#there's a difference between a good CHARACTER and a good PERSON

[frownyalfred]

I'm seeing a lot of "ugh, so we can't even criticize fic authors anymore?" posts popping up on here and the ao3 subreddit and I just want to say, for the record: No one's saying you can't criticize (fanfic) authors publicly. They're saying it's rude and antithetical to positive fandom experience. And, yes there's a difference.

If this website was a conference and I had just spent a whole afternoon listening to a presentation on [unpopular fic trope] and after that was done, I got up on stage and very publicly told the audience that [unpopular fic trope] was illogical and anyone who writes it is woefully misinformed and should be banned from writing [relevant character], that would in fact be a dick move.

"But the canon character would never--" it doesn't matter. You're shouting down the hall at the person who just happily did a whole seminar on their OOC version of that character. "But I don't like that the author chose to make them--" good, you're well-acquainted with your likes and dislikes, time to find another fic.

We all run into fics and interpretations we don't like. But there's a huge difference between loudly talking about it on Tumblr where the author can see it, and just venting in a private discord or other group. Also, gentle reminder that this is a hobby for most writers and something they do purely because they enjoy it. Stop being massive dicks just because you feel entitled to a certain flavor of fanfiction you will probably be chasing until the Reformation of Krypton.

[lowkeyerror]

Always There

Agatha Harkness x Vampire!Reader x Rio Vidal

Word count: 4.9k

Notes: Non-major character death, depictions of violence, graphic violent content (blood, mob violence/torture, detailed wounds), angst, hurt/comfort, fluff, small mention of suicial tendencies, italics=past

Summary: Vampire reader has had a casual relationship with Agatha and Rio, but eventually too many years pass since their last encounter, the vampire starts to wonder if they still cared for her.

An: Posting this immediately after I finished writing it. Hope you enjoy. Likes, replies, reblogs, and all of that are appreciated 🙂‍↕️🙂‍↕️🙂‍↕️ Edit: Not me saying itallics and forgetting to actually put them lol

Masterlist

You’ve had a casual fling with Agatha and Rio for as long as you can recall. There’s a stereotype about witches coming and going as they please, and you find it to be frustratingly true.

It's easier to get ahold of Rio than Agatha, which is ironic considering that Rio is literally Death. With the title comes the job, so all you truly needed to get a glimpse of her was a body. Perhaps you could arrange the carcasses in a way that said ‘stay with me forever’.

As a vampire, you had time to wait. There was no rush, which is how you believe things got so casual. You could never forget how you met the pair.

At the time angry mobs were running rampant, looking for anyone to persecute. You were a known vampire living not to far from a village. They hunted you for sport. There were many of them that you killed, but eventually they were able to ambush you. When they did, they used wooden spikes to pin you to a large ‘X’ that they built. The scars from were they impaled your flesh still present today.

They tortured you; punching, spitting, stabbing, you had eventually lost track of time after a few hours. The need for blood weakening you enough to where breaking free was nearly impossible.

They’d come in shifts for the torture and leave only one person to watch you in the night. That was their only flaw. You didn’t expect anyone outside of the village to come across you, but someone did.

Your head was hung low, when you heard the unmistakable sound of a body hitting the ground. You raised it slightly, to see the guard that was supposed to be watching you, dead on the floor.

“You don’t look too well.”

It had been days since you had tried to speak, so your voice was hoarse, “I wouldn’t think so.”

“What are you? Only someone different, is worth all of this trouble,” a different voice spoke.

Your eyes look to where the voices are coming from, but you only see shadows. Your tongue is dry as it passes over your bloody chapped lips.

“Vampire,” you mumbled.

“Help me get her down.”

When they approached, you finally got a good look at them. You couldn’t help but stare at their features. Both youthful with rosy cheeks. Rio’s large brown eyes caught your attention immediately, warm yet hiding something. Agatha’s features were sharper, her cheekbones, her jawline, even her eyes.

“This will hurt,” Rio examined the wood embedded into your skin.

“I know,” you spoke weakly.

You expected them to pull the spikes out with their hands. Instead your eyebrows furrowed when purple and green tendrils of magic worked around the spikes. Instead of 4, painfully slow, agonizing moments, there was only one rough pull, before your body fell off of the ‘X’. Only your knees hit ground as Agatha and Rio held up the rest of your body.

Your full weight pushed against them as your head rested in between their shoulders, “Thank you.”

“Hungry?”

Your eyes glowed a dim red, “I could drain a village.”

“Bloodthirsty, even in this state?” Agatha teased.

“Especially in this state,” you corrected.

You could hardly move, but you attempted to stand on your unstable legs. You grunted in pain as you put one foot in front of the other. Your focus was on the dead guard. His heart was no longer beating, but blood still filled his veins. It was calling to you, it had been too long since you had fed.

Your fangs snack into the man’s neck viciously. You had no remorse for the corpse as his body began to lose color as you drank. He wasn’t a large man, which was unfortunate, but he sufficed for the moment.

Harsh breaths and clearing of your throat, were indicators of how much you needed that. You wiped the blood off of your mouth with the back of your hand.

Your wounds were slowly closing, but it was taking all of the energy you had just gained.

“I can heal you faster,” Rio said tentatively grabbing your forearm.

She extended it so that it’s flat, before quickly running her tongue over the spot. You looked at her as if she was crazy, but then back at your wrist. The hole from the stake was gone, in its place was only a scar.

If you had a pulse, you were sure that it would be beating wildly.

You glanced at Agatha, who watched on, “Do you do that too?”

She shook her head, “Earth witch specialty.”

“How long did they have you like that?” Rio’s eyes have examined your body, noticing the extensive damage. Her finger trailed one of the nastier slashes across your stomach.

“I don't recall,” you spoke honestly.

Rio was careful as she healed the larger wounds on your body, you told her not to worry about the less significant ones. Even when she was done you were still caked in dirt and mostly your own blood.

“Let me help you out doll,” Agatha waved her fingers swiftly, and soon you were clean as a whistle.

Your tattered clothes replaced as if they were new, dirt and blood alike removed from your body. Ugly scars, now covered except for the few that littered your face.

“Why help me? We are only strangers, I don’t even know your names.”

“Abominations to humanity must stick together lest we want them to wipe every one of us out . You can call me Rio.”

“Agatha Harkness, pleasure to save you beautiful.”

One of your eyebrows raised, “Witch killer, Agatha Harkness?”

The woman chuckled, “I see my reputation supersedes my community. Does my aura scare you…”

“Y/n, and it does not. There are no rules when it comes to preservation of self. I’ve killed my own kind for good reasons and some not so good reasons. Bodies just seem to pile up when I’m around.”

“That why they nail you up like that?” Rio questioned.

You shrugged, “I suppose, a mixture of that and fear.”

“People fear death,” she spoke.

You shook your head as you corrected her, “Mortals fear death. I know people who are thousands of years old, who run from ailments of morality. They are foolish, death cannot be outran. Though it may take longer for her to come, she will eventually get all of us.”

“You aren’t afraid to die?” Agatha questioned you.

“No, there’s no point. She’ll come for me when it’s my time, but until then what is there to fear besides a wasted life.”

Rio had a small smile on her face, “Quite the philosophy you’ve fostered. Just one question, if you feel that way, then why kill anyone in the first place?”

It was your turn to chuckle, “If someone was meant to live, they simply would. I’m not stealing life, simply gifting death to those who have decided that it is their time.”

“How do you know that they’ve decided?” Agatha counters.

“Well you see, many people are weary of vampires and they should be. They let their guard down, they get comfortable, they play with their food instead of finishing the job. Those actions have consequences and I like to deal with those consequences personally. So I suppose when they choose to wrong me, they’ve chosen to die.”

“And the villagers who did this to you?” Rio pondered aloud.

You eyed her cautiously, “Do you stand to stop me?”

Rio shook her head, “I keep a witch killer in my company, you think I’m above a rightfully earned massacre?”

“Well you spoke of solidarity amongst-”

“Think of it this way, we can do what we want amongst each other, as it is our business. The humans have no right, to do what we do.”

You nod, “I agree.”

“So, you’re going to destroy the village?” Agatha questioned.

“My goal is to drain every last one.”

After that first encounter you were drunk on the thought alone of Agatha and Rio. Finding out Rio's true identity only made you lust for her even more. You knew that both had bonded with each other in ways you hadn’t understood, but that didn't stop your feelings from developing.

It didn't take long for them to fold you into their relationship, at least partially. They weren’t always around, but when they were everything seemed to fall back into place.

However, you’d be lying if you said you hadn't been getting restless these last few years. It was feeling like you saw less of them, especially Agatha. It felt like a game of cat and mouse. Somehow you had ended up chasing after them.

Tonight you walk the streets bored, part of you looking for trouble. Rumblings of new age vampire hunters in the area had piqued your interest. So you’d have a chance to have some fun or at minimum find your next meal.

Your fingers play with the rings they had gifted you, centuries ago. In the past you could feel both of them signaling you through the jewelry. It was a faint buzz, something like a hum, through the ring. A feeling that you hadn’t felt in ages. You longed to feel it again, to feel them.

Alleyways didn’t scare you, hardly anything scared you these days. Yet as you take a step into this alley, you sense something immediately. You feel eyes on you, as you walk.

“Has anyone ever told you to be mindful of where you settle demon?”

You continue walking, the empty threat meant nothing to you.

“I know what you are, I can smell it on you,” the voice echoes against the walls.

Your ears twitch, and soon you’re holding a frail man against one of the concrete walls in the alley.

“If you know what I am, you should be more mindful of how you approach me,” your strength speaks for itself.

You don’t give him the pleasure of seeing your fangs or glowing red eyes.

“Ah, you’re one of the older ones. This will be quite fun,” he says gleefully.

“What are you-" the question dies on your lips as you feel a needle being jabbed into your neck.

Your hand instinctively shoots over the spot, and your growl in frustration. You drop the man against the wall, turning your attention to the person who stuck you from behind with the needle.

This man was much bigger than the other. He was about twice your size, but it did not matter. You bare your fangs, hissing at the muscular man.

“Why isn’t she dropping?” He yells, fear laced through his voice.

You take the moment to pounce on him. Your teeth wasting no time, sinking into his neck. The man convulses under you, but you’re stronger than him. Even when he grabs your neck you don’t relent.

“Impossible,” the frail man, whispers from his spot against the wall.

“Nice try, but-”

The sensation hits you like a truck. You feel your vision get blurry and your muscles weaken. You blink a few times trying to will yourself against the late acting sedative.

The frail man nods excessively as you begin to lose consciousness, “Slower than usual, but captured nonetheless.”

You’re jolted back into consciousness when you feel the stake being driven into your skin. You attempt to shoot out of whatever position you are in, but it only causes you a familiar pain. Unlike the first time you were nailed to something, this time it was straight up rather than ‘X’ formation. Your arms hung up straight above your head and your feet were slightly spread underneath.

One spike was used to pierce both of your hands in place while you had one for each foot. Your breathing only quickens even more upon noticing you are in a forest. This couldn’t be happening.

“Glad you could finally join us,” the frail man from earlier want alone this time. He had a group of people with him.

“Let me go, and I’ll consider sparing you one I'm free,” you say, yet no one moves.

“You hold no power here, demon,” the man walks around you. “I am doctor Helsing, you may be familiar with my ancestors.”

Your jaw twitches, “ Van Helsing.”

He chuckles, “What a smart creature you are?”

“What do you want from me?”

His chuckle turns into a boisterous laughter, “ You can't offer me anything that I don't have the ability to take.”

You glare at the people in front of you, eyes turning a vicious shade of red, “The last group of people that tried something like this, paid for their sins with their lives. I hope you’re prepared to do the same.”

“They did quite a number on you, I can tell by your markings. Their only mistake was letting such a beautiful thing like you go,” Helsing says, his hand sliding across the scar on your abdomen.

“They didn’t let me go. I got out.”

His eyes had a glint as he leaned in, “And then you killed them all, how sad.”

He stabs you in the scar. Carving harder and deeper than the previous person. You grunt, but try to steel yourself under the knife. Yet you squirm finding the sensation to be more unpleasant than you had recalled.

“Silver cuts a little different doesn’t it?” He says watching the cut pour blood.

“You’re going to regret this.”

He turns his attention to the people, “Empty threats mean nothing when a beast is tied up. Would anyone else like a turn?”

People in his crowd begin to circle around you. Some with weapons, others cracking their knuckles. You're being attacked from all sides. The pain makes you tear up, but you avoid crying.

Instead you left out a bitter laugh, “That’s all you’ve got. Come on if you're gong to torture me at least put some passion behind it.”

“Oh, we’re just getting started. I want to hear you beg for your life, I want to see you broken, beaten, defeated. I want you to ask for death and then I'll award it to you.”

You spit at Helsing, “I’m not scared of death.”

He wipes your spit off of his face, a scowl now present, “For centuries my family has been driving your species to extinction. The failures may eclipse the successes, but don't think that we were never successful. You will fall at the hands of Van Helsing, creature.”

He has a device in his hand, he shoves it into your mouth. It forces your mouth open and your fangs out. He stares at them in awe. You try to clamp your mouth shut or retract your fangs, but you are unable to. You start to panic.

