little in roleplaying beyond this. The player character, Rook, always manifests as an altruistic, determined, friendly hero, no matter what the player chooses (if they’re offered choices at all). The selections of gender identity and romantic partner constitute the totality of how Rook defines themselves, post-character creation – exceptions that prove the rule of vacancy. Everything else is set in stone. The options presented are good, and should remain as standard, but in the absence of other substantive roleplaying experiences, their inclusion starts to feel frustratingly disingenuous and hollow, as if they were the only aspects the developers were willing to implement, and only out of obligation to meet the bare minimum for player agency. In my opinion, it sours the feature and exudes a miasma of cynicism.

Actual decisions that impact the plot are few and far between, but at least we have plenty of dialogue trees. In this type of game, dialogue options might usually lead to diverging paths that eventually converge to progress the plot. You might be choosing between three different flavors of saying “yes”, but as with the World States, that illusion of agency is imperative for the roleplaying experience. The Veilguard doesn’t even give you the three flavors – the encouraging, humorous, and stern dialogue options are frequently interchangeable, and rarely does it ever feel like the player is allowed to influence Rook’s reactions. Relationships with companions feel predetermined, as the approval system has no bearing on your interactions anymore. There are so few moments for you to ask your companions questions and dig in deep compared to Inquisition. Combined together, these issues make me question why we even have dialogue with our party at all. Rook adopts the same parental affect with each grown adult under their command, and it feels like every conversation ends the same way irrespective of the player’s input. With the exception of the flirting opportunities, they might as well be non-interactive cutscenes.

Rook’s weak characterization drags the game down significantly. With such limited authorship afforded to the player, it’s difficult to regard them as anything more than their eponymous chess piece – a straightfoward tool, locked on a grid, and moving flatly along the surface as directed.

III. Dull in Docktown

On paper, a plot summary of The Veilguard sounds somewhere between serviceable and phenomenal: Rook and Varric track down Solas to stop him from tearing down the Veil and destroying the world. In the process, they accidentally unleash Elgar’nan and Ghilan’nain, two of the wicked Evanuris who once ruled over the elven people millenia ago. With Solas advising them from an astral prison, Rook gathers a party together to defeat the risen gods, along with their servants and sycophants. Over the course of the adventure, they uncover dark truths about the origins of the elves, the mysterious Titans, and the malevolent Blight that’s served as an overarching antagonistic force. Eventually, Rook and friends join forces with Morrigan and the Inquisitor, rally armies to face off with their foes, and slay both the gods and their Archdemon thralls before they can conjure the full terror of the Blight. As Solas once again betrays the group, Rook and company have to put a decisive stop to his plans, which could potentially involve finally showing him the error of his ways.

The bones of The Veilguard’s story are sturdier than a calcium golem. Problems arise when you look at the actual writing, dialogue, and characterization – the flesh, blood, and organs of the work.

I’ve seen others chide the writing as overly quippy, but that better describes previous titles. Rather, I think The Veilguard’s dialogue is excessively utilitarian and preliminary, like a first draft awaiting refinement. Characters describe precisely what’s happening on screen as it’s happening, dryly exposit upon present circumstances, and repeat the same information ad nauseum. This infuriating repetition does little to reveal hidden components of their personalities, or their unique responses to situations. You won’t hear anything like Cole’s cerebral magnetic poetry or Vivienne’s dismissive arrogance. Many exchanges could’ve been uttered by Nobody in Particular, as it’s just dry recitation after recitation. It almost feels like watching an English second language instructional video, or a demonstration on workplace safety precautions. Clarity and coherence come at the cost of characterization and charisma.

