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crooked-wasteland · 6 days ago

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The court scene in hazbin leaks seemed empty .

Lute had no arguments, she was yelling in void, the seraphim and female stolas were just there waiting for plot to happen, Sera answer to anything lute saying was "shut up" literally, which isn't only unprofessional for a governor to do but also it helped at portraying lute as crazy hysterical woman no one respect without the presence of her man.

If hazbin hotel was really interested in discussing the concept of good and evil then here's the right moment, we could take this scene as opportunity to talk about the the justice, lute should represent the concept of the justice is inflexible only bound to the rules that kept people safe for decades . her arguments is that they are currently in war with hell and they can't let a sinner in might be dangerous he might attend some harm upon them or play the role of spy for the morningstars . Emily or stolas-evil-twin or anyone, will represent the concept that there's no justice without mercy and rules should have an exception for cases like this their argument is his sin didn't come from malicious place but rather from a genuine fear so is his act of redemption and therefore we have right to assume that his soul is inherently good and he attends no harm and we should welcome him in heaven .

And I remember a saying in writing goes like :"write an argument where everyone seems to win"(I forgot the actual quote) and I think this one of the scene where we should apply that in order for scene to have a depth

I agree, except on the account of Lute's argument being pointless. Unfortunately, you need the other leak of Seraph talking to Able and the one of Vox to grasp the points being made.

Major spoilers incoming!

The argument Lute makes in the courtroom is nonsensical because we were never given the information. At the start of the season, Charlie has a fairytale book of her parents and it mentions Lilith using music to rally demons against heaven. Vox says this explicitly in a reminder lore dump of 12 whopping seconds that Lilith was prepared to go to war with Heaven before vanishing.

So there's that aspect of the world we never had mentioned or hinted at in the main series. It would have actually helped a lot with incorporating Lilith's army waiting for her in Happy Day in Hell. It also could have been tied back to Rosie and her cannibals. Maybe hinting at the Rosie and Lilith connection more appropriately, or at least opening the idea that Lilith had an army waiting on her still.

Additionally, Seraph mentions how Hell will "want revenge". So even if Hell wasn't a threat before, her greenlighting a genocide is going to make peace a relative impossibility. It's inevitable for Hell to fight back, so now Heaven has to figure out if they will risk their own safety by ending the cullings, or continue and admit they are oppressors keeping Hell weak intentionally. It would make the suggestion of redemption unappealing, regardless of being possible.

But the issue the series will have to patch over is the idea that Sinners would want to be redeemed if it wasn't for Heaven's yearly census shaving. The conflict in the pilot was that Sinners wouldn't want to be redeemed. The exorcists were actually a believable motivation for why anyone would even consider redemption when you have the right to suffer and cause suffering forever in Hell. The issue of the Sinners' immortality questioning how the show is going to believably instill the idea that the discomfort of staying the same is going to outweigh the discomfort of change. And the exorcists seem, frankly, necessary to maintain the pressure on Hell to give Charlie a chance. Meanwhile, maintaining a genocide is going to turn away people who are probably good at their core. The pressure of being oppressed will leave them nowhere to go and without options that don't in some way contradict their own values.

So the story is actually focused on the major plot issue for once. However it isn't staying there. Then we have to remember the sneak peek Medrano shared of Baxter and how the concept of Redemption at all is what is being challenged. Not if Redemption is desirable. So that is where the two sides of the story lose cohesion. Honestly, the Heaven storyline will be far stronger than the story taking place amongst the actual main characters. And between the Baxter/Alastor/Lute reveals, I'm wondering what time there is left to even tell any story about the main character. Once again, we're looking at too many plot threads not being given enough time to expand.

#vivziepop critical #hazbin hotel critical #vivziepop criticism #spindlehorse critical #hazbin critical #hazbin hotel criticism #hazbin hotel critique #asked and answered

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anna-dreamer · 9 months ago

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Finwean generational trauma is so real. I imagine, after Maglor and Maedhros kidnapped the twins, there was a clear and brutal understanding that that was not them giving those children a good life; but also, also, with Maglor and Maedhros being prone to the Oath, with their lives and souls tainted and fractured by bloodshed and murder and violence and loss and despair, they'd think there was no chance in the void for them to make something good out of it. Not with the Oath, not with the Doom, not with the way their father was. Their grandfather, due to whatever eldritch horror haunted his childhood in Endorë, felt that he had to have as many children as possible, so that his family would not fail and he wouldn't be left alone and scared in the dark. As a result, their father, abandoned and traumatised and angry, felt that he had to have as many children as possible, so that he would never be abandoned again, alone and scared in the dark. And he made sure of that. He had seven children, and he tied them up with an unbreakable Oath that would sooner destroy all of them than let them give up on him. So many hurts in this family were attempted to be healed with the use of children. And now here are Maglor and Maedhros. Alone and scared in the dark. True, there are two little boys on their hands, yet they have already wronged these boys so deeply. If there is a small chance of salvation or even redemption through them, Maglor and Maedhros would not take it. Besides, it would not work anyway. Refusing to repeat the old pattern is a first step in the right direction, and on itself it wouldn't be enough, but...

But then Eärendil appears in the sky. This is Elrond and Elros' father up there - and at the same time there is Fëanor too, because it's the silmaril that shines, the unobtainable, unreachable, illusory silmaril, like a father Maglor and Maedhros still desperately long for. Oh, but he will not come back. He is as far away as any star in the sky. The twins can't have their father back, and neither can the last two Fëanorians.

And then it hits Maglor. True, his brother and him are Doomed. True, there is probably no happy ending for them two. But it doesn't have to be this way for Elrond and Elros. With whatever strength and will to live and hope that he has left, he will try to do better by them. Maedhros would try to argue, but Maglor would tell him, They did not have Fëanor for a father! And they will not.

He can only hope that his genuine love and care he will give to the twins is just enough for them to turn out better than Maglor and Maedhros did. Maglor and Maedhros took them in. Now they are responsible. They will try. If redemption comes, it's not through acquiring someone to love you, but through loving them as sincerely and selflessly as your broken heart can. And if redemption doesn't come at all, so be it. It was not about redemption anyway. The second step, to consciously break the chain, is made.

Alas, it does not work as well on Maedhros. He doesn't feel this bittersweet bliss. He has fallen too deep into despair. And as soon as Elrond and Elros are gone, it becomes not enough for Maglor to heal either. He has just enough hope left to argue with his brother whether or not to go for silmarils. But all those last years spent alone with Maedhros sucked a lot out of Maglor, and nothing is left, apart from the feverish devotion, Nelyo knows better, Nelyo always knew better, like a dark shadow of Father always knows better, we will follow him and we will die for him if needed... No matter that Maedhros is not in his right mind. Neither was Fëanor. Their father's Oath is intertwined with their love for each other, and it binds them together ever stronger. Maglor would not leave Maedhros. But Maedhros loves his brother too. He might have not been healed by a star, but he is still Nelyo. The big brother. And while he could not break any vicious circles with his life, but with his death, for his last surviving brother, he would try.

It was not enough for Maedhros or Maglor. But it was enough for Elrond and Elros. With them, Finwean generational trauma was healed. The chain was broken. And i firmly believe that, despite their own trauma, both ultimately had healthy and happy families.