“Just like a snake, de-fang the vampire and a lot of that fear is gone,” his smile is sadistic.

You feel your adrenaline sky rocket as you shake violently. Your eyes wide in terror. The wood stake ripping your skin, but the pain was nothing akin to the fright.

You don’t remember the last time you were truly this scared.

He laughs and some of the crowd laugh along with him, “Are you afraid now, demon?”

Tears fall from your eyes and he coos. You flinch at his hand touching your face. His fingers were rough and callused against the swollen skin. You move your head as if to attack him and he stumbles back.

He grabs your jaw roughly, “This is the power of man.”

“Looks like someone is having a party and forgot to invite us.”

You know that voice. It makes you close your eyes in relief. The panic you felt in the moment begins to dissipate.

Everyone looks to the sky following the sound of the voice. It’s there that they see Agatha and Rio floating in the sky. Most of the crowd has their mouths agape, not believing what they are seeing.

“Should we offer them mercy, Agatha? Maybe our invites got lost in the mail?”

“This matter does not concern you foul wenches, be gone,” Helsing says, his voice trembles a bit at the end.

It’s Agatha that cackles looking down at the man, “See that’s where your wrong because…”

Rio appears behind the man, her skeletal form on her face, “If it concerns her, then it concerns us.”

Her dagger lays on his neck and he looses his composure.

“Anyone want to be brave?” Agatha questions the crowd, who screams when she shoots her magic at a nearby tree exploding it.

“What happened? A second ago you were lining up to torture her, but now you’re scared,” Rio adds pressure to her dagger.

“Don’t get shy now, doctor. Nothing to say?” Agatha gets closer to him.

The group tries to scatter but she traps them in a circle full of fire. They’re forced to gather close to each other. Their screams make you smile.

Agatha pulls the device out of your mouth carefully. Her hand caresses your face gently. You lean into her touch.

“We have to stop meeting like this doll,” Agatha mumbles only for you to hear.

“We wouldn’t have to meet again if you stopped leaving,” you shoot back.

Agatha casts her gaze away from you and over to Helsing. She and Rio switch places. The Green Witch, uses her vines to pull the spikes out of your body. It’s a feeling that never gets easier to experience.

You land on your feet ignoring the burning sensation. With your back tall you walk over to Helsing. You crouch in front of him, despite your own agony.

You hold his eyes, “Funny, I recall you telling me I’d beg for death. Well now she’s here for me, just not in the way you expected is it?”

Rio wiggles her fingers at the doctor, “I loved dragging the souls of your family to eternal damnation, can’t wait to reunite you with them.”

“Humans are all the same, always playing with food that’s not yours,” you stand towering over the man.

“Hey I like to play with my food,” Agatha pouts.

You smile, “When you have power you can do what you want.”

You open your hand and Rio drops her dagger into your grasp. The crowd watches in panic behind the flames as you approach the man.

“However, I’ve never been one to play with my food,” in a swift motion you slit his throat.

The gasps and screams of his followers sounds like music to your ears. He gargles his own blood reaching for his neck.

“Your blood isn’t worth drinking,” you watch as he collapses. You turn to address the crowd, “None of you have worthy blood. Cowards, followers, miscreants, I hope it was worth it. The price is your life, now burn.”

Agatha waves her hand dismissively and the crowd of people are quickly evaporated. Ash and burnt grass the only remnants of the aggressors.

Upon their destruction you crumble to the floor. Your body screaming at you for the abuse you endured.

Rio starts with the wound on your stomach before healing the spiked points. Your body still aches when she’s finished, but it’s substantially less than before.

“Déjà vu isn’t it bunny?” Agatha opens the floor for conversation.

“Now isn’t the time Agatha,” Rio scolds the woman, who raises her hands in defense.

“I was just reminiscing, is that a crime?”

You stand, “Well, good seeing you. Same time… in the next few centuries or…”

“You’re hurt,” Rio argues.

“You healed me enough,” you shrug.

Agatha rolls her eyes, “What’s with the attitude princess?”

You place a hand on your hip, “When was the last time we saw each other, Agatha? Rio, you only come when I leave bodies in my wake. So sorry if I’m not thrilled it takes me being captured and tortured to get some time together.”

“It’s always been this way,” Agatha argues back.

Your voice takes on an uncharacteristically soft tone, “I know and I’m tired. I don’t want whatever this is. I need something more, something tangible. It’s fine if you don't want to give that to me, but I can't keep waiting.”

You try to keep calm as you pull the rings off of your fingers, hand out stretched to give them back to their original owners.

“Y/n…”

“Take them… please. Free me, from whatever this is. I’m grateful that you saved me on our first day and maybe the same thing happening again is fate telling me that this is our last day,” you get the courage to look at them with teary eyes.

“You don't even believe in fate,” Agatha tries to reason with you.

“How would you know, you haven't been around. Things change, people change,” you tell her.

Agatha looks to Rio for help, but The Green Witch, just keeps her eyes on you.

“That’s bullshit! If change is so real, how’d we end up right back where we started hmm? Poor little hung up bat, in need of saving and here we are like always,” Agatha’s theatrics peak through her words.

“Like always?” You repeat, in disbelief.

“Look sweetheart, I know that-"

You ball your fists at your side, “What could you possibly know Agatha? Tell me, I’m interested in hearing. Did you know I spend all my time waiting for either of you to tell me if you want me or not? I don’t sleep, I just think and think and think about finding a way to end it all without having to see either of you. Hard to kill yourself with Death keeping tabs on you, even without a heartbeat. I knew this guy was tracking me, I knew what he wanted to do, and I said fuck it. I don’t care, what’s there to live for anyway?”

“You can't be serious?” Rio doesn’t want to believe what you’re saying.

“Of course I’m serious, part of me thought that after all these years humans would be over torture, but that was foolish of me. Why would I think that you'd come to save me? I still don’t understand why you did.”

“Because we love you, you fucking idiot!” Agatha shouts at you.

You scoff, “Do you really? I couldn’t tell by the hundreds of years apart.”

“We were protecting you,” Agatha gets in your space.

“What could have possibly been protecting me? Oh no, a loving and caring environment? How ever could I have managed such domestic delights and pleasures,” your voice drips sarcasm.

“You do realize that Rio is Death, right? Her job is literally to reap souls, you aren’t the only one that doesn’t get to see her often. And me… I’m all trouble, doll. There’s not a pleasant bone in my body.”

You roll your eyes and cross your arms over your chest, “Did you forget who I am? Have you had a head trauma recently, or maybe you need a refresher? I’m not the greatest either, cupcake. I just slit a man’s throat and had his followers executed.”

“By me,” Agatha points out.

“Ok and you want credit for the villages I killed too? The vampires I murdered? The people I lied to? The whores I fucked? I’m not some sweet innocent thing you picked up off of the side of the road. My ledger has had blood on it since before you killed your original coven.”

Your eyes are red as they stare into her blue ones.

“We were scared,” Rio interrupts the rising tensions between you and Agatha.

“Scared of what?” You glance at her.

“Of committing to you. Hell, Agatha and I can’t even fully commit to each other. This game of cat and mouse, it’s all we know. You’re right, you deserve more, so much more, but we don’t know how to give it. We don’t know what a domestic life looks like, we aren’t domestic people. I didn't think there would be any doubt in your head that we loved you, and maybe that just shows how fucked up we really are,” Rio monologues.

Her words hit you harshly. They make you want to start crying all over again. You cast your gaze to the floor.

“I guess that brings us back to the original point then, doesn’t it? Maybe it’s better if we just, end it here,” you can’t look at them.

“If that’s what you want?” Rio nods solemnly.

Agatha looks between the two of you, “Are you two stupid or something? You have to be if you think I’m just going to agree to this.”

“Agatha-”

“Don’t. I love you, both of you. I don’t want this to end and if that means changing the way things operate, then I guess things just have to change,” Agatha speaks seriously.

“What are yo-”

You startle when Agatha grabs your hands in both of hers. Her eyes locking fiercely onto yours. She doesn’t blink as she speaks, “Move in with me.”

“What?”

“You want time together, we can have time together. We’ve basically been together for centuries, come live with me.”

“Agatha, I think you've lost the plot,” Rio says, cautiously.

“You too Dr. Green Thumb. Let’s all move in together,” Agatha nods her head.

“That doesn’t fix everything,” you focus on her hands over yours.

She doesn’t hesitate to raise her hands to cup your face, “There’s obviously a lot to fix, but you can’t tell me this isn’t a step in the right direction. Y/n, I don’t want to- I can’t lose you. I’m not willing to let you go without a fight.”

Your face heats in her hands. Her eyes are ablaze with passion as they keep contact with yours.

You sigh and rest your forehead against hers, “I don’t know Agatha.”

Rio joins the moment, carefully wrapping her arms around your torso, “I don’t think any of us really know, but I think we’re supposed to find out together.”

“Please,” Agatha’s breath hits your lips. “Just a chance to make up for lost time. If it doesn’t work, then it doesn’t, but please don’t give up on us yet.”

Hearing Agatha beg like this tugs at your heart. You don’t want to give in this easily, but you’ve already wasted so much time.

“Ok.”

As the word falls from your lips, Agatha surges forward. You can recall the last time her lips were on yours. The warmth that they were able to send through your body. How firm she was in her kiss, not scared or uncertain as your lips moved together. She knew what she wanted and it was hard to picture a world in which she’d kiss someone she wasn’t interested in the way she was kissing you. You were the one she wanted.

Your legs grow weak, but Rio holds you steady. Her shifting grip, makes you turn to face her. Unlike Agatha she hesitates. She takes a moment to admire your features, she wasn’t in a rush. Neither were you. Rio’s kiss is softer than Agatha’s, her plush lips, move experimentally against yours. It’s not like she’s forgotten, more like she’s re-exploring. She's playful, as her teeth nibble on your bottom lip. You laugh at the sensation.

Rio rests her head on your shoulder. She extends her hands, motioning for the other witch to get closer. Agatha wraps her arms around the both of you. Her front to your back while her hands rest on Rio’s back. You’re encased by them, a feeling that is welcomed yet foreign to you.

“Promise that you'll keep me close” you say to both of them.

“Until the road ends, my love,” Agatha kisses the top of your head.

“I’ll hold you even after the road ends,” Rio kisses the base of your neck.

“Do you always have to one up me?” Agatha says to Rio.

Rio chuckles, “Sounds like a skill issue sweetheart.”

“Oh, we’ll see who has a skill issue later, when you’re begging me for help because my fingers are longer than yours,” Agatha says smugly.

Rio pulls back from you to glare at Agatha, “If you don’t want to ‘help’ me, I’ll just ask Y/n. Isn’t that right sweetheart?”

You blush at the innuendo.

“Nuh uh, bunny. I think I recall you liking my treats better, because someone has a skill issue,” Agatha sticks her tongue at Rio.

You turn an even deeper shade of red.

“You can never let an emotional moment be,” Rio says.

“Well you’re always trying to out ‘emotional’ me,” Agatha replies.

“It’s not my fault you’re not as smooth as me, mi vida,” Rio counters again.

Agatha throws her hands up, “I know Spanish and Latin too, you’re not special Vidal.”

Rio raises an eyebrow, “And who taught you?”

The back and forth makes you laugh, “Are you sure you don’t do domestic, because you bicker like an old married couple?”

They both huff at your statement.

“We’ll continue this at home,” Agatha points at Rio.

The brown eyed woman puts her hand over her heart in faux-fear, “Oooo, I’m terrified.”

Agatha opens a portal to her house and both women step through. Not stopping their bickering for a second. You smile as you watch them, feeling hopeful for the first time in a long time.

“The portal isn’t going to stay open forever, bunny, come on,” Agatha reaches her hand to pull you through.

You take it, stepping into your new beginning.

[pink-ivy-vines]

what it honestly feels like they did was take the concept of native rivaini people stealing their culture before the rich andrastian nobles could and then turned that on... every other culture? like, it makes sense that rivaini pirates are stealing their own history before it could become a showpiece for some asshole chantry bootlicker who approved of the dairsmuid circle being annulled in 9:40 dragon. and it makes a little bit of sense for the qunari ones because rivain is the only country in thedas that had a peaceful qunari settlement. it does not work with the elven artifacts.

my first playthrough of the game was as a lord of fortune, and i liked it a lot, but there is this really weird disconnect between what taash thinks is happening in the lords and what rook sees in the lords. rook acknowledges that they're thieves. that they steal things. in fact, one of the most interesting moments of the game for me was rook trying to connect to taash through being a lord and taash shutting it down by saying "we're not thieves" and rook saying "UM. yes we are?" then gives a very pointed example about said thievery. because the lords do steal things. sometimes they do it just because it's funny.

but taash doesn't recognize this? or doesn't believe it and sees it through these rose-tinted glasses? with every other faction i've played you're able to connect to the other character from that faction in some way. you chat with them, talk to them, and your shared history comes up often.

that does not happen with a lords of fortune rook. in fact, the only time i've ever actually seen rook uncomfortable is talking about the lords of fortune to taash. because rook tries really hard to connect with them about it and then is clearly shut down at the get-go due to their vastly different viewpoints on what the lords actually do. it's almost as though both of them have wildly different perceptions about what goes on in the lords and this is fascinating and interesting and also never brought up again.

sure, it's hinted at; isabela does not take taash on anything remotely political, doesn't bring them into dragon hoards, and tends to have taash there only for advice on dragons. rook was much more involved in the 'delving into temples and ruins' and has a much closer relationship to isabela than taash does.

some part of me actually thinks that taash's storyline should have been about realizing that the lords aren't exactly the goody-two-shoes that were presented to them. that they do commit crimes and maybe that can be good in some ways (in regards of fighting against the chantry in their country) and bad in others (like stealing and selling elven artifacts).

of course, all this also just exemplifies the problem that you bring up; which is that the lords do have good things that they're doing as well as some bad things. they're in a weird situation where they're fighting to help people, but rivain has been the subject of so many genocides and massacres that they are trying to survive the only way they know how; through piracy.

yet the only person you can talk to in a meaningful way sees them as a weird abstract painting of themselves and when you play as a lord of fortune it still never gets resolved or pointed out. it just becomes more obvious.

