#these are characters from different universes

[jebunkle]

is this the real life?...

806 wc, gn!reader, all of them are having a mental breakdown

i saw some awesome sahsrau (self-aware hsr au) from @aventurineswife and they seemed a bit tired of making it...so i thought i'd give it a shot :p maybe ooc on some parts, sorry

the astral express who, while visiting a planet, begin to sense something amiss. it feels as if something, someone, has eyes on them occasionally.

while you're just logging in to play the game and pulling for new characters, everyone starts to freak out. what is watching over them? it can't be the aeons, something much more divine. hell, maybe even the aeons sense something is different.

himeko brews coffee while chatting quietly with welt, "you've felt it too, yes?" she asked him nervously, as if someone would hear if they were too loud. she sips her drink while glancing around every moment or so, displaying her franticness.

the express notices her off putting attitude, but before they can dwell on it, they begin to feel the same as her. it's almost like an illness, if this plague's symptoms were paranoia and impending doom.

the stellaron hunters are hardly different. kafka's smooth demeanor falters as she gazes off into the deep null of space. "who are you, divine being?" she asks into the nothingness, her sultry voice filling the otherwise empty air. as blade is sat on a couch, arms crossed over his chest, his posture seemed to be more tense than usual. of course, he was always uptight, but his behavior was extra rigid as of lately. silver wolf on the other hand, can't help but chuckle at kafka's philosophical rants and blade's silent pondering. she can tell that they're all puppets on a larger stage, meaning close to nothing in the vast universe — both her universe and yours.

aventurine, ever relaxed, has been carrying himself with a bit more of a troubled expression. his typical flamboyance has faltered and few around him have noticed. as aventurine sits on a red leather chair in an empty casino, he does not feel alone; tossing a golden coin between his fingers, aventurine begins thinking aloud. "i see you've chosen to reveal yourself, huh?" the blonde's voice is low and almost soft, as if he's trying not to offend whoever he may be speaking to.

dr. ratio's hair is a slightly unkempt, his eyebrows are pinched together much more frequently, and his papers and studies are left askew on his desk. a few members of the intellegentsia guild slowly catch onto how he's acting, and it's truly unbecoming of the infamous strict professor. his employees can be seen wearing a concerned expression when glancing over at him, yet are too afraid to inquire on his troubled state. "i will uncover whoever is ensuing this chaos amongst us all." ratio promises himself.

the xianzhou luofu is eerily quiet. the arbiter general himself has gone silent as well, as if the ship has been submerged into an ocean of solitude. jing yuan sits in his chair with his fingers intertwined atop his lap. internally, he wonders about this rumored 'creator'; are they real? is it an aeon? what does this mean for him? his companions? is something terrible on the horizon? his endless inquiries are certainly unlike him, causing the master diviner fu xuan to worry about him.

she feels that the world has been tilted also, however she's more concerned about jing yuan's scrambled state. "please, go home and rest, general." she pleads annoyedly, "mm. give me a moment, diviner fu." jing yuan replies quietly, his words melancholic. "you know as much as i do that something has changed." he states to the shorter woman.

boothill's shoes tap eagerly against the pavement that lined the roof of the building, echoing an ambience of anticipation. "what in the world are you?" the man questions the air rhetorically. he cannot, for the life of him, figure out what's causing such a stir in the mood of everyone, himself included. the silver cowboy's hand is rested on his hip, the other lifted to his neck with a finger pressed to his chin. "i dunno, but yer rackin' all our brains here.." boothill remarks, hoping that whoever is watching over him will hear it.

the enigmatic memokeeper is seen with a more defined smirk recently. black swan has taken interest is this unknown deity that has spiked fear and franticness all over the universe. she rests her palm against her chin, staring up into the stars that decorate the black outside of the express's windows. "i hope you'd be willing to speak with me, demiurge." she exclaims in a calm yet excited tone.

the head of the oak family stands in his obnoxiously large office, hands pressed against the polished table as he stares down at it. there's a few scattered documents thrown astray, but they're not important right now. all sunday can think of is you. he knows you exist, he's sure of it, and he won't rest until the day comes that you visit him and grace the world with your presence.

im so happy the eagles won the super bowl and kendricks performance was goated

dividers by @/hyuneskkami

[fantastic-nonsense]

An Explanation of DC's Multiple Universal Reboots and How to Navigate DCU Canon

This is an expansion of a shorter explanation I gave on my Batfam Starter Recs reading list. I figured it might be helpful to have it as a standalone explanation for new comic readers learning how to navigate DC's various attempts to deal with the concept of canon.