And if Maglor is still out there, Elrond will find him. He will finish what Maglor - his father - has started.

#maedhros #maglor #elrond #elros #silmarillion #finweans #are a mess #but it gets better #With headcanons like this #does it even surprise you i love Maglor so much #he who probably thought himself a coward #was actually capable of quiet but powerful deeds of bravery #silmarillion headcanon #feanorians #finwe #feanor #sons of feanor

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aingeal98 · 11 months ago

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I think there's a misconception among some fans who mostly get their characterisation from ao3, that the reason Cass and Jason wouldn't get along is that Jason kills people and Cass hates murderers. And like. You're 50% right but the key context being ignored is that Cass would literally fight to defend the right of a serial killer to live and change like she believes desperately in second chances no matter how far gone the killer is. She'll knock a man out and break his hand so that he can never shoot and kill someone again but if she sees someone feel bad about their kill or even like. Hesitate to hurt a child. She is all over that like she will fight the world just to save this one kind of shitty assassin and give them a second chance at life where they can do better.

Whereas Jason believes that sometimes there are bad people that are simply too far gone, too much of a force of evil hurting and draining actual innocents. And the best way to deal with scumbags like that is a bullet. He feels that some people don't deserve to live, and he's comfortable ending their lives. Judge, jury and executioner. Because no one else is going to kill these people and they deserve to die so that they can never hurt any victims again.

Of course all of this is kind of irrelevant in current canon since dc basically skipped over the reconciliation and development and went yeah Jason is a batfam member and he doesn't kill anymore. So currently in canon none of this conflict of ideals is likely to be addressed. But a lot of people are interested in writing fics that actually detail the steps of reconciliation which is great and I love those fics. I've just also noticed a trend of fumbling a little when it comes to Cass.

Because the root cause as to why they wouldn't get along is not just because Jason kills people. If Jason was a random crime lord Cass would probably try to help him get free of Gotham and start over somewhere else. Killing people and having conflicting emotions about it is the easiest way to get Cass willing to be your number one sponsor at murderer rehabilitation anonymous. It's Jason being someone personal to the family, and someone who believes that some deaths need to happen, as long as the person is sufficiently repulsive enough to Jason. Or even just as a means to an end to prove a larger point, if they're pathetic and evil enough. That's what would make Cass see red, because she projects herself on every single killer and Jason dismissing the possibility of redemption for them, writing them off as deserving of death, clashes fundamentally with not just everything Cass believes in, but also her whole sense of self. Of course it's not that deep for Jason like he's not going to believe Cass should die because she killed someone as a child. But for Cass is simply IS that deep and you throw in the fact that they're both Bruce's kids and yeah. They can maybe be civil in a room together with the family right up until one of them actually talks. Because like 99% of what they could say is guaranteed to touch a nerve for the other.

It's like: Damian says something hilarious and rude towards Jason and Jason jokes about that time he shot him and Cass immediately connects that with him not feeling bad about shooting Damian and starts grilling him as to why. Because Damian's Bruce's son? Or because he's a killer? Or just to get to the rest of the family? And Dick, Duke and Tim are so tired like Alfred cooked a nice meal can we all just eat pie for one night without having to listen to you two go at it.

Tim: I've literally shot you before do you think maybe we can cool it on fighting about Jason's personal ethics tonight. Because generally that ends with me in pain even if I do nothing but sit here.

Cass: You shot me with consent. Different.

Jason: How are you even more obnoxious than Bruce? Do you ever get tired of being so exhausting to be around with your bullshit righteousness?

Cass: If you're tired I can knock you out. Nice nap for you and fun for me.

Dick: And that's ten minutes in a room together before any threats of physical harm start flying around! Great job you two, a new personal record.

#dc #cassandra cain #batfam #dc rambles #jason todd #Ironically enough if Jason didn't focus on killing “bad” people #And instead was just a regular murderer with no greater point except Yeah I need this person to die as a means to an end #Cass is way more likely to look at him and go: Oh hell yes personal improvement project right here #Going up to Bruce like trust me dad he feels bad about killing that guy I saw his hand hesitate for 0.5 seconds before pulling the trigger #Whereas if Jason is like I'm killing this guy to prove a Point. The world is better off without him in it #Cass sees red like congratulations you triggered a solid 70 of her trauma buttons. Hope you like broken bones.

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princess-charlie-of-hell · 23 days ago

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Unpopular opinion

But I don't think Charlie would forgive Adam right away

I see in fanarts or fics how she is the one who invites sinner!Adam with opens arm in the hotel because she thinks that "everyone deserves a second chance even him" and am like why does she thinks that?

Don't get me wrong I like Adam, he is hilarious and hell is forever is one of my favorite songs of the show but he is still a massive asshole.

Let's not forget that he was the leader of the exorcists who killed thousands or even millions sinners, a misogynistic, fetishizes WLW relationships, had no problem with leaving Vaggie alone in hell while she was hurt, destroyed with the other exorcists the hotel and the worst of all killed Sir pentious.

He also probably would have killed Charlie if Lucifer wouldn't have come

I don't see a reason why she would forgive him or thinks he is deserving of redemption , I know Charlie is a nice person but even they have their limits. I mean she didn't had a problem with it hurting him if It means protecting her hotel and friends

If sinner!Adam actually wants to live in the hotel, I want to see him beg Charlie on the knees to let him in pathetic as possible because no one can't tell me he doesn't deserve it. Than he is also just allowed to stay if he behaves and apologized to everyone.

*Adam* : I don't want to do it, it is stupid anyway!

*Charlie*: If you don't do it, you will share a room with nifty.

*Adam* : Fine! *mumbling* Sorry for destroying your cane, Alan.

*Alastor* : The name is Alastor!

*Adam* : Urgh! Sorry Alastor, for destroying your cane.

*Charlie* : Good job Adam *patting his head* now you are going to apologize to every egg boy.

*Charlie, glaring at him* : what was that?

*Adam* : With great pleasure, princess!

I like to image evil characters especially the males ones to be ending up either scared of Charlie or completely to fall in love with her

#charlie morningstar #hazbin hotel alastor #hazbin hotel #hazbin alastor #hazbin hotel charlie #Hazbin Adam #Hazbin hotel Adam #guitarprincess #it can be platonic or romantic #You decide

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ckret2 · 5 months ago

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But to actually answer the "so what are the themes here" question @thedemonsurfer asked, which I like, totally skipped over answering: here's all the stuff I came up with the last time I talked about titles with friends, including titles that aren't quite good enough (and/or are jokes) and talking about the actual themes of the fic:

One title can't do EVERYTHING, there's probably no perfect title out there that'll go "okay so head's up this fic is about bill slowly making friends with everybody while fighting every step against becoming a better person and also a bunch of agonizing identity/dysphoria issues from being trapped in an ill-fitting body and also a major theme is that redemption can't come from Purification Via Punishment but from offering second chances even to people who don't deserve it so that they have a space to grow and also we're trying as hard as possible to keep to the tone & episodic style of the show and also 60% of the cast has issues from being Burnt-Out Former Gifted Kids. Even the ones that are still kids." But like. It'd be nice if a title at least did one or two of those