I got a party banter between Bellara and Taash about how the Lords of Fortune steal elven artifacts. And then Taash clarifies later that they have a Dalish expert on the team so they can check to make sure the Lords don't sell something culturally important and instead return it to the elves.

Like. I get it. You want the Lords to be fun swashbuckler Disney pirates and Robin Hoods instead of actual pirates who steal and plunder. Because we're only now in Western society realizing that stealing from indigenous groups is, uh, bad. But like. Writing really uninteresting factions for your "dark" fantasy (tho lbr Dragon Age hasn't been dark fantasy since DA2) isn't gonna solve real-world neo-colonialism, ya know? The Lords not stealing priceless elven artifacts and returning them to the elves doesn't signal to me that the Lords are total rascally good guys, it signals to me that BioWare itself is trying really hard to seem morally conscious. "See? We know stealing from other cultures is bad!!!"

And man. Not to be a "political correctness has poisoned media" grifter on main (tbh it's less political correctness itself and more the commodification of real-world activism) but I couldn't help but imagine how this convo would've played out in earlier games, potentially even Inquisition.

You could've so EASILY made this interesting while giving the Lords and Taash and Bellara a lot more depth, while also making it clear that stealing from indigenous groups is wrong.

Just have the Lords, yeah, actually sell those artifacts. But also establish that the Lords take in and help elves from all walks of life. That they free slaves, or collaborate with alienages. Then you could have Taash defend the practice by saying to Bellara that little orphaned elf kids being sold as slaves probably don't give a flying fuck about some artifacts they're never gonna see, but the money from selling those artifacts goes to buying them food. And have Bellara fire back that preserving elven culture is also part of its survival, and that there are Dalish clans that would be willing to pay for them or offer something in return. Or have her say that the Lords are doing charity for the sake of recruitment rather than actual altruism. And then Taash responds that those high and mighty Dalish elves don't do shit to help abandoned city elves, just because those aren't part of their correct elven subculture, and they care more about reclaiming old glory than helping the people that exist here and now.

Then you could have side missions or at least codex entries that describe maybe some Lord recruit being conflicted about what they're doing. Maybe a few of them are collaborating to hijack a deal or steal back an artifact. Have implications that some high-ranking Lords are, in fact, using those artifacts for their own gain, despite claiming otherwise. Have some Lords genuinely trying to help, and believing that gold and trinkets don't matter as much as people's lives, so they sell them in exchange for safety for refugees or slaves or some other helpless group.

But no. Instead it's "hey do you steal from my people?" "nah lmao we have a cultural advisor don't even worry about it" "oh wow so cool and woke of you!" And then that's it. No need for any further discussion. No conflict and no complexity. No bad actors and moral quandaries.

Weh.

[teapetal44]

TW: ABUSE, CHILD ABUSE

“He wants to air this dirty laundry to the world does he…? Dabi, you fiend…you’ve been waiting for this moment…when they couldn’t prevent mass destruction…and faith in heroes is wavering.” - chapter 292

I truly, wholeheartedly, believe that MHA as a story upholds the myth of the perfect victim. I do not want to discuss if Horikoshi did that on purpose, or subconsciously because of inner bias – I find no meaning in doing so. For me the execution of an idea, in the grand scheme of the narrative, holds more value than the intention of the author. I’ve also had my fair share of people infantilizing Asian authors in the anime community for their poor writing decisions for one lifetime. It’s patronizing to both the author and the people reading it. Whether or not Horikoshi intended for his themes of abuse to paint the picture they did does not matter, because that’s how it reads as.

MHA puts victims of abuse in narrow boxes and softly dictates what’s an acceptable reaction to said abuse. Victims are continuously walking a tightrope between being deserving of compassion and sympathy and being unredeemable monsters who are too far gone and are only good for martyrdom after being put down.  

Eri fits the clean cut depiction of abuse victims that media usually gears towards. She is untouched by the cruelty around her - she preserves her innocence and kindness. She isn't assertive, but rather meek and passive. She doesn't fight back with force. And when offered help, she is receptive to it. That is not to say that Eri's depiction doesn't have a place in fiction, or that her portrayal can't be representative of the experiences of some - as we all deal with trauma and the inhumanity people throw at us differently. We see the same thing in the portrayal of Fuyumi, who shares many of the qualities discussed above. The same thing applies to her - i personally love the idea of all the siblings having different reaction to their childhood trauma and abuse. It shows that victims are not some type of monolith.

But the narrative treats the "forgiving" or "receptive to help/support" victims of abuse with more grace and with much more kindness. if you are willing to forgive, or the very least be quietly tolerant, the story grants you a happy ending. Forgiveness isn't a bad thing, it is an individual choice - but an abuse victim shouldn't have to do it for them to have a happy ending.

In a vacuum Eri and Fuyumi's character arcs and depictions of abuse are good but it becomes a problem when that's the only experience and type of victim we ever hold in high value or recognize as valid and deserving of compassion. Which the story reinforces.

Touya and Tenko's backstories aren't pretty nor comfortable or easy to sit through. Their responses to abuse aren't either. Reactive abuse is very much real.

[dakota1435]

Moonlight – Vampire!Sylus X Reader ✩₊˚.☪︎ ⁺₊✧

word count: 3k

tags: new l&ds character!, mention of alcohol, mention of violence

previous chapters found here!: x

Chapter 7

You awake softly, your eyelids heavy with exhaustion. You prop yourself up a bit, trying to come back to reality. The room turns with your vision, a dizzy spell stronger than you’ve ever felt. Quickly, you close your eyes. 

“Ugh…” You groaned quietly. 

 “How are you feeling?” Sylus voice was close to your ear, making you realize he was still next to you in bed. 

“Mhm… dizzy,” you said, noticing how dry your throat felt. Were you really this exhausted? The blood loss must’ve been too much these past two days. You feel Sylus shift around before he presses a cold glass of water against your arm. You smile at the gesture and take the glass before drinking the whole thing. 

“I…shouldn’t have taken from you so soon again,” Sylus said. It seemed like he was choosing his words carefully, slowly. “It’s hard to resist you, sweetie. You tempted me with your neck last night.” He brushed his cool fingers against your neck, tenderly. Your mind recalls every detail from last night, not to mention the ache your hips held. 

“It’s okay…” you spoke quietly. “I wanted you to,” you admitted. That much was obvious. Just recalling the overwhelming feeling of it all could turn you on again, if you weren’t so dizzy and exhausted. 

Over the next week ahead, Sylus is home more often. He doesn’t feed again, or touch you anything more than simple gestures. Although he didn’t show it, you were worried he thought he went too far during your last intimate moments together. But, maybe, he truly didn’t need to feed everyday. Or every other day. It was still difficult trying to figure him out. 

The same routine continued. You never realized how drastic it was no longer having a cellphone on you. But it gives you plenty of time to reflect and observe every detail around you. You started reading, given access to Sylus’ personal library. You asked the twins to get you a plain notebook, along with some writing pens. Since you were going to be here for the time being, it was better for your sanity to start documenting your new life. The twins might tell Sylus what you request, but that doesn’t mean he’ll find your personal journal tucked in a small, hidden space. At least, you hope so. 

…His stare is like ice, yet whenever he speaks it’s different. His words are smooth, honeyed, seductive. His touch sears into me, hot enough to make me melt. It’s hard to understand his true motives. Is this all so I can feel good? So I can forget the pain he inflicts upon his bite? Could there possibly be anything more than that? Between a human and a vampire…

You groan out loud as you hold your face in your hands. Even with writing your thoughts down, it still didn’t make any sense. What were you possibly hoping for, anyways? You close the notebook for now, tucking it back into its secret spot. A knock at your door snaps you out of your overwhelming thoughts.

“Miss? Boss wants to see you in the dining room,” said one of the twins. Luke, you assumed. He goes away without awaiting your response. You’ve learned it wasn’t unusual for Sylus to send someone to fetch you, rather than him coming himself. You sigh, combing your hands through your hair before leaving. The hallways were all familiar to you now, it didn’t feel like a maze anymore. You enter the dining room, noticing in the rare window the sun just went down. It was twilight now. Sylus stood, staring out that window. He doesn’t turn around at your arrival. 

“Come, sit.” He gestures to a large, leather chair next to him. Wordlessly, you go up to the chair and sit. You stare at Sylus, waiting for his next words. He seemed…tense. But it was hard to tell. He finally looks at you and speaks again. “The first time I brought you to an event, it ended up…unpleasant. It would be so easy if I could lock you up forever,” he chuckles darkly. You aren’t sure if he’s truly joking. “...But I need you to accompany me this time.” He looks at you, trying to gauge your response.

“Another…auction?” You asked. You were surprised he even thought about letting you outside after that incident. 

“No. This is much more important. I cannot risk leaving you here, unattended.” His tone was a bit stern. It left you puzzled.

“What? I’m…I’m not going to run, Sylus,” you stated, trying to make your point. He scoffed instead.

“I’m flattered,” he said flatly, “but that’s not what I meant. In a few days, there will be a gathering. A gathering of my kind.” He furrowed his brows a bit.

“Do you not want to go?” You asked cautiously. If he didn’t want you to pry, then that was fine, but clearly something was off. 

He sighs. “It’s significant that I arrive. I’m bringing you because I will not risk some idiot getting to you before I come back. Luke and Kieran will be away for a bit.” You muttered a small ‘oh’, understanding the picture now. To think he’s bringing his human into a den of vampires…is that truly the best idea? But then again, the thought of being alone and defenseless was bad enough. 

“Is it… truly okay I’m there with you?” You asked, feeling uncertain about your presence. Sylus pats your head once. 

“You think I would let anything happen to you? They won’t think twice about looking at you when they know you’re mine. Unfortunately for them, I don’t like sharing.” He walks over to a small desk, sorting through some papers. 

“Would I need to do anything specific?” You asked, trying to imagine what kind of event this could be. You wondered if other humans would be there, whether as a social thing or something worse. 

Sylus walks back over to you, his eyes locking onto yours. “Behave. But I’m sure that’s not a problem.” He smirked, his voice lighter. “It’s simply a formal event. I don’t expect too much. I’ll send some dresses over to you, in the meantime I have more work to catch up on.” With that, Sylus disappears to bury his head in more work. You really didn’t know how he managed it all. 

With ease, a few days pass by quickly. You didn’t hear from Sylus often, especially nothing more on the event. On the day of the event, you find a handful of boxes in your room just as he promised. You feel a tinge of excitement, eager to unbox your new dresses. You pull out a long, sleek satin dress. Its color was like a deep garnet with a lace pattern over the bust and lower waist. It was beautiful and you just had to try it on. You hurry to the bathroom and carefully slip it over yourself. This dress truly hugged your curves, but everything about it was perfect. A part of you worried it was showing off too much skin, but if Sylus didn’t think it was a problem then surely it was okay. 

“Do you like it?” Sylus’ deep voice was close to your ear. You continue to stare at the mirror, now looking at the both of you. Sylus’ eyes roamed over your body.

“Yes it’s…quite exquisite. Thank you,” you said kindly. You give him a soft smile. 

“It’s missing something though,” Sylus said, much to your surprise. Before you could ask, he places something cold around your neck. It was a victorian-style silver choker with a jewel that matched the color of your dress. Sylus clasps it together, before staring at your reflection. “There,” he said, sounding satisfied, “Now they’ll know who you belong to, kitten.” You flush a bit, but find yourself reassured. Sylus takes a step back, his eyes lingering on your back. “You seem tense, why?” Sylus’ question was straightforward. There was nothing you could hide from him. But out of the handful of things you could tell him, you picked one. 

“I’m nervous because I’m unsure what to expect,” you said truthfully. You could only think of so many outcomes of a vampire gathering. Sylus didn’t seem phased by your statement, though.

“Don’t worry, I plan to have you by my side the entire time.” Seems like that’s all you should know. You don’t inquire further, just accept whatever comes your way. You begin to prepare yourself, both mentally and physically. Adorned jewelry decorated on your body, along with the choker Sylus gave you. More like a collar in this situation, you realized. As you finish the final touches of your hair and makeup, you were ready to face it all. 