Words alone fail to make them interesting. Most companions lack the subtlety and depth I had come to expect from the franchise, with many conversations amounting to them just plainly stating how they’re feeling. Most rap sessions sound like they’re happening in a therapist’s office with how gentle, open, and uncomplicated they feel. Compare this to Inquisition, where every character has a distinct voice (I should know, I had to try to copy them for that stupid application), as well as their own personal demons that it betrays: Sera’s internalized racism, hints of Blackwall’s stolen valor, Iron Bull’s espionage masked by bluster, or Solas’s lingering guilt and yearning for a bygone age. These aspects of their characters aren’t front and center, but things the audience can delve into that gives every moment with them more texture. The Veilguard’s companions lay out all their baggage carefullly and respectfully upfront, whether it’s Taash’s multiculturalism and gender identity issues or Neve’s brooding cynicism towards Tevinter’s underbelly. You’ve plumbed the depths of their personas within the first few minutes of meeting most of them.

Small exceptions exist. Professor Emmerich Volkarin stands out from the rest of the cast as a particularly inspired character: a charming, Vincent Price-like necromancer. His attachment to tombs and necromancy as a way to cope with his crippling fear of death makes for curiously compelling melodrama. The way in which he ultimately has to face his fear – either by foregoing his opportunity for immortality to save his beloved skeletal ward, Manfred, or by allowing his friend to pass on so that he can transcend into a new type existence – rises above the other binary choices in the game by being both narratively interesting and legitimately difficult to judge. Still, I feel Emmerich’s whole “lawful good gentleman necromancer” conceit, while a unique and clever subversion of tropes, would’ve worked better if it actually contrasted with anyone else in the party. Instead, the whole crew is full of unproblematic do-gooders who are forbidden by the game to nurture any meaningful interpersonal conflict. While I’d appreciate this lack of toxicity in my real-life relationships, fictional chemistry demands more reactive ingredients.

The Veilguard’s developers frequently positioned the game as “cozy” and about a “found family”, but I can guarantee you that there’s more tension at my Thanksgiving dinners than there is anywhere in this title. This family would get along swimmingly even during a presidential election. The thing about the “found family” trope is that it’s more satisfying when it’s earned. Here, it represents the default state, the starting point, and the status quo that they will always return to. Any minor squabbles (Harding wanting to sleep in the dirt, Emmerich taking too many books on a camping trip, Taash not liking necromancy) are introduced and squashed within the same scene. They all feel so extraneous. There’s so little friction among the companions here that you’d think it disproves Newton’s Third Law. The previous games never struggled in this regard, which makes the choices here all the more baffling.

Beyond the intra-party dynamics, characters lack grit or darkness to them – even when the narrative absolutely calls for it. Remember how I described the necromancer as lawful good (to use traditional Dungeons and Dragons alignments)? Yeah, that’s every character. Even the demonic assassin. Lucanis is a notorious hitman possessed by a demon of Spite, and possibly the weakest character of the game. This may or may not be due to the fact that his writer, Mary Kirby, was laid off mid-development. Regardless, he has noticeably less content than the other party members and generally feels unfinished. The demonic possession storyline goes nowhere; he doesn’t exorcise Spite, nor does he learn more about it or how to live with it. Instead, Spite is just an excuse to give Lucanis cool spectral wings (which he will use to fail several assassination attempts). The demon itself mostly just comes across as rude rather than threatening. The biggest issue, however, stems from the absence of any edge to Lucanis. When confronting his traitorous cousin, Ilario – the man who sold out Lucanis’s family to an enemy faction, kidnapped his grandmother, and made multiple attempts on his life – our grizzled, hardened assassin, pushed to the brink, demands… due process. Seriously, if your choices have led Lucanis to have a hardened heart, his method for dealing with the grievous traitor is sending him to jail. That’s The Veilguard’s idea of vindictive brutality among a clan of unforgiving murderers-for-hire. By contrast, Inquisition features Sera insubordinately murdering a stuck-up nobleman for talking too much. I believe that if modern BioWare had written The Godfather (1972), it would’ve ended with Michael Corleone recommending his brother-in-law to attend confession and seek a marriage counselor.

The writers seem intent on making the cast wholly unproblematic, with no way that the audience could ever question their morality or taste the delicious nuance of seeing someone you like do something bad. Measures were taken to child-proof every aspect of the good guys so that they couldn’t possibly be construed as anything else – even if it constricts them to the point of numbness and eventual atrophy.