Fic title that's a song lyric but the lyric is from a song by Robbie so it's really stupid

I'm not against "lighthearted description of what's going on" since that IS a running gag in how i've been "titling" the chapters, and it WOULD both tell what's going on and do a better job of suggesting the tone what you're gonna get out of this fic

Bill Cipher Makes Friends. This Is A Warning The power of friendship, remorse, murder, and MABEL My Little Triangle: Friendship Is Magic Friendship Is Cosmic Horror Okay this is a joke title i won't go with because i don't want the title to be a mlp allusion but this does, unfortunately, unironically successfully capture several major features in the fic: friendship; cosmic horror; bill finding agony rooted in what should be positive relationships and attributing his self-professed "insanity" to the wrong sources; the collision between the friendly gentle earthly mundane and Bill's vast eon-spanning alien history; it sounds goofy; and it doesn't sound like many other fics

Not to give away too much; but in the broadest/vaguest possible sense, the portal is making a return. Which means... i realized recently... bill vs doors is, in fact, a theme with actual symbolic significance, and not just a running gag. I accidentally walked my way backwards into turning a plot convenience to keep him from escaping into something connected to a major plot point. so like. I could actually drop a door reference and it wouldn't be inappropriate.

Bill Cipher & Friends Vs. the Cosmic Horror of Doors It's not a good title but by god you'd know exactly what fic we're talking about "Haha the cosmic horror of doors because the goofy curse means he doesn't know how they work." / "oh no wait the portal is a door to cosmic horror"

"The door is open..." 30 years later, Bill, trapped in a dumb body with a dumb curse: "I literally cannot tell if the door is open"

He literally has been... Working for 1 trillion years,,, to GET A DOOR OPEN "Bill, I don't think it's the curse. I think you're just naturally bad at opening doors." "I'll kill you if you say that again."

So there's our themes.

#bill goldilocks cipher #thedemonsurfer

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super-paper · 1 year ago

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Do you think Hawks will die to save Toga?

Personally, I wouldn't like it if either of them died. Like, the potential narrative payoff here would be strongest if both of them lived, imo. I would rather see a situation where Keigo donates just enough blood to stabilize them both, rather than a situation where one person completely exsanguinates themselves and leaves behind a rash of trauma and unresolved feelings in the person they "saved."

I'm definitely not the best when it comes to Hawks meta, but I'll try my best to break down my personal feelings on why I feel both Keigo and Himiko need to live in order to "break the cycle":

1. You Can Start Over. I'll Help You.

This one's the biggest, most obvious point in favor of them both living imo. Hawks made an offer to help Jin start over, but rescinded that offer and immediately went for the kill the moment Jin showed signs of resistance. This was Keigo's biggest failure as both a hero and as an individual, and something he has yet to atone for.

In turn, Himiko believes there are no second chances-- that her only options are death or being locked away forever. So, she chooses death. She needs someone to offer her a third option.

The set up is there.

There's also the matter of Keigo and Himiko both stating that they want an "easier world" as their core motivation, and both of them state that they want to be the ones who help make that world.

Their goals only sound simplistic on the surface and serve as a mask for their respective traumas, but... ultimately, a world that's easier for Himiko to live in (where she is consensually given blood by someone who loves her and she is allowed to give her blood back to the world in return) is a world where heroes can finally take it easy-- because it's a world that nips the endless creation of its own "villains" in the bud, through unified acts of compassion and understanding.

Both characters have caused others intense pain and hurt others in their attempts to take shortcuts to the creation of an "easier world"-- Hawks is the hero that's "too fast," and Himiko is also associated with her near-supernatural speed. They're both too impatient and want the quickest possible results. Having both Himiko and Keigo living and learning the "right way" to create their ideal world-- and then, getting to be a part of that world as they both continue to atone-- feels much more meaningful than having one or both of them die before they can see that future reach fruition.

2. The Big, Suicidal Elephant in the Room

The majority of the LOV members all struggle with suicidal ideation-- Touya wants to set everything Endeavor ever chose over him ablaze, and he wants that inferno to also serve as his funeral pyre. Tomura has got a dissertation's worth of issues regarding his own mortality and self-perception/identity, and his whole "let's-just-destroy-it-all/we-don't-need-a-future-actually-lol" schtick has always been a symptom rather than a legit proposal for a cure. Himiko wants to disappear into the identities of the people she loves, because the world treats her a little more kindly when she isn't "Toga Himiko." The LOV trio's arcs all revolve around "death of the self" to some degree. (That said... resurrection and rebirth are also heavy themes within Tenko, Touya, and Himiko's arcs, soooo....)

Keigo also struggles with suicidal ideation and places the worth of his own life far, far, faaaaar below that of everyone else.

This has already been said, and shouldn't really need to be said in the first place, but-- people have every right to feel uncomfortable and criticize a story that attempts to validate suicidal characters by portraying their suicide in a noble/redemptive light.

Next!

3. It's All About All Mi-- Err..... Tomie?

"I was fine with that-- not saving her, turning my back on her. Me, who claims he wants to help people." - Hawks, about Tomie.

"I tried to go about things the right way" is a good line that touches on one of the core conflicts of Keigo's character: He suppresses so much of his natural instinct to do good so he can do "right."

Keigo knows in his heart of hearts that "the right way" doesn't save people like his mother, it didn't save Jin, and it's not going to save Himiko. He's been groomed into upholding the society and status quo that caused him and Tomie to nearly fall through the cracks in the first place-- and I've always found it both fascinating and sad that Keigo seems to equate choosing "the right way" (i.e. becoming a hero) to abandoning his mother. Keigo effectively being *sold* to the HPSC is what took Tomie off of the streets and gave her a roof over her head-- it gave her "a chance to start over." But Keigo doesn't seem to view this as true saving. With that in mind, his attempt to "save" Jin by essentially giving him the same offer the HPSC gave Tomie was always doomed end in failure.

Keigo: "My mother feared punishment for harboring a criminal, so she took me and ran."

Tomie first ran out of fear of being arrested after Takami Thief was captured-- which led to both her and Keigo being homeless for an extended period of time. She ran again after Dabi/Touya threatened her for information on Keigo, this time out of fear of her son-- a son who had became synonymous with "the law" she feared so much in her eyes. She can't bear facing him after her betrayal and implicitly fears punishment/condemnation from him (even though Keigo had *no* intention of punishing her)-- Tomie readily leaves behind the "normal" home and "normal" life that Hawks obtained for her through "doing things the right way," bc the imaginary threat of punishment and condemnation is something that comes across as worse for her. This only further convinces Keigo that he failed to save his mother, even though he's the one who's being betrayed and hurt by her.

I can't help seeing similarities between Tomie & Himiko's decisions to run out of an intense fear of punishment/imprisonment, and how this inevitably ties to Keigo. Keigo subconsciously realizes that he can't truly save people like Tomie, Jin, or Himiko as "Hawks" because "Hawks" is part of the problem. He longs to save others as himself-- as "Takami Keigo" (which is why the loss of his quirk kind of has me like "👀 👀 👀 whatcha gonna do next, turkey boy...,,..👀 👀 👀" )

As an aside, I seem to recall that transhawks made a few meta post where they talk about how there are traces of Jin's design in Tomie (esp her eyes, which have the same dead-eyed thousand yard stare) and that their resemblance is likely intentional (edit: link to one post pointing the resemblance out)-- It's not as overt, but imo, Himiko also resembles Tomie (just a little!) when she has her hair down.