The Multiverse is a storytelling device within DC Comics that explains how most of the comics DC has published are tied together or are separate from each other. There exists a "main" universe, where most of DC's published comics collectively take place, and then several alternate universes where things happened differently than they did in the main universe. The multiverse allows writers to explore various concepts like "what if the Jack the Ripper murders happened in Victorian-era Gotham?" and "what if DC's women were the primary heroes of their universe and fought in World War II?" without affecting anything going on in the main universe.

DC Comics canon works in three "mainline" universes:

the pre-Crisis universe (everything published from the beginning of DC Comics until the Crisis on Infinite Earths event in 1986)

the post-Crisis universe (everything published between 1986 and 2011)

the post-Flashpoint universe (everything published from 2011-now)

In the 1980s, management at DC decided that continuity had become too outdated, convoluted, and contradictory to tell coherent stories within a shared universe as more stories were told, new characters were introduced, and new context to prior stories was added. The company had previously attempted to solve this problem in the 1960s by publishing "Flash of Two Worlds," assigning existing stories to two different universes (Earth-One and Earth-Two), and creating a smattering of other alternate universes (Earth-Three was the home of the Crime Syndicate, evil AU versions of the Justice League, for example), but found that this did not actually solve the issue.

So. They decided to do a total universal reboot. That reboot was initiated by the company-wide crossover event known as Crisis on Infinite Earths, published from 1985 to 1986.

COIE effectively rebooted the entire internal DC Universe from the dawn of time onward. A new universal history now existed: the vast majority of characters/character history, history, and events from the varying alternate timelines that existed in the previous universe were retold, retooled, condensed, and/or thrown out in favor of a new, theoretically streamlined single reality. From 1986-2011, DC Comics mainline continuity was published in this shared universe, which industry professionals and fans alike called the 'post-Crisis' universe; in-universe, we refer to this primary version of DC's continuity "New Earth" (or occasionally, Earth-0).

For a wide variety of reasons that I won't get into here, DC completely rebooted their universe again in 2011 following the Flashpoint event comic. This new primary universe—interchangeably called the New 52 universe, post-Flashpoint universe, or Prime Earth, depending on the conversation—once again drastically changed many characters’ histories, personalities, and relationships with each other (sometimes for the better, most of the time for the worse). This is the current universe for DC's main comic line.

Within these three overarching iterations of the DCU, there were several events aimed to clean up, refresh, or reorganize various continuity problems. You may hear people refer to "post-Zero Hour" continuity, for example, to describe post-Crisis events/character histories that were revamped after Zero Hour: Crisis in Time! was published in 1994. "post-Rebirth" continuity, another common descriptor, refers to the reorganization of the post-Flashpoint/Prime Earth universe that happened after the Rebirth event in 2016.

GENERALLY SPEAKING, these are the most common ones you'll hear about:

Pre-Crisis Universe (1937-1986): "Flash of Two Worlds" (1961)

Post-Crisis Universe (1986-2011): pre/post-Zero Hour (1994-2005), post-Infinite Crisis and One Year Later (2005-2008), & post-Final Crisis (2008-2011)

Post-Flashpoint Universe (2011-present): The New 52 (comics written from 2011-2015), Convergence/DCYou (the first attempt to fix New 52 continuity, lasted from 2014-2016), pre/post-Rebirth (2016-2021)—and within Rebirth continuity there were two events, Dark Knights: Metal and its sequel, Death Metal, that did some minor universal revamps (2018-2021)—and post-Death Metal continuity, also known as Infinite Frontier (2021-present). Dark Crisis (2022) also exists but didn't really change the multiversal lore status quo, just simplified the explanation.