To make things as palatable and accessible as possible, the language itself was dumbed down. Characters make frequent use of neologisms and bark phrases like “Suit up,” or “These guys go hard.” It emulates popular blockbuster superhero stuff rather than staying true to the diction the series traditionally employed. It’s all about the team, and the entire Dragon Age world has been stripped down into simplistic conflicts and recognizable stock characters.

This is why The Veilguard’s story largely fails. Despite being ostensibly being about the characters, they come off as an afterthought. Most of the time, only the sole requisite follower has anything to say on a given mission. Even in combat, their wholeness as fully-implemented party members falls short of expectations. Their damage output pales in comparison to the Rook’s, they have no health and cannot be downed in battle, and they mainly exist to give the player three extra ability slots. That’s the game’s true ethos for the companions, whether in combat or dialogue – utility, tools to make things happen rather than elegantly crafted identities. We end up with the largest amount of content per companion among any game in the franchise, only to have the weakest roster.

I know these writers can do better, because I’ve seen them do better. Trick Weekes wrote Iron Bull, Cole, and Solas in Inquisition, as well as Mordin Solus and Tali’Zorah in Mass Effect 2 (2010) and Mass Effect 3. Mary Kirby wrote Varric throughout the series, as well as Sten and Loghain in Origins. Plenty of other experienced writers, such as Sylvia Feketekuty and John Dombrow also contributed, so I can’t put any of the blame on a lack of skill. I don’t know if the mistake was trying to appeal to a wider audience, or if the constant reorientations of the DA4 project drained the crew’s passion and left them lacking in time to polish things.

I personally suspect that the writers had to rush out a script for all of the voiced dialogue. A video from August of 2020 showed off the voice actors for Davrin and Bellara, more than four years before the final game’s release. I think the codex entries, letters, and missives that you find throughout the game, which consist of only text, are much better written than the dialogue. My theory is that the writers had more time to revise and spruce up these tidbits, where edits were minimally invasive, as far as production is concerned. But my knowledge is limited; after all, BioWare rejected my application almost a decade ago.

Still, there are aspects of The Veilguard’s plot that I enjoy. The lore reveals were particularly satisfying2, and many felt rewarding after a decade of speculation. I called that elves were originally spirits, as well as the connection between the Archdemons and the Evanuris, but I wouldn’t have guessed that the Blight formed out of the smoldering rage of the Titans’ severed dreams. I’d concisely describe The Veilguard’s story as the opposite of Mass Effect 3: Whereas ME3 did excellent character work, the characterization in The Veilguard leaves much to be desired. Whereas ME3’s tone was overwhelmingly grim, The Veilguard feels inappropriately positive. Whereas ME3’s lore reveals ruined much about the series’s mystique, The Veilguard’s helped tie the setting’s history together. And whereas ME3 fumbled the ending about as much as it possibly could, The Veilguard actually coalesces into a spectacular third act.

While I think the twist with Varric’s death is weak (outright pitiful compared to the Dread Wolf twist of Inquisition), the actual events that make up the finale carry a momentum and urgency that the rest of the game severely lacked. Everything from the sacrifice and kidnapping of Rook’s companions to the slaying of Ghilan’nain to the awe-inspiring battle between the Dread Wolf and Archdemon Lusacan – the whole affair takes the best parts of Mass Effect 2’s Suicide Mission and elevates it to the scale of an apocalyptic series finale. Ultimately, Solas takes center stage as the final antagonist, and the drama crescendos to a height the rest of the game desperately needed. He remains the most interesting character in the game and perhaps the franchise, and thankfully, the resolution to his story did not disappoint me (though I would’ve preferred the option for a boss battle against his Dread Wolf form if the player’s negotiations broke down). So in that sense, I think the worst possible scenario was avoided.

But is that really worth celebrating? Averting complete disaster? Exceeding the lowest standards? In many regards, The Veilguard still could have been – should have been – more.