Anyway! Both Jin and Himiko dying after Keigo A) has spent his whole life agonizing about how his own mother wasn't able to survive in their current society, B) has expressed guilt about how he didn't even try to save her and didn't make attempts to involve himself in her life, C) has talked at length about he wanted to be "more like Bubaigawara" and then proceeded to roleplay him, badly, for a good third of Act 3 (ohhhh boy ☠️☠️☠️), and D) had demanded that Toga be killed immediately after she arrives in Gunga, only for Ochako and Tsuyu to explicitly challenge and reject the idea that killing was the only option available.... idk, Himiko dying while Keigo does nothing would just feel massively incoherent at this point??

TL;DR The resolution to Keigo's arc currently hinges on addressing his origin, his identity, his guilt, and his ties to these three characters. Keigo feels that he failed with Tomie, and he explicitly failed with Jin-- and I personally don't think his arc can have a satisfactory ending without addressing those failures through Himiko, or without him trying to right where he went wrong by helping her in some capacity. This is a chance for him to finally follow his innate drive to do good over doing what their society dictates as "right."

----

All that being said, if Hori did decide to have Hawks sacrifice himself: Hawks choosing to sacrifice himself because he wants to believe in the future that the hero kids are creating and wants to believe that children like Himiko have a place in that future feels WAAAY more tonally consistent with mha's themes than Himiko choosing to sacrifice herself because she doesn't think she has a future

One message is about healing and hope and belief, the other is about failing to truly save someone who was already suicidal from their inevitable self destruction.

MHA has been defining true saving as "going above and beyond" for hundreds of chapters now-- true saving means saving a person's heart, body, and soul. It means giving them a future. By mha's own definitions, Himiko choosing to kill herself means she wasn't saved. Pure and simple-- You can't save the heart but not the body/soul (Himiko), you can't save the soul but not the body/heart (Touya), and you can't save the body but not the heart/soul (Tomura). There's a lot more work to be done here-- but that's fine, bc MHA has never depicted true saving or true healing as some magical, instantaneous thing. (#recoverygirldni)

#mha spoilers #mha 395 #thank you for the ask!#sophie.txt #suicide tw #mha.txt

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saintsenara · 1 year ago

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rare pair tag game

thanks for the tag, @said-snape-softly :)

i'm pretty sure everyone has done this by now, but if you'd like to, please consider this a blanket tag.

apart from all the tomarry and the odd dabble in remadora, i am a rare-pair enthusiast, so i am delighted to spread some propaganda here... the criterion i've used for a rare-pair is less than 2500 works on ao3.

pairs, little metas, fic recommendations, and some suggestions for authors to follow under the cut.

sirius black/severus snape

why i ship it:

this one can just about claim to be a rare-pair.

sirius and severus are narrative mirrors, whose complicated relationship to themselves and to each other is crucial for driving several of the most important arcs in the series.

in particular, sirius - constantly haunted by guilt and grief over his role in the death of the man he loved [you can decide if his love for james is platonic or not, but i definitely think the text thinks it isn't...], trapped in his childhood home, unable to have his real loyalties acknowledged before his death by the fact he's on the run - leads harry through his journey in hero-worshipping, then being disappointed in, then forgiving james. and then promptly dies.

this is one of harry's most significant areas of personal growth - it begins to chip away at his rather black-and-white morality, which is finally destroyed by his ability to confront the complexity of dumbledore in deathly hallows - but it is also key narratively: harry coming to understand james starts to hint to the reader that it is lily - otherwise absent from her son's conception of himself - who is the key to the mystery...

which brings us to severus - constantly haunted by guilt and grief over his role in the death of the woman he loved, trapped in his childhood home, unable to have his real loyalties acknowledged before his death by the fact he's a spy - who gives harry, and us, the final piece of the puzzle. and then promptly dies.

put them together, though? well, you get the delicious tension of two fundamentally broken people - who cannot comprehend the possibility of their own redemption - bound to each other. can they forgive each other and themselves? is it a disaster? the story can go either way.

and even in fluff there is so much potential for d r a m a between sirius' recklessness and severus' cunning, sirius' emotional control and severus' temper, the fact that sirius is canonically hot and severus is canonically not, how they react to harry and draco [i don't usually accept the fanon that severus is his godfather, except when it means snack can be fighting about it], and so on.

and i'm a sucker for two bitter old men getting a happy ending. sue me.

want to give it a read?

if you trust nothing else i say in my life [and why should you] you can trust this - second life by nwhiker and cassandra7 is one of the greatest pieces of writing i have ever seen, not only in this pairing but in this fandom full stop. it's a profound and solemn meditation on loving and grieving, choice and chance, and the great pain caused by the divide between the magical and the muggle worlds.

then, for gorgeous angst with a happy ending - two boys kissing by @writcraft and the merit in trying by brightened

albus dumbledore/tom riddle | voldemort

why i ship it:

the facetious answer is because they wouldn't be so obsessed with each other if there wasn't some sexual tension underneath it.

the facetious and nsfw answer is because it appeals to the part of me whose favourite book aged 11 was lolita

the serious answer is that they should be horrifying together: they're both liars; both incredibly self-righteous; both living behind masks which conceal their true emotions and motivations; dumbledore took one look at tom as an eleven-year-old, said "he reminds me of gellert", and then did nothing about it; tom thinks dumbledore's a hypocrite and is right, although not for the reasons he thinks; there is a colossal age gap; there is virtually no scenario in any timeline where they could be openly in a relationship unless one of them is concealing his identity; and - really, this seems quite minor in the grand scheme of things - they are constantly trying to destroy each other.

but.

intellectually, they are the only two characters in the series who could be the other's equal - i'm sure that violent arguments about the twelve uses of dragon's blood trigger the majority of their sexual encounters, and a man who's passionate about your research is hot.

if either of them ever fancy being honest - so, no - there is a shared cavernous [although, in tom's case, unacknowledged] grief in their lives which has shaped their not-as-divergent-as-the-text-thinks-they-are views on death, love, duty and so on. their active refusal to understand each other [i.e. dumbledore entirely misreading voldemort's motivations in the job interview scene] and commitment to constantly underestimating each other [i.e. voldemort bouncing around like an idiot in the chamber of secrets instead of using his brain and remembering what a phoenix is] could, in time, lead to something almost resembling acceptance. i mean, just imagine the hurt/comfort sex which happens when voldemort finds out about grindledore.

the way dumbledore describes the young riddle - "self-sufficient, secretive, and, apparently, friendless" - is also an exact description of him. that each sees himself in the other canonically drives their hatred of each other, but it could also appeal to two very vain men in a much racier way. after all, who doesn't want to bang their narrative mirror?

and being an orphan probably doesn't seem so bad when you realise your boyfriend's family is aberforth.

want to give it a read?