You both enter the same car you took on your last outing, sitting in the same seats. Once again, it felt absolutely refreshing to be outside again. The back courtyard could only do so much. Something about the air called to you, made you crave more. You unconsciously touch the jewel on your choker, it bringing you some form of comfort. After a long drive, the two of you finally arrive at your destination. It was a large mansion, much like Sylus’. Guests were walking in, some with partners and some without. They were all dressed fancy, exotic almost. 

“Come,” Sylus beckons. He extends his hand out to you, and you take it. He wasn’t kidding when he said he would have you by his side. You were practically glued to him. His arm around your waist was possessive, but protective. You tried to reassure yourself that you were safe in Sylus’ bubble. It was time to truly find out now. 

Upon entering the grand hallway you noticed others taking a step back from Sylus. Eyes trailing as you walk past. You weren’t stupid to not notice such a thing. Some whispered, others looked away entirely. You knew Sylus had immense power, but how much power could he possibly have? Still, you held your chin high. Your gaze never wavered. As you two enter a massive room, a couple people come to greet Sylus. 

“Sylus, sir, we’re grateful for your presence tonight. Who might—” The man addressing Sylus stops mid sentence upon looking at you. His expression is unreadable, and you weren’t sure if you were grateful for that. He suddenly snaps out of his concentration on you and bows. “My deepest apologies. Please, both of you, enjoy tonight to its fullest.” You were surprised to hear him apologize sincerely, not giving you another glance. You feel Sylus fingers touch your side a little deeper, unsure how to define it. 

“It’s quite alright. Thank you,” Sylus said, his words short. You both begin walking away from the man. You try and look up at Sylus, but he continues to stare straight ahead. You already had so many questions. A servant holding a tray of glasses pauses in front of you two, offering. Sylus grabs two glasses, each containing a deep, red liquid. You give him a puzzled look and he smirks in response. 

“What? It’s just wine,” he said, amused by your confusion. “We’re not only allowed to consume blood. We need it to survive though. If it makes you feel better, there are a handful of humans here too.” He takes a sip and licks his lips. The gesture makes you blush a bit. 

“Humans…like me?” You asked, hesitant to say the word ‘pet’. 

“Hmm…a few. But we do business with regular humans as well. You’d be surprised how involved we are in the world today,” he said. You stare back into your glass, trying to convince your brain you weren’t drinking blood. The scene laid out in front of you was beautiful, grand even. Guests were dressed up like royals, their beauty unique yet striking. Light music echoed around you, but you weren’t sure where it was coming from. Everyone chatted and laughed during the conversation, having the time of their lives. It put you at ease a little, to see this was quite a normal, fancy gathering. No blood baths, no rituals. You weren’t looked at like fresh meat, although you couldn’t help notice the awe in some people’s eyes as they tried to glance at you. 

“Sylus…how powerful are you?” You asked, sipping on the wine. It was good, you craved more. Sylus cocks an eyebrow, a bit surprised at your question. 

“And what brought this on?” He asked. 

“Well…I knew you were powerful. But since we’ve been in this place it’s like everyone regards you as a higher being…” You hope that came out right, not wanting to offend him. There was just so much you didn’t know about him. You hear him scoff, for better or for worse.

“I have fought my way to the top. It wasn’t easy…I have always been unlucky,” he admitted. You weren’t exactly expecting him to open up so easily. “I’ll take what’s mine. I made sure that everyone knows my name, that’s all.” A beat of silence made it clear he was done talking. So much for opening up, you thought. You wondered what he used to be like before this power but knew it was not a question to ask. Not now, anyways. “You will find out in due time,” Sylus added, a bit quieter. Before you could question what he meant, a different man approaches Sylus. He stares at you, surprise in his eyes .

“You found her?” The man said, almost to himself. But you still heard him, feeling confused at his question. Sylus clears his throat and the man diverts his attention. “Ah! Sorry, sir. I came to inform you that we found him. We are holding him in a room for now, awaiting your orders.” The man bows deeply, not looking Sylus in the eyes as he speaks. You look at Sylus, curious about the situation. 

Sylus sighs. “I didn’t think he would be found so soon. This changes things a bit.” He looks at you, his eyebrows furrowed. He looked…mad. 

“Who?” You blurted. Maybe you didn’t want to know. It sounded like dirty business he was dealing with. 

“We’ve been looking for…someone,” he said vaguely. “I didn’t expect him to be caught here. I have to take care of it now.” He clenches his jaw, clearly irritated. It suddenly clicked in your mind that he meant he might leave you. Alone. The man who approached Sylus was still waiting to guide him away. “You’re safe here, as long as you wear that choker. Stay here. Do not leave,” he commanded, his voice stern. “I will only be a minute. Be good.” He pats you on the head once, like a child. He begins following the man before you have a chance to respond. 

You watch Sylus as he turns down a hallway, now out of sight. You swallow, trying to ease your nerves. You drink the rest of your wine, trying not to meet eyes with anyone else in here. He said he would only be a minute…But from what you’ve learned when someone wrongs Sylus, he likes to take his time. Or so he claims. You were a little thankful he didn’t bring you for something like that, despite being completely alone. You fidget with the choker, your mind recalling the man’s words. Found her…had Sylus always looked for you? This newfound thought bounced off your head, anxiety starting to creep in. 

“Ugh…” You groan to yourself, staring at the empty glass. 

“Would you like more wine, miss?” A male voice asked behind you. You turn around, trying to make yourself seem small to this stranger. As you meet his face, your stomach sinks to the ground.

“....Caleb?” You whispered, almost afraid to say his name out loud. His eyes are wide, frantic, staring all over you. 

“Act natural,” he whispered, barely audible. Your heart was in your throat, you couldn’t believe it. Caleb, your childhood best friend. He was practically the only family you had…before you were taken. It’s been months now, since you last saw him. Why was he here? Why now? How did he know you were here? Questions flooded your mind, your throat tightening. You had no idea how to begin speaking. 

“Why?” You whispered back, trying to calm yourself. You weren’t sure who was looking. God, if Sylus knew, he would probably be angered. This wasn’t good, every second passing by was a second of Sylus returning. You felt nauseous. 

“Are you hurt? Did he do anything to you? That monster—I swear to God. I’m here to save you, I’m getting you out of here.” The weight of his words barely sank into you. You still didn’t understand how he knew you were here. At a vampire gathering, too!

“Caleb, you can’t– you can’t be here. Caleb this isn’t safe,” you tried telling him, but he wouldn’t listen. “How did you know I was here? Tell me.” His gaze softened as he looked at you. His eyes glance at the necklace and his expression becomes horrified. 

“I know who he is. I’m not letting him take you again. I don’t care if I die trying.” He grabs your wrist with force. It made you wince. You had to stop this, before Sylus came back.

Time was running out. 

“Caleb you need to leave!” You said urgently. Sweat formed on your brow. “I’m fine. He doesn’t hurt me! Please, leave, I’m okay!” You said, a little louder this time. He tugs you with him, causing you to stumble. A few people look over at you, whispering to each other. Tears prick at the corner of your eyes as the panic becomes overwhelming. He tugs harder, trying to break you out of your stance. “Caleb please!” You beg through gritted teeth. Before he can say anything back, you feel a tall presence behind you. Your stomach churns, knowing Sylus has returned and is looking at Caleb. You don’t turn around as you watch Caleb drop your wrist, his face hardening with hatred.  “Well…you heard her,” he says, his voice deep and slow. He places both of his hands on each of your shoulders. “She said leave.”

[akuma-tenshi]

finished closing night!! boy do i have some thoughts. and now that i've gathered them, i'm about to make my autism your problem. spoilers below.

the first part of the event wasn't awful imo, it felt like character building and just helping establish the dynamic. i know some people weren't fond of it but given that i was never really that invested in hullabaloo before this and didn't know every little detail of these characters, it was nice to get some character establishment and figure out how they all are as people. i am also a fan of slowburn character-focused horror, so that may just be a personal taste thing lmao

bryce papenbrook does a good job as mike, even though there are definitely points where he sounds exactly like nagito (namely the scene where he's shouting at margaretha in the foyer). he has a very particular way of speaking / voicing characters that make it immediately clear it's him. however, i do think he fits mike well and he definitely lays off the nagito-ness in the second part.

the rest of the cast was excellent as well. while there was a Choice made with murro's voice (he sounds WAY younger than he's supposed to be, which is off-putting and takes me out every time he speaks), it's very clear everyone knows their characters well and they all do a good job keeping their mannerisms and vocalisations unique and fitting to each role. aside from some awkward lines (which i attribute more to stilted writing than to the va's themselves), the voice acting is absolutely a highlight.

margaretha's trauma with sergi is portrayed very well imo. bear in mind i have not suffered the same abuse as her, so i can't say how accurate or good it is, but it feels like it displays that it was a terrible thing while also being respectful and avoiding being exploitative. the added layer that everyone else (except joker) liked sergi and was unaware of the abuse adds a lot.

in general, i think mike and margaretha are incredibly well-written here. i think ne could've absolutely gone the route of popular fan interpretations and completely demonised margaretha while making mike a perfect angel, and they would've gotten a lot of praise for it. but they stuck to their guns and made them both very flawed yet understandable people, and that just makes everything feel that much more real, at least to me. they're such different people with opposing goals, and their friction really comes through. everyone else is very well done (shoutout to me a couple of hours ago calling joker cute for some godforsaken reason i can't remember) and i love all of their characterisations, but mike and margie really are the standouts here.

i do wish there was a bigger payoff for margaretha using euphoria so frequently. i know it's implied to have been involved in violetta's death, and i appreciate the connection to game 5, but i wish there was a little bit more there. it's not a huge gripe though, so i won't harp on it for long.

the pacing at the start of the second part had me extremely worried; things felt like they were dragging along and being padded out for the sake of being padded out, and i was not having fun with it. fortunately, this issue was remedied about halfway through, and once things got going, i started really enjoying myself. the pacing of the first half of part two is my biggest gripe with this story.

i was noticing a lot of similarities between hullabaloo and fool's gold: hunter forms of popular survivors being announced and used as a major part of marketing for an update to the idv story. with the aforementioned pacing issues, i was really worried that hullabaloo's reveal would shape up to be similar to fg's: a kinda cool cutscene and a lame chase sequence at the very end of a long, boring storyline. however, despite hullabaloo having a much smaller part in this story than fg did in aom, appearing only briefly in the fire at the very end, i still think it's a better incorporation of the character than what they did with norton. better to have it be quick and intimidating than just kinda tedious.

every death in this (aside from joker's) felt very purposeful and well-done. violetta's death was heartbreaking. the change in animation towards the end, followed by the single sound of her machinery giving out after the screen went black, was beautiful, and hey, at least she died happy. margaretha's death pulled at a very specific and very major love i have in storytelling, that being a character choosing to die free rather than live in captivity, and the payoff of all the underwater scenes where she swims towards sergi finally coming through when she chooses to sink away from him had me losing my mind. i genuinely did not expect mike's death to be a straight-up suicide; like i said, i'm not completely caught up on hullabaloo lore, so maybe other people saw this coming, but the fact that he truly could not live with the truth about hullabaloo is such a heartwrenching yet satisfying end to his character. like i said, joker's is the only death that doesn't totally stand out, but i like that they let you put the pieces together yourself.

the chase sequence with joker was unintimidating and a little lame, and honestly it felt somewhat forced, just a way to get his hunter form in there bc they realised "oh shit right this guy's like. a hunter isn't he." i do like that they gave him back his chainsaw though; very nice little callback to the betas.

the animation of the hullabaloo fire was absolutely gorgeous and the ending had me in shambles. for a while afterwards i felt similar to how i felt after finishing end roll: drained and flat but in a good way, like a ton of adrenaline had just released from my body after some intense event.

all in all, i really enjoyed it. i can't say if i like it more than aom, but that may be the frederick bias coming through, so i'm going to choose not to rank them and just say hey. banger event. well worth the hype even with its hiccups and flaws. i always say this, but idv has some genuinely talented people in its writers' room, and i can't wait to see what they come out with next.

[animezinglife]

I understand it, too.

I genuinely do find Solas attractive, albeit in a different way. I would love to romance him with a different character someday---I just wish we got Solas for who he truly was from the start of that romance or that the truth had come out earlier. I'm good at avoiding spoilers, and I hadn't known he would betray the Inquisitor, nor had I even known you couldn't romance him as a human. I had actually gone in fully expecting Mira to flirt with him a little (I knew nothing about Cullen's romance at the time and had always heard Solas was the way to go), but that's simply not how their dynamic played out anyway.

I have no doubt his and Lavellan's is an enthralling story in DA:I, and I would at some point like to experience it. I fully understand the appeal. I would fully be there myself with the right character and mindset.