Other important universal lore-related things to note about these events:

Prior to Crisis on Infinite Earths, the DCU was an "infinite multiverse." There were no limits on the number of alternate universes that existed and no in-depth explanation for how they were connected or unconnected to the DCU's main timeline.

COIE destroyed the infinite multiverse and condensed everything into one, single universe. Between 1986 and 2005, there were technically no acknowledged alternate universes beyond the "antimatter universe."

"Hypertime" was created by Mark Waid and Alex Ross in 1999 as a way to get around this rule and eventually became the "go-to" way of explaining and fixing various continuity errors. Hypertime is a network of alternate timeline "echoes" that branch off from the main DCU timeline and occasionally overlap with each other, causing alterations in reality.

Since there could only be one timeline, continuity discrepencies were often "fixed" by explaining that one version of events happened in a previous, now destroyed timeline (that characters may or may not remember). Characters could cross from one timeline to another if needed, but any changes resulting from time travelers messing with events caused the destruction of their orginal timeline.

The "Elseworlds" imprint was another method of writing alternate universe stories without explicitly acknowledging the multiverse existed. DC officially just called these books "non-canon" stories without trying to explain how they existed in relation to the main universe. Most if not all of these stories are now considered part of the multiverse.

The infinite multiverse was briefly restored after Infinite Crisis in 2005 and then merged into a single 52-universe multiverse the year afterwards in 52. This new, limited multiverse was explained as there being an "original" Earth (Earth-0) with each successive universe being further and further removed from that one.

The initial post-Flashpoint/New 52 explanation of the multiverse was that there was a limited 52-universe multiverse. That explanation was somewhat overwritten after Rebirth and fully retconned after Death Metal.

Death Metal introduced the concept of the "omniverse," a multiverse of infinite multiverses. Yes, this is dumb. Yes, we generally ignore it and it has now been fully retconned.

The "Dark Multiverse" (a temporary "dark negative counterpart" of each Multiverse reality created by the fears of a universe's people) is theoretically a thing that exists. No, no one else really understands it either and the concept is generally restricted to the two Metal events.

Since Dark Crisis, the DCU is once again a single infinite multiverse in the vein of late pre-Crisis continuity. Every universe and continuity exists, and some are closer to the mainline reality than others.

Right now, the main DCU is once again a singular multiverse with an infinite number of universes. Technically, every version of "mainline universe" history throughout the existence of the multiverse is now considered to have occurred and is remembered by the inhabitants of Prime Earth. In practice, this means that "everything is nebulously canon or non-canon until explicitly acknowledged by a writer to have definitively happened and/or be something that a character remembers happening to them."

Unfortunately, not a lot of writers are doing much with that concept right now outside of picking and choosing their favorite parts of mainline canon to focus on and/or re-canonize, but it at least presents a path forward where a lot of the continuity and characterization issues created by the New 52 reboot are able to be properly addressed.

I hope this explanation was helpful for people, and I'm happy to try and field any further questions as well!

[starlightkun]

savvy ❧ teaser

❧ teaser word count: 822 | full fic: 12.2k ❧ warnings: cursing, they go kinda skinny dipping at one point (wearing underwear) ❧ genre: fluff, a little suggestive, modern magical creatures au, fantasy au, college au if you squint, summer camp au, dryad jaemin, human reader, camp counselors jaemin & reader, same universe as strawberry sunday ❧ extra info: this work is set in the same universe as strawberry sunday but can be read as a standalone! there is no continuing plotline between fics in this universe, they simply take place in the same world/magic system and may have overlapping characters (neos may pop up in more than one work!) ❧ estimated release: friday, february 14, 2025, 6:00 p.m. eastern time

─── ⋆⋅☆⋅⋆ explore the strawberry sunday universe more here!