i can't recommend concordance by @laeveteinn enough, particularly for one of the best-written dumbledores i've ever seen. i find dumbledore is often written either as far more whimsical than i'd like, or far more fiery and radical [when one of his most interesting personality traits in canon is his tendency towards inaction], but this dumbledore is the perfect balance of contradictions, while tom is his canonical feral self, longing to perceived, rather than the emotionless sociopath of so many other stories.

i also recommend as an entire ocean in a drop by eldritcher, which really leans into just how similar these two are underneath all the artifice.

albus dumbledore/severus snape

why i ship it:

well, we've had dumbledore with one lost boy, let's have him with another [i haven't been brave enough to venture into dumbledore/harry yet, but i'll take recommendations...]

as with riddledore, we have the potential for horror here: a vast power imbalance; enormous age gap; the fact dumbledore sends snape out to potentially die every time he goes off to voldemort; and - this is the crucial one - the fact that dumbledore's recognition of himself in snape is pure self-loathing ["you disgust me"] manifested in punishment [allowing snape to be humiliated in front of fudge, not stopping the presumed-to-be-real moody searching his office, making him give harry occlumency lessons, not letting him teach defence against the dark arts].

but then this stops, when snape does the tremendously brave thing of agreeing to kill dumbledore, and their dynamic equalises, as dumbledore recognises that snape is courageous, steadfast, and redeemed. i'm always struck in half-blood prince by the fact that dumbledore has it with harry's sniping about snape and straight-up tells him to shut up, as well as by the fact that he very nearly gives the game away and confesses why snape switched sides [the thing he promised not to do] when harry finds out it was snape who gave voldemort the prophecy.

and within this equalised dynamic - so this hot geriatric sex is happening in the afterlife, i guess - we have two men who are intellectual close-to-equals, who understand grief and guilt, whose aesthetic senses are charmingly mismatched, who are rarely honest but might be for each other, and who have lots of profound similarities which might lead somewhere...

want to give it a read?

cheerfully disregarding everything i've just said about how snumbledore could work, i highly recommend in infinite remorse of soul by @perverse-idyll, which is a chilling look at how dumbledore uses the power imbalance between the two to assuage his own guilt through snape's humiliation.

for something much more wholesome, i'm a big fan of byzantium by eldritcher

petunia dursley/severus snape

why i ship it:

because vernon is a dick.

i'm fond of petunia, who i think is one of the most interesting characters in the series because of how full of contradictions she is, and who i think is also a victim in fandom spaces of how the adult cast was aged up for the films [in canon, she's only in her early twenties when lily dies, and the implication is that vernon is a good deal older than her)] which makes her inadequacies, such as her inability to truly care for either child in the household, seem much more nuanced than they do if she's pictured as a middle-aged woman with considerable life experience.

like snape, she teeters on a knife edge between various chasms: she is a working-class girl from the midlands made good in middle-class surrey, he is a working-class half-blood boy who spends most of his life in pureblood circles; she ends up with her whole life wrapped up in a square little house when she's barely out of her teens, he ends up with his whole life wrapped up in spying at the same age; she hates the wizarding world and yet covets it, he hates the muggle world and yet cannot escape it; she loves lily and she hates her and she loathes her for dying, he... well, you know the rest.

want to give it a read?

i was first convinced by this pairing by the lovely regretfully yours by @maria-de-salinas, which takes both snape and petunia's awkwardness and bitterness and moulds it into something really tender.

i also highly recommend barking at the moon by rinsbane, the summary of which speaks for itself.

merope gaunt/tom riddle sr.

why i ship it:

our first canon pairing, and probably the most problematic of the canon relationships, since the series never acknowledges that tom sr. is a rape victim.

but i have found myself recently in my merope era and, in particular, in an attempt to give her more nuance than she gets in canon. as i've said to anyone who'll listen in the three broomsticks discord server, i loathe the implication in canon that merope dies because she just cba to live [since it directly justifies voldemort's belief that her death was shameful] and prefer to see her as someone who was desperate to escape a truly horrifying life [the fact she's going to be forced into an incestuous relationship with morfin is right there in canon...] and so did something she didn't have the capacity to understand the implications of [this is not a woman who's ever heard of consent] because she thought it would give her the first chance to be happy in her life, watched it all crash and burn around her, and would have very much liked to have lived to raise her son.

i doubt there was anything real or tender in her relationship with tom sr., of course, and his escape - while merely a brief stay of execution from his son's perspective - is tremendously brave. it's impossible to write tom/merope fluff [although i respect you if you're inclined to try] but fanfiction gives a space to explore the intricacies of their relationship which canon doesn't allow, and i'm obsessed.

want to give it a read?

i'm recommending myself here, and assuring you that you will enjoy: enchanter's nightshade, which explores how merope's attempts to keep her husband enslaved fail; the snow child, which treats the relationship as folk-horror; and the shack at the end of the lane, in which there is redemption, in the end.

the best exploration of tom sr. dealing with the fallout of the relationship is @phantomato's exquisite ganymede, which feels so truly embodied that you can't pull yourself away from the page.

bellatrix lestrange/tom riddle | voldemort

why i ship it:

our second canon pairing, i am obsessed with these two and the tragedy and - to some extent - tenderness bound up in their relationship [which can be proven to be there because noted softy @whinlatter loves them].

i've written before about my conviction - in contrast to a lot of bellatrix fans - that her relationship with rodolphus is utterly miserable, and that voldemort is the only man in her life who can understand her desire to make a life for herself which is not constrained by the gendered expectations of her social class.

obviously, lord voldemort is not a shining paragon of a boyfriend [and he is an awful choice as a baby daddy, bella, get it together], but i think the enormous power imbalance is perhaps slightly less enormous than is sometimes assumed - certainly, she tells him to his face in half-blood prince that he's wrong to trust snape [she's a clever woman], voldemort never physically punishes her for anything [rip to lucius malfoy, who seems to get picked for this in her stead], and voldemort tolerates a surprising amount of nonsense from her which shatters his mystique.

all of which is to say... the scream when she dies isn't just because he's losing the war.

want to give it a read?

tee hee, i'm recommending myself again, and encouraging you to take a look at: atramentum, bellamort's last afternoon together before voldemort goes to the potters; nor all that glisters gold, bellatrix's life - including her relationship with voldemort - through sirius' eyes; and death (eaters) in paradise, because murderous psychopaths deserve crack fics too.

draco malfoy/tom riddle | voldemort

why i ship it:

because the ship name is taco.

these two are a pairing which i enjoy with my tongue firmly in my cheek [and tom's tongue firmly in draco's], as i do with most other things in which draco is a main character [do i want to read drarry angst? no! do i want to chuckle? absolutely!], although this should not be taken as saying that many of taco's fabulous authors don't manage to make the pairing entirely plausible.

in fact, consensual taco [non-con is, of course, its own beast] often has some of the best characterisation of both tom [fretful, mercurial, stubborn, and nowhere near as charming as he thinks he is] and draco [prissy, a very good judge of character, someone who likes being taken care of, and much braver than he appears if he absolutely has to be] i've seen in the fandom, largely because - unlike other voldemort-centric ships [especially tomarry, but also voldemort + any of the adult death eaters] - there's no sense of inevitability there. these two aren't connected by a shared bit of soul, or a prophecy, or having gone to school together, or having been hooked in by voldemort in the first war when he was unassailable.