IV. A World of Tranquil

In my essay on Final Fantasy VII: Rebirth (2024), I briefly discussed a trend in media to sand off the edges so as not to upset the audience in any way. The encroachment of this media sanitization seems to be an over-correction to the brimming grimness of late 2000s and early 2010s fiction (to which the first two Dragon Age titles belong), which earned comparable levels of criticism. Like Solas, I occasionally feel trapped in a cycle of regret, where it feels like our previous yearning for less aggressive, mean-spirited content led to a media landscape that prioritized patronizingly positive art. Now it’s clear to me that, in order to have a point, you need to have an edge.

Dragon Age historically drew a very progressive audience, and many of them congregated around Tumblr in that website’s heyday. Tumblr has garnered something of a reputation for overzealous discourse and sensitivity among its userbase, and I think that the developers of The Veilguard, in an attempt to cater to one of their core audiences, may have misunderstood both that passion and the fundamental appeal of their products. They became so concerned about optics, about avoiding politically charged criticism, that they kneecapped their world-building, rendering it as inoffensive and sterile as possible. It’s not so much “PC culture” as it is “PG culture.”

To that end, the various governments, factions, and societies of Thedas lost their edge. Dragon Age previously presented itself as anti-authoritarian by showcasing the rampant abuses of power across all cultures. Whether it was the incarceration of mages under the Chantry, the slavery practiced by the Tevinter Imperium, the expansionist anti-individualism of the Qun, the restrictive dwarven caste system, or the rampant racism against elves, social strife abounded in this world. I think that’s one thing that drew so many marginalized fans to the series. But the correlation of fictional atrocities with those of real life frequently prompted volatile discourse, with many concerned about how allegedly allegorized groups were being represented. You began to see countless essays pop up by folks who use the phrase “blood quantum” more than any healthy person should for a setting about wizards. BioWare responded to this by making Thedosian society wholly pleasant and the people in power responsible and cool and the disparate cultures tolerant and cooperative. If nothing’s portrayed negatively (outside of the cartoonishly evil gods), nobody can take offense, right?

For starters, the Antivan Crows have gone from an amoral group of assassins to basically Batman. These figures, which previously purchased children off slave markets to train them into killers, are now the “true rulers” of Antiva, by which the official government derives its authority. The Crows in The Veilguard stand against the insurgent qunari army as heroes of the common folk. They’re not an unscrupulous faction that Rook is reluctantly forced to ally with for the greater good; no, the Crows are simply good guys now. When the pompous governor of Treviso rails against them, with such audacious claims as “assassins and thugs should not represent the citizenry,” we’re meant to laugh at the governor’s foolishness. The unintentional implication this sends is that lethal vigilantism and unchecked power are cool because the people who use it are cool and stylish. The slave trade goes unacknoweldged; Antivan children want to grow up to be assassins now. The Crows never do anything wrong in The Veilguard – the governor is later revealed to be cooperating with the invaders for their own power. BioWare avoids the unpleasantness inherent in the Crows’ concept by pretending it never existed.

Perhaps more ridiculous is the Lords of Fortune, a new faction of pirates and treasure hunters based out of Rivain. Except they don’t really do piracy or treasure hunting. The game goes to lengths to ensure that the audience knows that the Lords don’t steal important cultural artifacts from any of the tombs and ruins they raid. What do they steal, then? There is no such thing as an ethical treasure hunter – plundering indigenous sites for souvenirs is inherently problematic – but the writers wanted to reap the appeal of adventurous swashbucklers without any of the baggage, regardless of whether it makes sense or not3. It comes across as a child’s idea of a pirate: they’re not thinking about the murder and looting, just the funny men with eye-patches who say “ARRR!” The developers want us to like the Lords of Fortune, and to that end, they can’t do anything culturally insensitive – even fictional disrespect toward a made-up culture. This is doubly amusing because the Lords are represented by Isabela from Dragon Age II. The same Isabela that kicked off a war with the qunari by stealing their holy book, the Tome of Koslun. This irony goes unacknowledged by the game.4