Solas is captivating. He's someone you could talk with for hours on end about the most abstract concepts, but there's always that small sense of him keeping his distance (even before the topic ever comes up). Even I knew there was more he wasn't saying by the way he dodged questions and some of the dialogue between him and other companions. Though for someone who didn't know better, that could've simply meant he was far more powerful than he let on, knew more than he let on, likely older than he seemed, and wanted to protect himself. The whole, "elven god of lies" thing was a bit more of a twist than I'd anticipated. A secret, ancient elf hiding some things I can do, especially if those layers get peeled back over time. I'm less sure about elven Loki.

I think it truly would've been interesting had it gone a bit more in the direction of Children of Fallen Gods/Mother of Death and Dawn (which, some have noticed, draws some considerable parallels to Solavellan in ways that can't be considered coincidence). Without bringing too many spoilers to the forefront of the conversation, there is some...mutual awareness and corruption that occurs between Totally-Not-Solas and Totally-Not-Lavellan. The power dynamic's more balanced and decision making more...comparable to some degree.

(I am not, by the way, blaming Solas or pointing any fingers at anyone regarding their power dynamics in DA:I).

Solas is the guy whose beauty (if you lean that way at all) isn't quite as noticeable until you get into a really deep discussion with him and realize your heart's beating a little too quickly and you're definitely sitting closer to him now than you were before. He draws you in. He piques your curiosity a bit too much.

I truly do not factor in looks at all (within reason---I'm blatantly partial to humans, elves, fae, vampires, etc.) when I play games with romance options. Solas (in theory; I played as a human, which negates the option) would've been every bit as high up on my to-romance list as Cullen. In truth, he was higher just because he was the one I knew so many were obsessed with. Just because Cullen caught my eye faster didn't mean he and my Inquisitor would've been a good match.

But wow, were they.

I easily lean more towards the "Solas-is-attractive" camp in general. Honestly, I love the fact that the romance options in DA:I were so different and unique from each other. Any players who chose to pursue a romance could find one that suited their characters perfectly. I like that there are a range of personalities, dynamics, and looks, and that there's good variety.

For me personally, nothing in that particular game will ever top Cullen's just because it's so incredibly hyper-specific to every little thing I love and value most even in real life. It's perfect for Mira's story; she is, admittedly, a lot like me. I couldn't believe a romance like that even existed in a game (and you already know why/the many layers I'm referring to).

Yet I also know there are plenty who wouldn't like his romance at all and vastly prefer Solas (or someone else in general).

That's the beauty of it, though.

But, yeah..."ugly?" That's not even a word I'd consider for Solas at all.

Dragon Age: The Veilguard | ▶ dev. Bioware

[nickrocketrodriguez]

Hello, Nick! Can you share with us some of your favorite scenes into the writing process of Jurassic World: Chaos Theory? Or even some scenes that didn't end up on the show but you liked it?

Gosh, we wrote these so long ago it's so hard to come up with specifics. For the episodes I wrote, I loved writing the scenes in "Halfway Home" between Daniel and Kenji. I have a relationship in my own life that mirrors (to a certain extent) theirs, so to be able to put all of myself into that episode -- my first as a staff writer on a TV series -- was very special for me. It really allowed me to completely open myself up to working with other writers to intimately. I also get a giggle out of the part where Kenji doesn't have the words to describe Daniel's ultimatum, so he just grunts -- I didn't know if it would make anyone else laugh, but it seemed to, so it stayed! That was pretty fun.

"The Drop" was a bit tougher for me, as it was a pretty pivotal moment between Darius and Kenji. In their scene where they struggle over possession of Brooklynn's phone, I really wanted Darius to rear back to take a swing at Kenji, but for some reason, in a show where people are eaten by dinosaurs, throwing punches (or even implying it) was a no-go, but what ended up in there was still really fun and to the spirit of what I was trying to do.

"Batten Down the Hatches" was sooooo much fun to write as a horror and action fan -- I feel like the team really took what I wrote and ran with it in the best possible way! Seeing that one at SDCC with a group of like 800 fans was something I will never forget. People laughed, gasped, shouted at the screen -- it was just such a cool moment for me.

But getting to introduce Soyona Santos was also such a special thing for me. As I've said in the past, getting to write for Dichen Lachman was such a fanboy moment for me, I'm so glad I got to reintroduce her to the world and help usher in a more three dimensional version of the character than there was time for in Dominion. I love the cat-and-mouse vibe of their conversation. There's also the bit that I'm not sure many picked up on where Santos is the one who uses the term, "limb difference" for the first time in the series. Our consultants had taught me that phrase, and I thought it was an interesting choice for Santos to introduce it to Brooklynn. The thinking was somewhere along the lines of, in her quest to get deeper into the trafficking of dinos, she probably didn't have a ton of time to look into how she was really feeling about losing her arm, let alone find anyone else who'd introduce that phrase to her. So when Santos uses it, there's a split second where Brooklynn kinda connects with it. I think it shows that Santos isn't just a mustache-twirly type of villain. She's intelligent, she's hip to how language has evolved, and she might even be a good person in another life. There was a moment where it was called into question whether or not Santos would use the phrase, so I'm especially glad we got to keep it in there.

And don't even get me started on the episodes my amazing colleagues wrote for the rest of the series. They all did such an incredible job, I don't even have enough words to express how awesome their episodes turned out, not to mention how awesome all of the rest of the crew did in bringing the show to life!!

[copperhawks]

You're not the first person to make this comparison on this post, but when I wrote this, I hadn't done a re-read of SOTL yet (and the last time I'd read In the Hand of the Goddess was... a LONG time ago, so I couldn't really make a good comparison between these two scenes), but I have now and I've been sort-of thinking this over and have some thoughts on it.

For me, this isn't so much an indication of them being similar so much as it is just an unusually similar narrative beat. A character chooses to disobey an order about not crossing a border during a war in order to go save someone who has been captured and, in so doing, takes out a major antagonist that leads to the end of the war.

But the MOTIVES behind the two actions seem very different to me. Jon goes to save Alanna because he's in love with her and can't bear to lose her. Kel goes to save the refugees because she's responsible for them and takes that extremely seriously. She does CARE about the people, obviously, it's still being done out of love, but she's not doing it because she can't stand to live without them so much as that she's INSANELY duty-driven. She goes up to save Lalasa for similar reasons after being told that a noble's duty to their servants is basically sacrosanct. Kel goes across the border because she believes it's the honorable thing to do. Jon's motives aren't about honor and are, arguably, somewhat more selfish in origin.

So while this is obviously a very similar storyline, I don't find that it's an example of these two characters being similar to each other.

Kel is willing to give up EVERYTHING out of a sense of duty to the people she's responsible for. While Jon is someone who does a LOT of things for his people and spends a lot of his time and energy making life better for them, I can't recall a moment where Jon is ready to give up everything he wants and everything he's worked for just to save his people. Jon actually tells Kel in Squire that he and Thayet work pretty hard to keep themselves OUT of that kind of danger whenever possible, that's the point behind all of the compromises. All of the arranged marriages for his kids are to try to ensure peace through political connections and stop fighting in wars.

This is where they DO differ because Kel feels like someone who, at least at this point in her life, is willing to die to protect her people. But Jon is someone who will do whatever it takes to LIVE for his people for as long as possible. Jon understands that, in his position, it's more beneficial for everybody for him to make compromises in order to stay alive so he can keep making changes that will make people's lives better in the long run. This is a lesson that, while we do see Kel LEARNING it a little during Lady Knight, isn't one that really plays into the final conflict of the book. It's possible that Kel will end up being even more like Jon in this way as she gets older, more willing to stay back herself and trust others to do what needs to be done in her place, but by the end of Lady Knight, that just isn't who she is yet.

And maybe that's what's interesting about the comparison. Kel isn't all that much like Jon YET, and she's certainly not all that much like Jon when HE was 19, but Kel shows signs of being a lot more like Jon as he is during HER series as she gets older and gains more experience. Kel is very righteous, very inclined to just act and get things done, but over the 9 years we get to know her, she has to learn more and more about when to act and when to WAIT. She has to learn when to push and when to bend a little.

As a woman, she's going to be held to different standards than her male counterparts like Raoul or Wyldon, she'll be dealing with different limitations and setbacks than they ever did. And so her approach to leadership will, by necessity, have to be different than theirs was. She does look to them for inspiration, but in execution, I think she'll likely end up far more like Jon. Jon is obviously not a woman himself, but as King he's ALSO held to different higher standards than his compatriots and he was very young when he took the throne and has been very progressive throughout his reign which means he's dealing with certain limitations and setbacks that more conservative people might not.

Kel has strong opinions and firm ideas of what the world SHOULD be like, and that's going to lead her down a similar path of trying to CHANGE things, but she'll be dealing with all of the same limitations that Jon is, which will force her to approach things the way he does. She's going to have to compromise, she's going to have to bend, she's going to have to learn when a fight is worth having, she's going to have to learn to give a little in order to get a little later.

Kel would probably not have crossed the border for just one person. If it had been Neal, for example, and Neal alone, she may not have decided to take that risk. Neal is a trained knight like herself and probably won't thank her for giving up everything to come save him. Kel could probably have been convinced not to cross the border for him, as much as it would've pained her. And Jon I think would not necessarily give up everything to save a few hundred people the way Kel did, even though it would pain him to have to make that choice.

Kel IS like Jon and will likely become even more so as she ages, but crossing the border just isn't one of those places where their similarities are showcased to me.

The funniest thing to me about Kel, and maybe one of the most interesting because of how understated it is, is that Kel becomes a good commander in the end, not by emulating Wyldon who was cold and implacable and insensitive, or by emulating Raoul who mostly only disobeys orders out of principle or because he has an issue with what the order says about his personal relationship with Jon, but by emulating JON.

Kel doesn't even LIKE Jon, she BARELY respects him as a person. He's a good enough ruler that she's willing to fight for him and swear loyalty to him and to at least mostly believe that he wouldn't work with Blayce to make his own killing monsters, but that's as far as it goes for Kel. If he's kind to her, she finds it uncomfortable and almost untrustworthy because she assumes he doesn't care about her and so his kindness and respect towards her must be fake.

But from the outside, as readers, we know just how much Jon fought for Kel. We know how much he does respect her right to be a knight. Jon is the sole reason that Kel DID get the opportunity to prove herself, if he'd capitulated to Wyldon completely, she just wouldn't have ever been allowed to join. Kel doesn't KNOW THAT, obviously, but we do. We know that Jon did everything he could to find a way to convince Wyldon to let Kel become a page. While Wyldon claims later that the reason he chose to let her stay at the end of the probation year was because his better judgment convinced him she'd earned it, I'd be willing to bet that part of that better judgment also included knowing if he couldn't prove to JON that she needed to go, then he'd be in trouble. Kel was training and working in front of plenty of other trainers and teachers who could easily contradict Wyldon's lies if he'd tried it, many of whom are closer to Jon than they are to Wyldon.

Kel's experiences and feelings about that experience are entirely valid, and she doesn't have the knowledge we do about how hard Jon fought for her, so it's not shocking that she's upset with him for a good portion of her series. She never even discovers this truth by the end of her series, even though she does get a lesson from Jon and Thayet (and Raoul to some degree) about how politics and compromises work in order to make changes happen. So her opinion of him by the end is boiled down to the quote from Squire: "good kings weren't always good men." It makes sense for her to think this, but because Kel's knowledge base is so limited (and her worldview so black and white for much of her series), it makes her an EXTREMELY unreliable narrator about this particular issue.

Kel believes that while Jon generally does his duty and keeps the peace, he doesn't actually care all that much about his people as individuals. But in their only meaningful conversation in Squire, Jon is able to point out that he (and Thayet, who is actually equal to Jon in power, something Kel either doesn't know which would be a failure in her education or just tends to ignore so she can focus her ire on Jon) has to make a LOT of compromises in order to get ANYTHING useful done at all. Sometimes, often, it means making deals with people he doesn't like or people he just fundamentally disagrees with, because it's the first step in a multi-step plan to help more people in the long run. He also points out that just throwing his weight and authority around in order to be able to change everything he wants to change immediately regardless of what anyone else thinks about it is a great way to get himself and his family killed. Because even if he had good intentions, that would be tyranny. It does make Kel think a little, but she doesn't tend to like him much still afterwards, her resentment from her page years will always color her opinion of him a little.

However, then she gets to Haven and she's suddenly tossed into a position of leadership over a lot of other people, many of whom disagree with each other or disagree with her or both. And all of the sudden, Kel has to make compromises. She doesn't LIKE the way the sergeants often treat their men, especially the sergeants whose men are convicts, but there's very very little she can do about it without really pissing off those same sergeants and that's not something she can afford to do. There's a moment when Neal starts getting frustrated about the treatment of the convicts and she takes him out to vent to her so he doesn't vent to the sergeants, something that the sergeants would then take out on their men. Kel's reasoning as she does this is that she "preferred to avoid battles with them now so she would have authority with them later if she needed to use it." Later, Kel is talking to Daine and she says "That's all this job is... Trying to please everyone and pleasing no one. And it will only get worse, not better."