they have to choose each other. or, more accurately, draco has to choose tom, and tom has to get chosen.

and the results have me entertained.

want to give it a read?

then you will want to have a look at the travelling cabinet by @the-paper-monkey [and its sequel, bluebeard], truly the gold standard of taco content with an absolutely brilliant draco, whose sheer capacity to cling on and make himself an irremovable part of tom's life may just end up changing the course of history.

narcissa malfoy/severus snape

why i ship it:

because i am in deep with the conspiracy theory that it's canon. i am absolutely certain that narcissa is the person that voldemort is referring to at the end of deathly hallows - "he desired her, that was all, but when she had gone, he agreed that there were other women, and of purer blood, worthier of him". it seems highly unlikely to me that the canonical voldemort would give a shit about snape fancying any random pureblood [although the snapemort version is, naturally, hugely jealous], but snape having had some sort of liaison with narcissa, and the ability knowing this gives voldemort to humiliate snape, narcissa, the memory of lily, bellatrix, lucius, and draco is definitely information he would go out of his way to remember...

plus, how do you know where he lives, babe? v suspicious.

want to give it a read?

if you want some fluff, you will very much enjoy the incredibly sweet the reformed man by gingertart50, which features narcissa nursing snape back to health post-nagini and is a favourite re-read for me when i'm drunk and it's christmas.

if you want some very-much-not-fluff, other women and of purer blood by yours truly will scratch the itch...

minerva mcgonagall/severus snape

why i ship it:

because i'm an equal-opportunity age-gap fan, and there is far too little older woman/younger man in the fandom.

and look, i'll admit it, i'm a fan of the fanon that snape and mcgonagall are friends prior to dumbledore's death - i'm not sure it's canonically plausible, but this sign can't stop me because i can't read - and i like the idea of that blossoming into something more, especially in fics where snape survives the second war. after all, he is a man who definitely needs to be treated quite strictly [and i don't just mean in the staff room], there is a shared loneliness and grief to them both, they're intellectual equals despite the age gap, and bickering about quidditch is absolutely fine as a method of foreplay.

plus, you can't tell me dumbledore's portrait doesn't ship it.

want to give it a read?

for a fic which shows minerva at her acerbic - and yet still sensual - best, always but not necessarily forever by gingertart50 is an old, fluffy, and very funny, favourite.

for something much more bittersweet, that good night by kelly_chambliss has my heart.

severus snape/tom riddle | voldemort

why i ship it:

because voldemort is canonically down bad for it - there is no need to believe snape's ridiculous cover story for not attending his resurrection, to try and spare lily as a treat for his man, and to give him a nice, painful death which allows the narrative to move on and harry to defeat him if the dark lord isn't firmly in his simp era.

more seriously, they obviously have an enormous amount in common, particularly in terms of their backgrounds [harry draws a connection between all three of them, but actually the fact that harry is rich in the wizarding world, not a slytherin, and with a muggle mother, therefore giving him a pureblood name, means he can't relate to the post-childhood experience of both halves of snapemort].

as a result, i think snape is the death eater who comes the closest to understanding voldemort's motivations - above all, the fact that he's not seeking an oligarchy, which the malfoys etc. obviously believe - while voldemort is someone snape feels understands his intellectual interests and his creativity.

want to give it a read?

boy, are you in luck, because i myself have a snapemort wip - scylla and charybdis. it is not wholesome.

tom riddle/myrtle warren

why i ship it:

because it started as crack and now i love them.

in particular, i just have so much respect for being incredibly annoying as a method of seduction, and i think myrtle's commitment to just following tom around chattering at him - and, therefore, without her realising it, preventing him from committing all sorts of crimes - is iconic.

want to give it a read?

then my unhinged rom-com - bookbinding - shall provide.

tom riddle | voldemort/ginny weasley

why i ship it:

because i enjoy seeing my dear friends who ship hinny shake and cry.

but also because ginny and tom have an enormous number of similarities, right down to the fact that they both have yew wands [if you're sick of people saying harry has an oedipus complex, you'll be delighted to be confronted with the mountain of evidence ginny reminds him of the villain who keeps trying to kill him instead].

they are both very good liars, quick thinking, remarkably resistant to shame, possessed of nerves of steel, predisposed to violence, brown-eyed, so hot they have harry gagged, and the profound enemy of someone whose surname is smith.

despite what he claims, tom was absolutely not just sat politely in that diary gritting his teeth while ginny complained about having second hand robes and idiot brothers. as he says, he opted "to start feeding [her] a few of my secrets", and i think it's justifiable from canon that they were at the very least half-truths [for example, i would not be shocked to discover he tells her he's a half-blood orphan brought up against his will in the muggle world - there's no other reason, i think, for him to successfully make her tell him these things about harry without it], which means that ginny has lots of lovely emotional leverage over him.

plus, as with tomarry, you have the element of "this is kind of inevitable" in the relationship, and the mysteries of fate are always sexy.

want to give it a read?

this is a tommary/hinny/tominny triad, but it has had me in a chokehold since the first time i read it - shameful company by merrivale, which, truly iconically, manages to be epilogue compliant.

#asenora fic recs #rare pair tag game #starprince #snirius #snack hp #riddledore #snumbledore #petunia dursley x severus snape #merope gaunt x tom riddle sr #bellamort #tom riddle x draco malfoy #snarcissa #minerva mcgonagall x severus snape #snapemort #tom riddle x myrtle warren #tom riddle x ginny weasley #lots to read

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inastarlesssky · 8 months ago

Text

In Defense of Dramione - an essay

Okay, time for another Ted talk/ soapbox/ pointless rambling...Putting it under the cut because I have opinions.

In Defense of Dramione - an essay

First of all, I want to say I ship Dramione. Which is a recent thing, specifically about half a year ago. I didn't always because well it never occurred to me that you could. Of course, that's how ships are. We ship some ships bc they're canon, okay, fine. But we ship a whole lot others that aren't because you name whatever reason (they've got chemistry, they WORK, they're better than the canonically approved pairings whatever the hell else, idk). My point is, it had never crossed my mind that I myself would actually like the idea of Draco and Hermione. Bc naturally, you look at them and you think, "He did insult her when they were children. He was an asshat, etc etc." But...BUT.

You know that trope Enemies to Lovers? Ever heard of redemption arcs? Yeah, those are things. Of course, I don't speak on behalf of everyone in the fandom because we all have our reasons for why. But I ship them because there is potential in Draco's character for growth, for repentance, for redemption. I believe that he's capable, when he's an adult of realizing that he fucked up and that the beliefs he was spoonfed as a child are not the law of the land. I've read more fics than I can count that describe this character arc for him and they do it masterfully. Honestly, I think he's a pretty complex character and I believe that we see a sliver of that in the last few movies. Like look, in 6th year, Harry hit him with Sectumsempra and nearly killed him. But when the Golden Trio were at the Manor and it was on Draco's shoulders to identify Harry and basically seal their doom, did he do it? Did he rat them out? Nope.