When these rogue buccaneers aren’t busy giving land acknowledgments to displaced Dalish elves or whatever, they’re enjoying their nonviolent coliseum. Pirates revel in bloodsport, but only so long as no actual blood is spilled. The Lords refuse to fight prisoners or animals in their arena, as they find such acts too cruel. I guess they’re all big Peter Singer readers. Instead, they summon spirits to adopt the visages of common enemies so that the player can kill them with a clean conscience. It’s another example of wanting to have your cake and eat it too – they wanted to create a glory hunter/gladiator faction, but couldn’t stand the underlying implications of such. So they twisted and bent them to fit into their unproblematic paradigm, leaving the Lords flavorless and lame. They barely even contribute to the main story, and they’re practically the only look we get into Rivaini society (which remains criminally underdeveloped).

More tragic is the handling of the qunari, once one of the most unique and nuanced civilizations in the Dragon Age setting. The Qun, as portrayed in the first three installments, is a society that demands all of its composite parts work in harmony. Thus, they have predetermined vocations for their children, rigid gender roles, strict codes of conduct, and an ambition to “enlighten” the rest of the world. While the Qun has often been presented as antagonistic toward the heroes, the series has commonly balanced its portrayal by showing how seductive its absolutism can be for people without hope. In some cases, life under the Qun is preferable, as is the case with former Tevinter slaves. Conformity becomes comfort when the world is regularly threatening to split apart.

The Veilguard opts for a different approach. See, Rook’s not fighting members of the Qun in this game – they’re fighting the Antaam, the former qunari military. The Veilguard constantly reiterates that the Antaam, which makes up one of the three branches of the Qun, has broken off and decided to invade, pillage, and stoke chaos. BioWare didn’t want the questionable morality and complexity of fighting an invading people from a humanized, multi-faceted culture, so they removed their culture. Their efforts to turn the non-Western-coded qunari into something digestible for their mistaken conception of a modern audience instead results in two caricatures: one being a fetishized, perfect society where there are no perceivable social ills; and the other a bunch of rampaging brutes.

Contending with a realized conception of Plato’s Republic mixed with the Ottoman Empire makes for more compelling drama than a horde of murderous giants. Again, BioWare wanted to have it both ways, and they still needed nameless, faceless orcs to kill. So every bit about the qunari’s militancy, imperialism, and repression coexisting alongside some of their more progressive ideas and communal unity is stripped of its context and meaning. Blame is placed solely on the Antaam, who no longer represent (and retroactively, never represented) the Qun’s ideology. It’s a cowardly compromise, attempting to pin the blame of all the Qun’s failings on a renegade military and seeking to exonerate the political and social apparatuses of their culpability.

At one point, a minor character named Seer Rowan lectures to an ignorant human (a proxy for the audience absorbing these retcons) that qunari society has always been egalitarian in practice, with mages enjoying freedom there. Previous games showed that the qunari shackle their “saarebas” mages, stitch their mouths, cut out their tongues, and teach them to commit suicide if they ever stray from their masters. However, we’re now assured that this is only practiced under the Antaam, and No True Qunari would ever do such a thing. Ignore the fact that, in Inquisition, we witness the enslaved saarebas under the supervision of the Ben-Hasserath, a subdivision of the Ariqun (i.e. not part of the Antaam). In fact, the Antaam that Rook fights in The Veilguard never command saarebas at all. They’re completely absent from the game (likely because the image of the bound, mutilated minority was too much for The Veilguard’s sensibilities). Seer Rowan’s weak, conciliatory retcon can’t even justify itself in its own game. The scolding diatribe communicates an intrinsic misunderstanding of the Qun by the writers – namely, it continues the pattern established with the Antivan Crows that the mechanics of power in society are fundamentally good as long as aberrant forces aren’t in charge. While I understand the desire to be conscientious about the portrayal of fictional cultures that draw upon non-Western traditions and iconography (which have historically been demonized in media), glamorizing the Qun and stripping it of its realistic nuance does little to alleviate any problems with representation. If anything, it creates new ones.