Both of these moments showcase Kel choosing to make compromises. She may not like the way the sergeants treat the convicts, but she needs to stay on the sergeants' good sides because she doesn't have enough resources to butt heads with them nor enough authority to just force the issue, and even if she DID, it could cause the sergeants to become troublesome or take out their frustration with her on the men in ways she can't see as well. But staying on the sergeants' good sides might mean letting some of their maltreatment slide if it's not physically harming the convicts. And even setting that aside, she's dealing with nearly 500 refugees eventually, all of which are from different towns in the area and have different needs, not all of which she can accommodate. This requires compromise. Sometimes she can please some of them and not others, but mostly she probably just ends up not pleasing anybody because that's often how compromises WORK.

She never makes the active connection to Jon and his lesson on leadership from Squire while she's in Haven, but that quote up there about how this job (aka being a commander) is all about trying to please everyone and pleasing no one? It sounds a HECK of a lot like "good kings weren't always good men." You can try your best to help others, but often doing the right thing can involve making everyone unhappy. You can't be everybody's friend if you're going to get anything done.

Some of this she might've learned from Raoul's style of command, but Raoul commands a fairly small amount of people (at least in comparison to a King), and so we see him able to be pretty friendly to the people he commands in a way that Jon is perhaps unable to do. And she might believe that she learned some of this from Wyldon, but Wyldon had a tendency to be very unfair and biased due to his raging bigotry and conservative values, as well as the fact that he doesn't actually even LIKE being a training master and that likely impacted the way he treated the pages (he's almost never that kind to the pages, whereas we see him capable of being quite kind with the refugees later, which is where Kel comes to the conclusion that he hadn't enjoyed being a training master).

But Jon makes an entire speech about how he (and Thayet) have been working THEIR ENTIRE REIGN to change laws that help people. He explains how they have to consider the needs of merchants, nobles, farmers, street people, priests/priestesses, and mages. They have to consider not only what these people might need or want, but also what they could do when they feel sufficiently offended and how that could impact not just the royal family or the nobility but the realm as a whole. Jon points out that they HAVE made changes, for the better, and that just because they don't always succeed at everything or because they have to compromise sometimes, doesn't mean they aren't working at making changes or that they don't care about helping people. Not everyone you have power over is going to be your friend, they might not even be someone you like. But if you're going to take on the job of leadership, that's something you have to be willing to accept and work with, which often means making compromises with people whose needs and values are contradictory to your own.

Jon probably knows when he makes the compromise with Wyldon that it will likely impact a lot of people's good opinion of him. Alanna is right there and clearly angry, and we know Thayet doesn't like the decision, either. And it's entirely possible that Jon knows in the moment that Kel herself will put the blame on him because he's the King. But he also knows that if he insists on Kel being allowed to be a page without trying to compromise with Wyldon, Wyldon will quit over it and he'll end up with ten DIFFERENT problems that could cause a lot bigger issues to far more people than just one girl. So he makes the compromise. He sacrifices Alanna and Thayet and even Kel's good opinion of him in order to ensure that Kel gets the opportunity to become a Knight without turning all of his nobles against him which could ultimately lead to a civil war. Is it fair? No, and he knows it. But it's the best option he has in order to get the outcome they all actually want which is just for Kel to have the chance to prove herself.

Kel has to make similar choices once she's finally in a position of leadership of her own. And whether she realizes it or not, without ever even spending more than a few minutes with Jon, she ends up emulating his leadership style more than anybody else's because it WORKS and it works WELL. She'll probably never admit it, she might never even realize it herself, but she's so much more like Jon than any of the other men she sees as role models. And I love that. I love the dramatic irony of that, that the one person Kel only barely respects because of a compromise he made on her behalf that she'll never even know about, is the person Kel ends up most resembling. Jon is the reason she has the opportunity to become the Protector of the Small in the first place, Jon is the person who created that environment that allowed her to nurture those values, and she'll probably never even really be able to acknowledge that, because sometimes that's what being a good leader means.

[literallys-illiteracy]

Follow Up Post for explanations:

Nothing There

While Nothing There fits several sinners (as do most abnormalities), I personally believe that Meursault is the strongest contender for a Nothing There wielder due to his presence as an “Outsider” or “Stranger” to the rest of the company, and to humanity in large (seen in the source book).

Though Meursault does not do things outwardly incorrectly or in methods foreign humanity at large, having learned the basic processes and standing by them, he is still seen as a person abstracted from normal humanity, despite learning and acting in base like the people that surround him.

For the other possible Nothing There wielders, I think Don Quixote and Gregor both fit equally well for different reasons.

As others have pointed out, visually speaking Gregor is the most fitting for this due to his prosthetic arm, alongside his thematic connections to alienation and change. Noting this is interesting because I personally don’t see Gregor as the greatest fit for this EGO based on my reading of his character and the abnormality, as i feel their stories are somewhat separated – Gregor’s arm acts both as a visual symbol of his past traumas during the war, as well as a stand in for physical damages and changes that one may possess, leading to his discrimination; While this concept of needing to hide something to appear as a human is a fitting description of Nothing There (as is suggested by its EGO name of Mimicry), I believe that the two diverge from this point, while Gregor presents his humanity above else, hiding his arm behind his back often, his own humanity is in fact, his downfall in this case.

Nothing There acts as an imitation of humanity, wishing desperately to become it. While Gregor is visually abstracted from humanity due to his arm, he is unmistakingly human, without wearing a mask or personality to appear as one; Meursault, conversely, appears the part of a normal person, but is recognisably “Hollow” or a “stranger” when spoken to, which correlates with Nothing There’s motif of mimicked speech patterns in the prior two games.

Don Quixote ‘dons’ the other end of this abnormality to Gregor, while not appearing as anything abnormal, she is recognisably different from her peers. Her learning of fixers and attempted imitation of them, or her perceived notions about them, also leads to the same conclusion.

I can imagine Nothing There Don Quixote going “GREETINGS? OUT UPON THEE?. THOU HAST RECEIVED- -A VOICE MAIL”

(purposely kept short to avoid Canto spoilers)

Why did Faust get the following? And other possibilities for said abnormalities:

Dreaming Current:

I am writing this with a migraine. Akin to this, the previous post was made with a migraine as well, such that I do not fully remember what caused me to put certain things in a sinner’s category, but this one I have a fairly good guess at my line of thinking.

This placement was made from my connection between the Homunculus from Faust and this abnormality, largely due to their shared link of the ocean.

It is a somewhat thrown around theory that Faust, the sinner, is either Gretchen or the Homunculus from the book, due to her self referential speaking pattern, which we later learned was due to her connection to the greater “Faust”.

The Homunculus, within Faust, is a lab grown creature representative of the heights that science may achieve. Being a creature that is confined within its container, even during its travels, it seeks to give its unnatural form back to nature, through the form of the ocean.

The Homunculus shares the same wish of the Current to “Live a proper life”, with specific regards to the ocean, after all, a shark on land is decidedly unnatural.

The alternative options for this abnormality are likely Don Quixote and Hong Lou, for rather obvious correlations each, as HourlyDonQui pointed out.

Queen Bee:

See Naked Nest Below for reasoning, I'm not typing the hive mind/collective thing twice.

The latter reasoning is due to her being the primary organisation behind Limbus Company from what we know, having recruited all the sinners and Vergillius.

You may notice that almost every minion abnormality, or almost every abnormality that can possess multiple employees, is in the Faust section. 

Snow Queen:

“[Kai] became curious of the world beyond his knowledge. He felt as though everything he knew amounted to so little”. This line, alongside the fact that Kai lost the feelings of Joy, Cold, and worry that he held upon receiving the Ice Queen’s kiss, is the primary reason why I have chosen Faust for this Abnormality.

There are exactly two other angles to view this abnormality from however, from the Snow Queen herself, and from Gerda’s (the saviour and protagonist of the inspiration story).

As there are many ways of interpreting this, I will first list out the sinners who fit criteria to receive this EGO in some way shape or form due to these three pathways.

Kai:

Yi Sang (a shard of the mirror lodged in his heart causing him to seek knowledge beyond what he knows, and resulting in a later realisation of himself after losing his emotions; As Faust put it “he was not always like this”, alongside the connection to mirrors, and the fact that it was in part the reflection of his Wings that caused this spiral)

Don Quixote (see Below in Gerta)

Fau (see above in Frost Queen)

Gerta:

Don Quixote (the power of love and affection overcoming a cold unfeeling evil in the blizzard) 

Heathcliff (Gerta’s long, arduous quest to find her friend who had been lost in the blizzard, mirroring Heathcliff’s search for Catherine.)

Queen:

Meursault (The Queen within the story is cold and unfeeling, credence to her icy nature, and freezes Kai’s heart so he forgets his family and friends. This mirrors Meursault due to his source book’s opening line of “Mother died today, or maybe it was yesterday”, his lack of care towards his relations and towards life in whole)

Heathcliff (Mirroring his book counterpart, specifically the extreme weather of the Heights, alongside his seeming lack of care towards others following the events of his past)

Naked Nest:

Ill be honest, this abnormality gives me a headache to discuss, similar to Mountain of Smiling Bodies, because it's so extremely direct and to the point with what it is/does that it hardly represents any theme in whole, so this is the best i can do (Basically its on the other end of the spectrum from whitenight, who i avoid talking about because of how many different angles of thought there are).

I believe that I put this abnormality here due to both its connection to a “hive”, which relates to Faust’s hivemind/communion with herselves, alongside the fact that this hivemind seems to supercede the personality of said person, shown similarly with Girlfailure faust in MOTWE event, during which she cannot access this network, and is thus not part of this nest.

There is also the concept of Faust’s knowledge being that of the greater “faust” or “Gesselschaft”, and the relation that by the time the parasite is noticeable, it has already assumed control of, and eaten a large part of, the host’s brain, leading to their inability to function.

If this abnormality were to be given to another sinner, it would be Meursault, see Nothing There discussion for reasons.

Either that or potentially Don due to her persona and clear imitation of an honourable fixer, which has slipped multiple times such as in Canto 2

Tree Sap Meur:

I think I might have been smoking [Giant Tree Sap] when doing this because i do not remember putting this here.

I think(?) The primary reason that it was placed in Meursault is because of the uncaring indiscriminate nature that the Sap is portrayed in, not doing anything out of malice but simply because it must to survive, it simply “reaps from what it sows” in a sense.

This can be related to the stranger in obvious ways so im not going to blabber too far about it.

Multi/Other explanations:

Some questions are those relating to the final miscellaneous tier, so lets go through them as well, and then I will do another follow up at a later date to see if there are any other questions that people want answered.

WellCheers:

I tried to avoid giving sinners EGO they already possessed, and I quite frankly do not know who is the best fitting for this EGO because the one that i would have chosen already got Soda so????

Anyways there are three options based on different straws i grasped at making this: Ishmael: Connection to the ocean

Meursault: Connection to the content lives that those who work the fishing boat day after day have, where they finally enjoy their tasks despite menial labour.

Sinclair: Major paradigm shift leading your life to enter an unforeseen world.

Outis: Stuck on a boat or journey.

Gregor: Funny shrimp arm.

All Around Helper:

I personally think that the Mirror Dungeon aberration of this, “all around cleaner” is a better fit for the cast, as its fitting for Rodion in particular, realisation of “not being special”. That being said I’m not sure if anyone in particular fits this abnormality, except for potentially Don Quixote.

Il Pianto De La Luna:

They often say that the moon is beautiful. 

But when enough time has passed, when you look at it and see what kind of face it truly wears...

You’ll realise you were madly in love with something so broken and shattered. In the end, we all become like the moon. All because we can’t bear ourselves." "

The concept(s) of: Love. Primal humanity. Obsession. Lack of/loss of control.

Ishmael, Heathcliff, Don Quixote.

This one is shorter for multiple reasons, but namely because I want to dissect this abnormality separately later on, because she's cool, but also because shes a backer abnormality and likely wont exist (although Steam Transport Machine exists so the fuck do I know)

Dream of a Black Swan:

Don Quixote, Hong Lou deserved this equally.

[Censored]:

I personally do not think that [Censored] can or will ever get an EGO.

Its archetype *IS* the unknown, it cannot be given to any sinner except for Faust due to her strong connection with knowledge itself. [Censored] is an abnormality that by design should not be given to a sinner, because even that implies too much about its existence; Unlike other archetypes, this cannot be defined nor related to the sinner's archetypes and stories, as it cannot be known nor defined in whole. 

I know this is disappointing, but I wholeheartedly believe that it is a betrayal of the abnormality itself to be given an EGO.

I highly recommend this linked video by Connor McGrath, which explains this concept in a much less pompous manner than I could ever do, which saves time for me and enjoyment for people who don't like my writing style.

That being said, I want to address the concept that [Censored] has been shown.

There is a common theory that [Censored] is related to the Smoke War, specifically being the “creature in the smoke” that Roland saw during his period.

Though I can't say anything in certainty, I refuse this on the above principles. [Censored] cannot be shown for the sake of its existence. 

For the other reasons that I don't think this is true: [Censored] is never shown creating smoke; The creature that Roland saw was the energy source of the previous L corp, which would mean that both L corps in succession used the same method of production without this ever being mentioned by anyone in the story; If we were to assume that everything within Project Moon’s universe, notably creatures, are due only to Lobotomy Corporation and Cogito, then we are completely disregarding the existence of 25 other singularities, natural creatures like the whales, the old “gods of the city” from ages past, and the magical powers and relics from the outskirts, as well as seemingly mystical features such as the rivers of Hades, one recently mentioned by name, and two others heavily implied – While it is not impossible, it is reductive to assume this of Censored in my opinion.