Maybe this wasn't exactly Draco "forgiving" Harry, admittedly. But Draco saw that Harry was their only hope for destroying Voldemort or for having some sliver of a winning chance, of a possibility of surviving the mess Voldemort was orchestrating. He obviously deemed it important enough to dare to lie, especially knowing that Bellatrix would have summoned the Dark Lord himself in the next few moments. If Draco really didn't care about the outcome of everything, he wouldn't have done that. If anything, we see that he cares at least about the safety of his family because that could have also been the motive. But that gets me thinking, couldn't he also have confirmed Harry's identity? Voldy would have arrived, perhaps praised Draco and spared the Malfoys to die another die. So really, Draco might have gotten more out of it if he HAD confirmed Harry's identity. Hmm food for thought.

Second point, I'm not going to judge anyone in the fandom because of reasons stated above, but I will go so far as to say, please, if you don't ship Dramione, that's okay. Everyone has their own cup of tea, but please, do NOT claim that all of us (that every single one of us who happen to support this ship) are and I quote "are just a bunch of horny teenagers desperate for some pretty boy and pretty girl sex". That isn't fair and it frankly isn't true, so please don't. I know many wonderful people who have crafted amazing stories and shown great talent through their writing to express the complexities I've just spoken about.

I'll end by saying that we all have our ships, and that's okay. There's no real right or wrong inasfaras who you ship with whom. But it's a basic gesture of respect, I think, to let others love the pairings that they love. Spreading hatred, ill-will or just unkindness toward those of us who enjoy a particular ship, that's not cool and that's what brings us down in what should be something we all enjoy and go to find joy and share that joy with others.

Okay, it seems I really defended Draco more than Hermione here but I will die on this hill and defend my dorks. Fight me on it (joking here but really though. XD) Thanks for coming to my Ted talk.

#my ramblings #dramione #draco malfoy #hermione granger #in defense of dramione #because i'm sick of seeing people throwing unnecessary shade on this beautiful fandom #thanks for coming to my ted talk

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foxwitchaine · 28 days ago

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What red flags do you think Adrien has?

First and foremost, Adrien hasn't changed during the series. Like, at all. If this had been any other series with a "Status Quo is God" mentality, I wouldn't be so nitpicky. The problem is we were promised plot all the way back in Season 2. And plot typically involves characters changing, growing, and developing along the way. I know I'm gonna sound like a broken record, but Avatar: The Last Airbender is pretty much the gold standard of what kid's shows nowadays should aspire to be like. The old "it's for kids" excuse is only gonna go so far when we've had gems such as ATLA, the Batman Animated Series, the OG Justice League, the OG Teen Titans, heck even anime like Sailor Moon and Dragon Ball Z on air. I'm personally not a fan of Dragon Ball Z, but even I can acknowledge what Akira Toriyama accomplished.

Those works also weren't afraid to get dark and scary while still being age-appropriate. Something modern kid's cartoons can all learn from, be it Disney, Cartoon Network, or even Nickelodeon. And something they all have in common? A strong and well-structured plot. Emphasis on "well-structured". I can't claim to know what goes on in the writing room of Miraculous Ladybug, but it's painfully clear hardly anyone knows what they're doing. And it's resulted in the "plot" of the show turning into a tangled tumbleweed drifting across the desert of discarded but better-written ideas.

Whatever the metaphor is, anyway.

Let's continue.

Adrien's second biggest red flag is his continuous defense of characters like Chloe and more recently Lila. I'm admittedly ignoring Season 4 onward because I cannot fathom disrespecting your characters (and audience) so much you turn a kid's show into your own vanity project just to stroke your ego. But that's beside the point.

Adrien has the unfortunate habit of defending problematic people like pre-"redemption" Chloe (I use that word loosely as I'm doing my own Chloe redemption in my fic with Rafe) and Lila. You could argue that it's because of the way his father raised him. But it defeats the whole purpose of Adrien getting to go to school.

School is a place where you learn and grow. And figure out how to deal with unpleasant stuff, such as bullying, incompetent teachers, and apathetic faculty (I'm telling on myself, I just know). The problem is that Adrien, despite all his chances to figure out how to unlearn the behaviors Gabriel instilled in him, has not once made any active attempts to improve himself. Yeah. I know. I may be a little too harsh on him, but that's because I saw potential in Adrien to be much better than he is now. Disregarding the Sentimonster theory being confirmed (again, I'm also ignoring that), Adrien's stagnation is very telling of both the character and the writers. No matter what happens in the show, the universe bends itself backwards to acknowledge his existence. Do you know what that's called in writing?

A Mary Sue. Or, in Adrien's case, a Marty Stu. You could argue that Marinette is a Mary Sue, but she gets torn down so much in the show the argument is pretty much moot.

Do note that this is not aimed to tear down anyone who's written Mary Sues or Marty Stus. I've created several of my own in my early days as a writer. Who hasn't. The thing is, though, as I grew up, so did my characters and my writing.

Adrien hasn't grown up since the start of the show. And that's very telling.

Then there's the third biggest red flag of Adrien: his behavior as Chat Noir. I know it feels unfair to use that against him, but it's been stated multiple times that Chat Noir is, in essence, Adrien's true self without his everyday mask.

If that is who he is without any limits, then I want him as far away from me as possible.

Preferably, with a restraining order.

I have yet to figure out why this keeps happening when Hollywood and other big-name studios write romance — even by female authors and writers — but it has to stop. Men, most sane women prefer it if you accept the first "no" as an answer. That goes for you too, ladies. No, I don't care if this pisses anyone off. I'm an equal-opportunity realist. And I'm gonna say something that will likely have people calling for my head on a pike:

Relationships in general are built on mutual trust and communication. It's hard work maintaining a healthy relationship, it really is. But more often than not, it's one of the most fulfilling things anyone can possibly dream of. No, this doesn't mean everyone is obligated to say yes to romance. There are those who choose to avoid romance altogether.

And that's perfectly fine. I just happen to be a romantic who enjoys romance. That's my personal preference (no, this doesn't mean I like red flags).

The writers of Miraculous Ladybug seem to be under the impression that teenagers should hook up with the first hot person they meet. And that's a very dangerous message to spread. Because what if the first hot person they meet is a domestic abuser? Or worse: a criminal who has no issue using whatever they can to control and dominate their partner.

Adrien — and by proxy, Chat Noir — has displayed behavior that's alarmingly similar to domestic abusers despite his sunshine persona. He's destroyed property because Ladybug told him "no" (Sentibubbler). He set up a date even though Ladybug told him she had plans, then had the audacity to get huffy and upset about it (Glaciator). He's lied to someone about his relationship with her, then blamed her for the resulting akuma.

Note that the last example was from Copycat, a Season 1 episode. Which bears the disturbing implication that this is an ongoing issue, not a one-time problem.

Adrien Agreste had potential to be a great character.

It's too bad the writers have stressed he's too perfect to change.

#miraculous ladybug #ml salt #mlb salt #ml writing salt #mlb writing salt #adrien salt #writing salt

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blackjackkent · 5 months ago

Text

@lavenderxpetals replied to this post:

Ooo, if you’re still interested, I recently watched https://m.youtube.com/watch?v=1nUm9E3Eun4&pp=ygUTZ2FsZSByYXJlIGRpYWxvZ3VlIA%3D%3D and I was super curious as to Gale’s reactions to the other three dialogue options that appear 40 seconds in.