But hey, now we have our faceless orcs to guiltlessly slaughter. That’s what the Antaam’s been reduced to, bereft of the ideology that made them people. We kill them because they’re strange and scary and foreign and seeking to destroy our cities for fun. They remain the most prominent representation of the qunari in-game, barring our party member Taash. BioWare’s attempts to reverse what they viewed as problematic components to the qunari instead devolved into the very tropes they wished to avoid.

Which leads us to the elves. Much of the series’s discourse has surrounded the portrayal of the long-suffering elven people, who endure slavery under Tevinter, expulsion from their homeland in the Dales, confinement in ghettos, and the general disdain from other races. The games’ stories use symbolic shorthand of real-life oppressed peoples to communicate these tragedies, and this has led to a variety of intense, emotional interpretations over the years. The unending misery of the systematically marginalized elves hasn’t gone unnoticed by the fanbase – and their criticisms haven’t gone unnoticed by the developers. To quote The Veilguard’s creative director, John Epler, in an interview with Polygon:

“Dragon Age has not always been the kindest to the Dalish [elves]. Somebody once made a joke to me, and it’s not untrue, that it’s possible to wipe out a Dalish clan in all three of the games in some way.”

He and others on the development team must’ve thought elves needed a break, because the omnipresent racism against them vanishes completely in The Veilguard. Tevinter, an empire built on the back of chattel slavery, doesn’t show any of that. Consequently, it feels like players in the know still haven’t seen the true face of Tevinter, despite spending half a game there. The notion that the capital of Minrathous gives now is one of a prosperous city that’s centuries ahead of the countries down south, rather than a cruel regime cracking the whip at every opportunity. Perhaps the writers weren’t comfortable portraying this, or felt that their audience might not be amenable to it after years of incendiary argumentation. Nevertheless, it castrates their established world-building and robs us of the opportunity to witness true elven liberation in the climax. With both the fall of Minrathous and the toppling of the tyrannical elven gods, we could have delivered a much needed catharsis after four games of oppression, but The Veilguard forgoes this storytelling opportunity to play it safe.

I worry that this hesitancy originated from anxieties about the sensitivity of depicting marginalized peoples in brutal, dehumanizing conditions, and how that might look to more fragile viewers. But I think it’s important for all players, watchers, and readers to know that, though there might be aspects shared between them, fictional minorities are distinct from real ones.

Dragon Age’s elves are aesthetically Celtic. Their residency in alienages evokes images of Disapora Jews in Europe. Their Long Walk after being driven from the Dales calls back to the Trail of Tears, sharing an experience with Native Americans. Their subsequent migratory nature is reminiscent of the Romani people. And their ancient empire of Arlathan, with its large columns and temples of worship, headed by ascended humanoid (for lack of a better term) deities that cast down an enemy called the Titans, and which has since had its religion and culture co-opted and renamed by Roman-inspired Tevinter invites comparisons to classical Greece.

My point is, the elves of Dragon Age don’t represent one group of people, because fictional cultures are constructs drawing from countless inspirations. If they represent anything beyond themselves, it’s the idea of a proud people that’s fallen under the yoke of conquering powers – a supervictim to embody all. The idea that one must be limited in their storytelling options based on how the portrayal might reflect upon or disrespect an existing culture is flawed, in my opinion. In the overwhelming majority of cases, coding cannot be read as a 1:1 allegory, especially in speculative fiction like science-fiction and fantasy. I believe the most mature way to evaluate a story isn’t to try to pigeonhole what it’s trying to say say about who, as if there’s some insidious encrypted message in the text. Rather, it’s to see the forest through the trees and interpret the work as a complete whole in itself.

On that basis, I ask: would it have been so bad to see some of those enslaved elves, praying for salvation, side with their manipulative, nefarious gods? To add some nuance to the conflict with Elgar’nan and Ghilan’nain, would the story of elven liberation not have been better if the game actually engaged with it? Could we actually have a moral quandary with those whom Rook ends up fighting, even if the content might be seemingly problematic?