As a final note, people seem to forget that abnormalities don’t simply exist in the world, Lobotomy Corporation is the mother of abnormalities, and is the source of all of them.

Every single abnormality lies, and people seem to forget that they do not exist as they claim; Every abnormality is a conscious perception of an unconscious archetype extant in the autonomy psyche of humanity. Little Red Riding Hood did not grow up to become an abnormality, she did not have a long past of growing up and hunting the wolf, but her existence is that of one who has spent time hunting, obsessing, over this beast – She is not a person, but an existent being who has a perceived and personal history, which did not truly happen.

The same rule applies for every other abnormality, even those who have more recent histories, those who were captured or came to the facility of their own free will. It matters not, they are all borne forth from the collective unconscious, nothing more.

Spider bud:

This abnormality is too closely linked to Ryoshu for me to give it to anyone else by now, the concept of motherhood isn’t one that is shared well enough to any other Sinners.

Snow Whites Apple:

Yi Sang, Don Quixote, Heathcliff, Ishmael, Sinclair, Outis.

Mountain of Smiling Bodies:

See Naked Nest for my thoughts on this abnormality.

No:

No:

No.

[maxdibert]

Hey, I’ve been reading your posts, and while I appreciate your analysis of the characters, I don’t fully agree with your interpretation of Lily and the Marauders. It feels like you're projecting your personal experiences with privileged figures onto them, which leads to fundamentally misunderstanding them at their core. These characters are all human and layered, just like Snape, and reducing them to a single aspect is oversimplifying them.

I also feel like your view of Lily is influenced by your dislike of James. Marrying someone wealthy doesn’t automatically make her a “social climber.” Especially not when she is actually consistently acting on her morals and values throughout the few memories we see of her. You draw a parallel between Lily and Petunia and assume they have the same “agenda,” but you overlook their vastly different personalities that directly contradict the idea that they had the same goals.

Regarding James; while he certainly had flaws, he was also a decent person with strong values, beyond his arrogant school years and bullying of Snape. James and Lily were in the same house, and it's not far-fetched to assume that she saw a different side to him, one with qualities she admired, which is likely what drew her to him, even if his arrogance initially repulsed her.

Sorry but no. A big NO.

First of all, I analyze things based on how social issues are reflected in group dynamics. And yes, I use personal examples, but just as I’ve met rich people who are complete idiots, I’ve also met wealthy people who are absolutely lovely. That’s not the case with James or Sirius. Following a certain political ideology, no matter how positive or good it may be, doesn’t automatically make you a good person. For example, what’s the point of being anti-racist if, in your day-to-day life, you go to a restaurant and treat the staff poorly? Or what’s the use of proclaiming yourself a feminist if you then display behaviors that perpetuate gender hegemony? Sure, your vote will help implement certain institutional policies that benefit minorities, but that won’t mean much in day-to-day life if you’re incapable of deconstructing your biases, recognizing your privileges, and engaging in social self-criticism about them.

And that’s essentially what happens with James: he talks a big game, but when it comes down to it (and this is undeniable because it happens canonically in the books), on the very first day of school, he took an instant dislike to a boy who was much poorer, much more vulnerable, and lacked even a fraction of the resources he had—and he decided to torment him for seven years. This is indefensible. Minimizing the violence exerted from a position of privilege toward someone in a much weaker position, by appealing to some kind of moral high ground is a dirty tactic. It reeks of internalized classism and an astonishing lack of understanding about social dynamics and power inequities.

The fact that Lily’s morals and values aligned with ending up with a bully isn’t incompatible with her character. That bully was a social justice warrior (when it suited him), and the very causes he claimed to advocate for were those that benefited Lily. He represented a faction of the magical elite that defended people like Lily, so it’s consistent for her to choose someone whose ideology worked in her favor. But the fact that she constantly downplayed the violence the Marauders inflicted on other students, using the excuse that they didn’t use “dark magic,” reveals cognitive dissonance in her moral judgments. Violence in schools is violence, no matter where it comes from. You might find the bigoted, violent ones worse, but that doesn’t mean the others—no matter how good their ideas might be—aren’t also abusers.

Let’s be clear: no one with any sense would see a group of guys deliberately targeting others to the point of stripping someone in public and ever consider dating one of them. If Lily did (and if we accept Rowling’s own claim that she liked James before he “matured”), two conclusions emerge: either she was a complete dick, or James had something beyond his terrible personality that interested her. And in the early stages of a war where people like her were going to be a primary target of one side, it’s clear that “something” was security. And that doesn’t make her a bad person—it just makes her human. It’s human for a working-class teenager who’s suddenly thrust into a world where many people believe she doesn’t belong to feel attracted to the rich, socially powerful guy who’s willing to defend her rights and validate her as a member of that society.

And the fact that she and her sister had very different personalities doesn’t mean anything. Both grew up in a lower-middle-class neighborhood and received the same values from their parents. Just as Sirius shares many traits with his cousin Bellatrix and his own mother, Walburga, Lily shares many traits with her sister (which makes sense given the social context they grew up in). Ignoring this is to ignore how class dynamics and social expectations work, especially in certain European contexts of the 60s and 70s, where societies were still heavily influenced by classism rooted in deeply ingrained monarchical and aristocratic systems.

As for James, I’m sorry, but he didn’t just have “flaws.” James was a bully and an abuser who used his social and economic security—and that of his best friend, Sirius—to attack other people. And instead of targeting pure-blood Slytherins from wealthy, influential families, he conveniently chose a half-blood with no money or connections. That’s not arrogance; that’s violence. Even after promising Lily that he had changed, he continued doing the same thing behind her back.

I think I’ve provided enough arguments and evidence to support my stance, which is more than I can say for you. Your analysis is utterly superficial, and you still see James as a jokester rather than the abusive bully he was. Stripping someone naked in front of the entire school isn’t arrogance—it’s sexual abuse. Full stop.

[kaylatoonz]

Movie Amy Rose future AU

This post is kinda ironic knowing the rumors of Silver is the next character being introduced in the fourth movie or the end credits for the third movie. To save myself from going into another rant I’m just gonna say I don’t feel too great about the idea (especially with the possibility of them skipping Amy again or cramming way more characters into Amy’s debut movie than they did for Shadow).

Believe it or not, I drew this to cope with the possibility that they may cram a bunch of characters in the fourth before the stuff about the rumored silver spin-off came out.🫠

Anyway, this is how I would see an Amy Rose, Silver the Hedgehog, Blaze the Cat, and Metal Sonic movie.

Context

Amy and Silver are from a time organization that protects the timeline throughout the galaxy. Amy is gifted with the ability to see the future and summon her hammer (and other abilities). Silver is gifted with powerful psychic abilities unmatched by other fellow psychics within the organization. Together they were a powerful duo when assigned on missions. They were also friends with a tight-knit dynamic that strengthened their bond inside and outside of missions. This doesn’t mean their team was without fault. Although they both have a similar optimistic outlook on things, they have different ways of fighting for the future they envision.

Though Silver is an optimist he is also naive, he’ll take anything the organization gives him as the truth. If the organization tells him he needs to make a sacrifice for a brighter future he’ll do it. Amy is the opposite, she looks to one's past, present, and future to find another solution rather than stick to the organization's rigid ones. She believes in fate and destiny but she will challenge it and look for a different perspective if it means a brighter future for the universe or just one person. This often causes conflict between Amy and the organization but things usually turn out ok despite Amy’s differing approach to assignments. Silver was fine with this, Amy's way always brought even better results than the organization offered and as long as the future was secured there was no harm in a different path.

That was until a very dangerous variant infiltrated the organization threatening the timeline. Fortunately, they were able to contain it and learn of his origins. The dangerous entity was Metal Sonic, a future variant, a roboticized Sonic the Hedgehog. Deeming the threat too dangerous to exist they order Silver and Amy to terminate Sonic the Hedgehog before he becomes Metal Sonic (or lead to his birth). While Silver accepts the mission with a heavy heart, Amy refuses stating that there must be another way. This time the organization is not budging on their decision despite Amy’s grievances. If she would not cooperate she would be removed from the mission and forbidden from intervening.

Sensing a darker motive for the organization wanting Sonic the Hedgehog gone for good, she raced against Silver to protect Sonic from his assigned fate. One fight later Amy shakes Silver off her trail by stranding him in another dimension. Fortunately for him, in the loss of one ally, he gains a new one in Blaze the Cat, princess of the Sol dimension. Once he makes her aware of the danger Sonic/ could bring to her world and the universe she quickly allies.

Unbeknownst to anyone metal Sonic has escaped containment upon Silver and Amy's departure and he seems to be set on tearing the universe and time itself apart. He also seems to be targeting Amy for some strange reason.

[catras-breakup-song]

i’m not gonna lie… i’m lost here. is this supposed to be an 4nt1/cr1t1c4l post? if so, i genuinely don’t understand the point being made.

is it that playful banter is a bad thing? is it that being too hands-on violates unspoken boundaries? the message is so unclear to my autistic ass…

oh, wait, OP provided tags:

so aside from the fact that they are absolutely not sisters by default, least of all canonically (even if you do interpret them that way somehow), nor was it ever intended by nate stevenson, i’m still having trouble figuring out how this is problematic.

in which ways is lighthearted touch totally contradictory to passionate kissing/caressing? why can’t partners who are dating do both, especially in different cultural environments such as the horde where intimacy is discouraged and friendly sparring with familiar peers is a safe expression? if it’s so different, what are we as the audience supposed to interpret from their style of physical affection by the final season? side note, but aren’t we supposed to consider the latest version of anything in general as the most accurate?

now i have a question lol, did you take this moment literally at her word, and all the other times she repeated it?

also, my friend just pointed out that this is the classic homophobic talking point of "they seem to just be very good friends! they were roommates!" lmao. i've never agreed with accusing anyone who cr1t1c1z3s catradora of lesbophobia, which i'm not doing necessarily, because that's simply not how it works, however i found this funny and partially true so i'm keeping it in.

the lip bite was included unintentionally 👀

anyway, as i’ve discussed on this blog before, i’m very arospec and it’s inseparably intwined with my identity itself; i also project that onto catra. something we often bring up in that community, is romance-favorability (as its own spectrum of range all the way to blatant repulsion btw) — which is a personal preference that’s defined as exactly as it sounds like and occasionally revolves around fictional depiction as separate from one's own reality — and arguably more importantly, amatonormativity — which is an arbitrary set of rules for romantic expectations set up by an alloromantic society. this is typically thought of as common denial of the idea that someone could actually want to separate themself from needing a life partner in marriage, but can very much be applied to an annoying list of what draws the line between romantic & platonic relationships. that line is very individualistic and is to be decided on such a level only, and it doesn’t even get into what queerplatonic means, a concept saved for another day!

my point is, the OP seems to be trying to claim that catradora objectively cannot be read as romantic because their dynamic growing up & early-on in the story doesn’t perfectly meet socially-constructed standards of what that should look like. i say we need to eradicate those standards altogether! it’s up to catradora to decide what they are, if anything specific at all, not us as the audience — assuming they could’ve had the words at their disposal to knowingly describe it. going back to my earlier paragraph above about how limited they were in the fright zone, i’ll borrow a quote from a comment i made on one of my recent reblogged posts (which is a great meta on how their mutual desire was uh... definitely not platonic):

"Catra and Adora’s desire for one another is shown in a variety of ways, mostly indirect. There are a lot of glances - until season 5, not the kind of open leering at one another that we’d seen between other characters. Mostly it’s fairly playful - wiggled or cocked eyebrows, glances at each other while smirking, that kind of thing, or really intense and somewhat angry glares when they’re fighting."

it's really bothering me that i can't recall where i read this from before, but someone analyzed before how, growing up, catra & adora didn't have a good sense of how to label their relationship with accurate terminology despite being subconsciously aware that they, whether they knew the other reciprocated or not, loved each other "like that." unfortunately, they couldn't further explore it because such love & affection was seen as a punishable weakness in the horde, so they resorted to the only safe option they seemed to have, which was subtle body language and play-fighting as [testudoaubrei-blog] described above.

also, since this screenshot is included in that post... i would be amused to read an explanation of how THIS LOOK from catra is "platonic with a capital P", because i'm not even sure if it's up for debate to be quite honest with you:

ESPECIALLY with the "i always have!" line (which 4nt1s like to doubt, but i don't care, it's official!):

[bestworstcase]

So, it should be obvious to anyone paying attention or taking this seriously by now that Whiterose isn't happening. And I mean, they wouldn't really fit with what the show is going for anyways, with romantic relationships, no Ozlem fractals and all that. But it does stick out like a sore thumb, that within RWBY and JNPR they're the only pair of partners where it's not a thing. And I'm curious if you make anything of it, from an out-of-universe perspective, on why that's the case?