Sure! (Sorry for the delay in getting back to you. :O )

This conversation is part of a much more elaborate dialogue tree in a file called CAMP_Gale_CRD_ROM_BeMyGod; I haven't actually played Gale's romance yet or dug through the whole tree (which seems to reflect all possible outcomes of Gale's ambitions at this stage in his personal quest) but that name seems cute.

The line you asked about specifically is flagged to occur when:

ORI_Gale_Knows_KarsiteWeave - "Gale learned from Mystra that the orb inside him is actually the Karsite Weave"

LOW_StormshoreTabernacle_State_GaleSeeksForgiveness - "Gale goes into Mystra OOM seeking her help or forgiveness"

(I *believe* that OOM stands for "Other Origin Moment", as opposed to AOM, "Avatar Origin Moment". Avatar in this case refers to a Tav or Origin Character under the player's control, vs companion origin character. So in this case, the variable is referring to the scenario where your Tav/player character has told Gale to go in to talk to Mystra and seek forgiveness. I'm not absolutely sure about the "Other" part of OOM, or if that first O stands for something else, so if anyone has a certain answer on this I would love to hear it. :D )

Stepping into this dialogue branch:

GALE: Ah. You're still talking to me then? I wouldn't blame you for giving me a wide berth. I thought the orb's ever-present censure had tamed my wilder ambition, but that wasn't the case. I needed Mystra's intervention. She offered me a path to redemption at last, and it might yet leave my mind and body intact. Please - continue to believe in me. I want to show you the wizard I am capable of being, rather than the poor excuse for a man who's kept you company thus far.

Four options from the player:

PLAYER: I believe in you Gale. Always have, always will. GALE: That's all I ever need to hear. PLAYER: You're willing to give up the chance of unlimited power. I'd say your ambition is under control. GALE: If that's true, it's thanks to you, and the trust you show in me at every turn of this strange adventure of ours. PLAYER: I hope so, because honestly you have been a poor man recently. Especially on the romance front... GALE: I'm sorry. It's not easy living for more than just yourself, when for so long just staying alive was accomplishment enough. PLAYER: You're more to me than magic, Gale. GALE: You stole the words from my mouth.

All of this then leads around to the same node:

GALE: I know what I must do. The Crown belongs under Mystra's stewardship, not mine, and I will ensure she gets it. That means there'll be no permanent place in the heavens for us. But we could still visit.

which then leads into the rest of the boat scene. :)

#lavenderxpetals #bg3 dialogue #gale bg3 #gale dekarios #gale of waterdeep #gale dialogue #thanks for the request! :D

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shiawasekai · 4 months ago

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For Nela!

2. How do they feel about Areelu Vorlesh?

8. What do they desire the most?

26. Did they separate from any companions? Why? (Consider killing a companion too for this question)

Thank you for much for the questions, Dujour!

2. How do they feel about Areelu Vorlesh?

The most vicious and (self-)destructive mix of love and hatred.

Plainly put, Nela herself hates Areelu for taking her entire life. What she did is, emotionally, not different from razing her entire hometown and murdering her family. It's worse in a way, even. Yes, she didn't personally kill them; but Areelu took away her home, her culture, everything she knew and understood from her. Areelu took years of her life, her own self changed irreversibly by aging (both physically and mentally). The world has shifted beyond what Nela can recognize. Her family spent their entire lives thinking she died and she'll never get the chance to correct them. Her parents died thinking she was gone.

Areelu destroyed more than words can express, and Nela understandably despises the woman who did it.

And yet, the experiment was a success. A part of Areelu's child lives within Nela, and that part loves her mother. It disgusts Nela, to feel such a thing for that woman, but she cannot stop it. For two souls that so easily coexist in the diminished state of the child's, that's the one true point of conflict.

Guilt and disgust tend to appear whenever Nela pays these feelings any mind, and the results are never pretty.

8. What they desire the most?

For most of the game? Going back home.

It's impossible, but the desire is made all the stronger because it cannot be fulfilled. There is nowhere to return after the Crusade is over. Everyone else gets to return to their lives before, or set forth to fulfill their dreams. Her dreams, her life before, they're gone.

Moving on feels like a betrayal. Even when Nela starts to build a new life in Mendev, there is the knowledge that this life wouldn't be even possible if she hadn't lost what came before. She wouldn't have met any of them.

I've mentioned it before, but if she was truly forced to choose knowingly between her life before and her life after? For most of the game, she would choose the life before. It would be a hard choice, yes, but one she would take nevertheless. It's one of the reasons it's so hard for her to talk about her issues with others: it means confessing she would abandon them if given the chance. It eats her inside, especially with some of the companions.

Let's leave the romance aside. Saying to Woljif, who considers her after his companion quest his first friend, that she would just leave him behind like that? To Arueshalae, for who she has been such a great support? "Yes, I would leave you to your devices and possibly fail your redemption to have my life back"? Screw your brother, Sosiel. I'm out of here.

It's selfish, it's ugly. She just cannot say it to them. Even when her feelings start to change into something more nuanced, as she grows to love these people, she knows the truth about herself. She knows what she wants most.

26. Did they separate from any companions? Why?

Wenduag dies in Act 3. I had trouble figuring out how Nela would feel about Wenduag for quite long. Nela believes in redemption, but she isn't a fool about it and won't compromise the Crusades for it. Wenduag has obvious reasons to do what she does, you could think there is a chance at redemption. Wouldn't it make sense for Nela to give it to her?

The thing is: Nela despises Wenduag for very personal reasons. In Wenduag, Nela sees who she could have become if she had listened to those darker instincts that one time. If she hadn't pushed back against her fear and decided to risk her life to save those slaves. Sacrificing others without a second thought for power, for knowledge.

Nela cannot believe in Wenduag's redemption, and doesn't want to either. The idea of having her around is simply beyond what she can tolerate anyway, so I won't say it eats at her conscience.

The other companion to "separate," as in die, is Camellia.

This time wasn't out of hate, but it wasn't out of the goodness of her heart either. As I said before, Nela doesn't expect perfect morality from the Crusaders or her companions, to do so would be foolish. What she expects them is to not be an active problem.

After what happens in Act 3, Nela cannot trust Camellia. The waste on resources trying to keep her watched would be ridiculous, and pointless given the mythic powers. It would be an active issue and a constant source of worries. Nela is knowledgeable enough to notice something is off with Camellia's explanation but, even if Mireya were real, Nela would still have no way to ensure Camellia sticks to only pre-approved targets.

In other words, Camellia becomes a liability that only makes her life harder and hinders the Crusade. Nela does wonder sometimes if she did the right thing, if there was an alternative way... but she also knows that Camellia had way too much power for the risk to be worth the potential salvation.

#disclaimer that i have nothing against Camellia and Wenduag #I find them fascinating characters #but there is no way for me to justify Nela having them around #Especially with Wenduag i've heavily considered it but no way Nela hates her guts #but yeah no lmao #oc: nela damasio #ask meme replies

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