Epler might respond in the negative, per the Polygon interview, claiming that the gods “simply don’t care” about the elves.

“Those blighted, decrepit gods, they’re not bothering with the soft pitch. Their pitch is, We’re going to make a horrible world. We’re going to give you a lot of power, and maybe you’ll be OK.”

Like a chess board, the core conflict of The Veilguard is black and white. BioWare abandoned the chance to make Elgar’nan and Ghilan’nain more interesting villains because it was too risky.

Similarly risky was Solas’s role as an antagonist, since his motivations, as explained in “Trespasser”, are deeply sympathetic. Perhaps too much so for the developers’ comfort. Unlike the Evanuris and their disinterest in the elves, Solas wants to restore the elven people to their former glory. At least, that seemed to be his pitch in the last game. Frustratingly absent from The Veilguard are the Agents of Fen’Harel – elves who swore fealty to Solas’s cause. They infiltrated and compromised the Inquisition, effectively precipitating the final decision to end the organization in its current form. The idea that Solas had amassed an army of common folk who found the idea of a renewed elven empire appealing made him appear formidable and intimidating. “Trespasser” implies that a mass uprising of elves under Solas’s leadership was imminent, and anyone could be in on it.

None of this happens in The Veilguard. Not only does Solas lack an army, but their absence isn’t explained or even acknowledged. As a result, Solas remains a passive antagonist until near the end, since the player has no disciples of his to contend with (either physically or ideologically) along the way. It wastes a side of his character that had been foreshadowed in a decade-long cliffhanger – that of a charismatic leader, capable of coordinating a rebellion that could spell disaster for its own followers.

In a Reddit AMA after the latest game’s release, Epler answered where the Agents of Fen’Harel disappeared to:

“Solas’ experience leading the rebellion against the Evanuris turned him against the idea of being a leader. You see it in the memories – the entire experience of being in charge ate at him and, ultimately, convinced him he needed to do this on his own. And his own motivations were very different from the motivations of those who wanted to follow him – he had no real regard for their lives or their goals. So at some point between Trespasser and DATV, he severed that connection with his ‘followers’ and went back to being a lone wolf. There are Dalish clans who are sympathetic to his goals, but even there, there’s an understanding that he’s too dangerous to have a more formal connection with, and that he will, ultimately, sacrifice them to his own ends if necessary.”

I find this explanation unsatisfying, not the least bit because the narrative offers next to nothing to imply this. The disappearance of Solas’s agents represents my biggest bugbear with the game, depriving it of the full potential of its highly anticipated antagonist in favor of the more generically villainous Evanuris. Moreover, this omission fits into the aggravating blueprint for The Veilguard’s inoffensive direction. The motivations, emotions, and backgrounds of the Agents of Fen’Harel would be sympathetic, and therefore might problematize the otherwise cut-and-dry conflicts. Epler seemed concerned that audiences might think Solas was “a little too sympathetic in his goals,” according to an interview with GamesRadar+.

But that’s the thing: sympathy isn’t endorsement, and portrayal of sympathetic characters isn’t endorsement either. But neither does that invalidate the emotions and experiences that generate that sympathy, even if the character’s actions ultimately turn toward evil. I’ve noticed a trend (especially in symptomatic criticism, which I generally dislike5) to view art as propaganda, and to evaluate it from a moralizing, top-down perspective. Antagonists with complex or understandable motivations (in this case, revolutionary villains) are often judged by this framework as tools for stories wishing to champion the status quo. Common arguments that I’ve seen imply that the relatability that we often find in villains is not a strength of the writing, but a devilish trick of ideology by which writers can reinforce conservative doctrine, to scold us away from certain beliefs. Any decent writer knows this isn’t the case, and that people don’t write morally or emotionally complex antagonists for didactic purposes. Instead, characters such as these embody the anxieties of their creators – the fear of losing yourself to your passions, the fear of going about things the wrong way, the fear of sacrificing too much to achieve your desired ends. The concepts and feelings that compel these characters remain authentic to the writer’s heart and the connection they established with the audience.