well for one thing, i think the conceptual basis for any ship being "well the other three major character academic pairs developed into romantic interests" is a de facto admission of non-canonicity in itself, and betrays a fundamental disinterest in character and narrative. this is perhaps not surprising, as i'm given to understand people have been shipping wr literally since the color trailers, which is to say that the core appeal has always been aesthetics.

full disclosure, my personal feeling is that wr is "man and woman breathed near each other one time!?" for sapphics. it's gay ruby/jaune. the ship isn't sunk, it's dry-docked.

in that sense, the out-of-universe perspective i have to offer is: the difference between ruby/weiss and arkos / renora / the bees is that the latter three were written with romantic intent from the start whereas ruby and weiss were not. i'll grant the possibility that the academic pairings were an inelegant plot device motivated by that romantic intention, but i don't in fact believe that is the case because the one/two/four motif is such a thematic workhorse for the contortions and distortions of ozpin's psyche; i think pairing the romantic partners was at most a secondary consideration. in any case, there is no rule dictating that every academic pair must eventually kiss. that's nonsense.

now. in the more specific sense of "why do these two characters in particular not go together" i think there are two reasons.

first, it's narratively important for ruby to be isolated. she's two years younger and left all her friends behind to enroll in beacon early and her big sister isn't and can't be her mom anymore and she gets paired up with an academic overachiever who initially treats her like an idiot baby who doesn't deserve the responsibility she's been given. ruby surmounts each of these challenges by remaking herself into their serious, competent, trustworthy leader and crucially this does not address, but in fact reinforces, her alienation from the rest of the team.

second, both ruby and weiss are profoundly sheltered and lonely girls raised in environments, denied close relationships with anyone but their elder sisters whom they both grew to idolize, and became, in contrasting but fundamentally similar ways, really good at performing the "right" behaviors—ruby adopting a happy, carefree mask, weiss becoming an overachieving perfectionist obsessed with her family's honor.

the point is, a) neither have ever had a real, emotionally close friendship before, and b) both have a deeply-ingrained tendency to Perform To Expectation. in this i think it is instructive to compare the conflict and resolution between weiss and ruby vs weiss and blake:

blake directly and overtly challenges weiss on her awful behavior until the brick wall of regurgitated bigotry breaks down and weiss starts to talk about the real emotional pain behind that wall, and blake reveals her own secret and then flees in distress, with the result that weiss has to face and think about the pain she's caused to someone she cares about and actually reflect on things blake said to her for a while. and then when they come face-to-face again weiss stops blake from anxiously trying to apologize / explain / appease her and says no, i thought about it, i trust you, you don't owe me any of that. she doesn't say the words "i'm sorry" but her actions demonstrate real understanding and empathy for blake.

meanwhile her conflict with ruby tears down ruby's self-confidence, ultimately leaving ruby receptive to ozpin's extremely destructive advice, and ends because port dresses weiss down and lays out for her in plain terms that her envy and resentment reflect poorly on her, whereafter weiss commits to becoming "the best teammate [ruby will] ever have."

spot the difference. the conflict between weiss and blake fosters a deeper, lasting emotional connection between them chiefly because they're fighting with each other—there's this back-and-forth, give-and-take that drives a resolution from within. weiss has to reflect on herself and decide that what she believed about faunuskind is wrong. and the. she has to decide for herself how to make it right. but that's not what happens in the conflict between weiss and ruby! weiss is just being a bully and gets told by a teacher she respects to knock it off!

and then little miss overachieving perfectionist pivots to "i will be the perfect teammate!" while the lesson ruby takes from this experience, courtesy of ozpin, is that she deserved to be treated that way because she didn't take her duties as the team leader seriously enough. she puts on a happy face and pretends nothing hurts because that's who ruby is, but the resolution here is very much just papering over the cracks.

not to say that ruby and weiss aren't truly friends and don't care deeply for each other, because they are and they do, but the foundation of this friendship is very brittle. on the surface, they appear as virtually the platonic ideal of what huntsman academy partners are meant to be—an unlikely pair who overcame enormous personal differences to become inseparable comrades-in-arms—but that is in large part because ruby's skill in masking problems harmonizes so well with weiss's drive to be the perfect huntsman academy partner.

but they're really not that close! it's a meme at this point for wr shippers to bemoan the dearth of "moments" between ruby and weiss, but that is by design. these are two girls who've never had a really close friendship before performing close friendship with each other almost flawlessly until the wheels very suddenly and violently fall off in v9, whereupon weiss—who is otherwise an empathetic and emotionally insightful person—realizes this hollowness and reflects on her treatment of ruby just as she did with blake back in v1. her perfect partnership has been an emotional burden to ruby this whole time, and she has to face that head-on before it can be fixed.

i think they're probably headed for a serious "we're combat partners who fight well together and get along, but are we actually friends?" kind of reckoning that will undoubtedly resolve in the direction of building real closeness, because maybe they're not as close as they believed but they want to have that kind of friendship.

which is like. you know. interesting. the core problem i have with wr fanon and the general insistence in that contingent of the fandom is that the apparent ideal-partnership is Real and trust me, they're totally in love, we're just meant to understand that they're having heart-to-heart conversations and emotionally vulnerable moments with each other off-screen all the time, the complete absence of this in the text is only because the narrative doesn't have the time—as if the narrative hasn't carved out time for arkos and renora and the bees and ruby/oscar, as if it wasn't a deliberate choice to contrast weiss getting scolded for bullying ruby against weiss empathizing and sharing childhood traumas and deep fears and cherished aspirations with blake and yang. like. come on.

the point is that things were "resolved" between ruby and weiss by external pressures that did not foster any real understanding between them, and then nothing ever changed. weiss' friendships with blake and yang pushed her to grow, to mature, but until v9 she and ruby were coasting on that "good leader/perfect teammate" dynamic, stagnant for ruby and a blindspot for weiss.

and this is the narrative reason why ruby and weiss had to be paired during the initiation. looking at it through the lens of "pairing the romantic partners (and the sore thumb of ruby and weiss)" misses the forest for the shipper goggles tree: the academic pairings are the inciting incident for each main character arc. for jaune, it's the first stroke of the ozlem fractal and the tragedy that motivates the rest of his story. for ren and nora, it's the safety of a comfort zone they'll eventually need to leave. for blake and yang, it's finding each other for the first time. for weiss, it's the mistake that will fester until it comes back to bite her to put all her growth in the interim to the test. for ruby, it's the painful experience that pushes her to take on self-sacrificial heroism as her duty.

it's just a device for establishing character pairs that will facilitate long-term development. that three of the four can be grouped together loosely as romantic arcs doesn't inherently mean anything for the one that isn't; to suggest otherwise is to collapse the differences between arkos / renora / the bees (and also ignore the goliath in the room of arkos not being endgame) and imagine a rule where there just isn't one.

for the sake of completeness i will add that coco/velvet is canon and the CFVY novels make a point of them not being academic partners.

[dseval]

What are your thoughts of CrossDust? What dynamic you think they have?

Permission to yap about CrossDust??

Short answer: funny i like both of them they should kiss

...Long yapping ahead (there's yapping about my Murder Sans interpretation, then there's also CrossDust. It's long.)

I'd like to first clarify that my interpretation of Dust may be different compared to many (I think, at least). Since I base his character on the canon information from Ask-Dusttale and fangames— particularly Evan Streblow's Dusttale (if you don't know, it's the one with the psychotic HAHAHAHAHAHAHA and "We're gonna have a MAD time!")

I also slot in some headcanons (and self-projections, can't help it) and some character adjustments because I think canon Murder is extremely difficult to work with, especially in the context of shipping and anything else this fandom does with him in general.

But just the gist of it so you all don't have to read that much (I can go on for ten more paragraphs. I'm obsessed with this guy):

I'll use the names Murder and Dust interchangeably and within different contexts. I like to think Murder is a front that Dust puts on— an apathetic murderer who finds emotions difficult to feel, someone who always lies to get his way, a sociopath. While Dust is quiet, honest, and more contemplative. It's mostly Murder who interacts with others.

Murder and Dust aren't necessarily two different people. Ultimately, Dust directly influences Murder's choices, and Murder may disappear one day once Dust feels content.

His hallucinations aren't only Papyrus, he also hallucinates about others although Papyrus is the most often. And these hallucinations speak different things according to the state he's in. Murder's hallucinations would encourage him to hurt more. While Dust's would induce guilt.

Murder is a very focused person, not afraid to take the lead, and he hates it when nothing happens. Dust on the other hand is content just doing nothing.

Murder finds love absurd. Dust too, but he entertains the thought of it.

Murder and Dust both think words are silly, insincere, and can change meanings, so they are more action-oriented.

He's demisexual. That's a headcanon.

And if anyone has any different interpretation of Murder/Dust Sans, that is absolutely okay and amazing. Dusttale is a very hard AU to actually get into (all the informations are scattered). Plus, there is nothing wrong with fanon. I think it's great, I like fanon. I sometimes like fanon more than canon.

Now CrossDust.

For their general dynamic, I think it's very difficult for them to get together. They just go back and forth between something and nothing. They have like... The slowest of slow burns.

I'd like to implement the entire Underverse thing. Remember how Cross stole Classic's soul? Apparently, Sanses across different alternate timelines can share a memory. So Geno knows Cross stole 'his' soul. Killer also acknowledges this and says to XChara that they stole 'his' soul.

So technically to Murder/Dust— Cross also had stolen 'his' soul (And Murder would've had felt all Cross's pain while at it, too). I think Murder would find it hilarious that Cross brought literally every single innocent AU into his problem. Dust would feel like Cross's plans are ridiculous, but since it's XChara's plan, and XChara is the human, Dust wouldn't even question it.

In a way, they share SOULs once, even if indirectly. Murder/Dust knows probably a lot about Cross. But Cross didn't know who the hell this guy is. Either way, with that in mind. Murder probably didn't have a good first impression of Cross. Dust might empathize with him, since Cross also committed a genocide in order to 'make things better' which is also Dust's reasoning. Cross might learn about Murder's actions later— but cannot judge Murder/Dust for it.

They are very similar. Kindred souls in a way. They went through similar struggles but they turned out to be completely different people. Because Cross in his entire life is under control, while Murder acts on choice. Because Cross knows what he did is horrible and he'll carry that sin to the grave, while Murder justifies his actions.

Cross is too trusting (he doesn't trust easily now), too seeking for approval, he doesn't know what to do if no one orders him. Murder thinks he himself is enough, Murder thinks he is the hero, he doesn't need anyone else.

Cross thinks Murder is a bad person, an absolute jerk. Murder likes to toy with him, probably also uses Cross to his advantage. Murder can either try to hurt Cross, or will try to win his favour. But can Cross judge him? Not really, hell, I don't think Cross even noticed if Murder did manipulate him. Low-key toxic these two.

But then there's the private moments, the intimate moments where Dust shed the front that is Murder. Where Dust is sincere; he doesn't talk, but the way he gazes and acts towards Cross is honest. And although reluctant, maybe Cross desires to bring that side out of him more.

It's both difficult for them to trust. But eventually Dust will learn that Cross cannot lie— Dust will trust words again. Eventually Cross realizes that he's not the only one hurt, and he can find a home in others, he can choose to find a home.

Cross will find it frustrating how Dust shuts himself down. Dust would find it frustrating how hard Cross tries for him. But eventually, Dust would learn to no longer front himself up with Murder. Cross would need a signal from Dust that what he's doing is okay and perfect before they can advance further.

They'll care about one another.

Eventually, they'll trust each other.

In a relationship sense where they're both happy and recovered, though. I think both of them like cuddling. Dust still had a hard time with words, but he knows how much it means for Cross to have words of affirmations, so he would praise Cross a lot. Cross knows Dust is as restless as he is, so he makes sure they both have a full schedule with a lot of things to do.

All in all, they're comfortable with each other. And that's enough, really.

(i almost yapped for ten more paragraphs but I think this is enough for now sksksksk)

Dust Sans by Ask-Dusttale

Cross Sans, Underverse, & XTale by Jakei

Mentioned characters: Killer Sans (by Rahafwabas), Geno (by loverofpiggies/CrayonQueen)

[napstabl00k]

Easily my favourite to write would have to be Amy. She's the main of team Sonic that gets written [in depth] at all, and the three of them have such a fun and interesting dynamic that I love getting to play with!

When I say written, I mean having a part of the fic in which the point of view is theirs.

Amy is displayed as someone who is rather chill! She's introduced immediately with a very lighthearted argument between her, Sonic, and Tails, and all around appears to be very sweet and friendly! Within the fic, it mentions that she'd end up helping this stranger in the end no matter what. It's simply the way that she [and Tails, and Sonic] is.

And then time goes on, and in further chapters, she's shown to be able to be cold, secretive, too blunt, good at picking up the hidden meanings behind people's words, and has a complicated set of morals.

It's fun! She's a complicated character that should very clearly be Amy, but beyond that, is more mature and was built into the person she is through a different life than Amy Rose from the Sonic games.

Easily my favourite character to draw is Jewel. She has a cute dress, I like her bug face, and I don't have to deal with cowboy hats of which I loathe drawing. Thumbs up

To the creators:

Writers: Who's your favorite character to write?

Artists: Who's your favorite character to draw?

:3