Art isn’t propaganda. To read it as such reduces it and promotes intellectual dishonesty and foolhardy myopia. Stories are irreducible (otherwise, we would not waste our time with them), and so I believe interpretations should be formed from the bottom-up, rooted in the text as much as possible. The “message” cannot be imposed from the top-down, but symptomatic readings, in their focus on tropes and cultural context, frequently condemn without a trial. Hindering your story in order to future-proof it for the sake of optics is a safeguard against this, and one that leads to bad stories. Artists should have confidence that their text will hold its ground on its own. To quote Ursula K. Le Guin’s essay “A Message about Messages”:

“The complex meanings of a serious story or novel can be understood only by participation in the language of the story itself. To translate them into a message or reduce them to a sermon distorts, betrays, and destroys them… Any reduction of that language into intellectual messages is radically, destructively incomplete.” (67-68)

BioWare’s doctrine of passive writing violates this wisdom by surrendering to their fear of (bad) criticism. The Veilguard lacks punch, stakes, and empathy and becomes incongruous with its established lore because it’s not willing to take risks that might alienate or upset players. They’re more concerned with making sure their work is inoffensive than they are with conveying a moving story.

I believe all of this was inherited from an incestuous feedback loop between a vocal minority of critics, of which I might’ve once counted myself among the blameworthy, and the apprehensiveness of out-of-touch corporate board room decision-making. Dragon Age’s genome mutated, and it slowly lost its teeth.

Over the course of a decade, we bred the Dread Wolf into a Dread Pug.

V. What It Took

The Veilguard’s lack of confidence in itself and lack of faith in its audience contribute to its capitulatory nature. In many respects, it feels like the developers lost their passion for it over the course of the ten year hellish production and just wanted to be done with it. This resulted in a decent game that nonetheless feels divorced from what came before it. It tries to juggle being a soft reboot while also trying to close out the series’s biggest and longest running story arcs, but inevitably fumbles.

Nearly everything done by The Veilguard was handled better by Inquisition. And Inquisition was certainly the more ambitious title. Perhaps more returning characters would have established a sense of continuity between the two, or at least made it less awkward by having them present for the story’s grand finale. For as strong as the endgame is, it could’ve benefited from the presence of slave liberator Fenris, elven history aficionado Merrill, possible Evanuris soul vessel Sera, or Divine Victoria (any of them). The core pillar of Dragon Age is the characters, and The Veilguard’s under-performance (and in some cases, outright dismissal) in that regard sabotages its integrity. Without this to anchor it, the changes to gameplay, visuals, and roleplaying depth become more alienating.

Personally, what do I take away from this? The Veilguard is far from the game I dreamed about for ten years, and not the one that loyal fans deserved either. I’m no stranger to disappointment at this point in my life, and yet this still leaves me with a hollow feeling. Will I still be able to return to Inquisition, a game I truly adore, and see it the same way as before, knowing now where all this is leading? The true cost of The Veilguard, for me, has nothing to do with the price tag: it’s the loss of that perfectly tailored dream, now that the possibilities of the future have shut their gates.

Where do those dreams go? Are they doomed to fester in their lonely, incommunicable agony? Will they be twisted by their enmity, like the blighted dreams of the Titans, and spread their corruption into those important happy memories?

In 2014, I was depressed as fuck, and Dragon Age: Inquisition helped me to see the light and come out of it. In 2024, I was depressed as fuck, and Dragon Age: The Veilguard made me feel nothing. There’s no less favorable comparison in my eyes. It’s disheartening to behold something that once meant so much to me and be greeted with numbness. I have to wonder if that affection will ever return, or if I’ve just grown out of it.

But as I wandered the streets of Minrathous as Rook, I heard a familiar song. It was one of the tavern songs from Inquisition, its nostalgic chords filling me with wistful sentiment. I know, deep down, there’s still something there. Maybe I just need to dig it up. Maybe it’s time to look back…

To be continued…

– Hunter Galbraith