You knew you were getting closer to the river when you could hear running water, and the air around you started feeling less heavy and a lot fresher. The trail under your feet turned sandy as you finally emerged from the trees onto a shoreline by the river.

You immediately froze, though, not expecting to see somebody else at the riverside. It was a man pulling himself up out of the river onto a rocky formation. He was shirtless, his biceps, shoulders, and all other sorts of muscles flexing along with his motions. His eyes were closed as he shook his wet hair out, then pushed the damp locks back from his face with both of his hands. The sunlight made him look like he was glowing, every drop of water that ran down his body sparkling like a jewel, and you couldn’t make yourself look away.

He looked like he’d been sculpted by the gods. Which you supposed he had, or one in particular at least, you realized, as his eyes opened and settled on you as if he’d known you were there the whole time. They were the color of ferns, but shifted to a lighter mossy green under the dappling of the sunlight. Dryad. Son of Pan. Or so the legends go.

“Hi?” Despite his voice pitching up to make the greeting sound like a question, the wide, cocky smile on his face told you that he definitely knew that you’d been stood there ogling him for an embarrassing amount of time.

“Sorry!” You cringed at the sound of your own voice. “I didn’t realize there was anybody out here.”

The dryad started picking his way down the rocks towards you carefully, grabbing something off one of them as he went. A neon yellow shirt. When he finally dropped onto the ground a few feet in front of you, he gave the shirt a twist to wring out a few drops of water.

“I’m Jaemin,” he said, gripping the shirt even tighter and giving it another twist for good measure. You pretended like you didn’t notice the veins in his hands or the way his forearms tautened with the motion. He shook out the shirt to show you the logo on the front of it, a smiling evergreen tree that matched yours. “I’m also a counselor at Camp Pineleaf this year. We must’ve gone to different training sessions, huh? Anyway, I was walking the perimeter before the kids got here and I kind of—”

Jaemin stopped, a sheepish sort of look coming to his face as he ducked his head almost in embarrassment.

You looked around in confusion. “You what?”

“I fell in the river.”

“You fell in?” You stared at him. You couldn’t tell if he was messing with you or not. What kind of dryad—

“I know, what kind of dryad is falling in rivers?” He pulled the shirt on over his head, which you could now see he had cut the sleeves off of. “Aren’t we supposed to be connected to nature and all that? I still don’t know how it happened, one second I was just climbing the rocks and surveying the river, next thing I knew, I was in the river. Then you showed up.”

Clumsy dryad. That was a new one.

“I’m Y/N.” Introducing yourself was only fair since he’d already given you his name. “Seems like we’re head counselors of the Swallowtails this year, Jaemin.”

It was then that he seemed to notice the matching colors of your shirts, and his features lit up in recognition. “Hey, looks like it!”

You checked your watch. “We should be getting back, the kids are going to be arriving soon.”

“Right!”

“Besides, if I have to stay out here any longer, I’m going to pass out from heat exhaustion.” You groaned, pulling the front of your shirt off from where it had stuck to your skin, using it to fan yourself. “And there’s no way I’m dying out here and risking getting my ghost stuck in the middle of nowhere for forever instead of somewhere cool.”

Jaemin suddenly had a look of alarm on his face, and you looked around with an eyebrow raised.

“What? Something I said?”

“No, sorry, thought I heard something,” he shook his head. “It was just a vole. Lead the way.”

You hadn’t heard anything other than the usual forest sounds, but chalked it up to superior magic hearing, and started back on the trail to the main camp.

“So, why did you come out here, Y/N?”

“Same as you, walking the perimeter.”

“And… I’m sorry, I don’t want to be rude, but what are you?”

You looked at him curiously. “Can’t you tell? I’m a human.”

He blinked as if shaken from a trance. Then he offered you another heart-stopping smile. “Right, of course. Sorry about that. Must’ve hit my head when I fell in the river.”

“Must’ve…”

⤷ anthology masterlist | blog masterlist

TEASER TAGLIST

@annenakamura @bee-the-loser @lotties-readings @ppddpjdr @reiofsuns2001 @snowyseungs @tearinka @yoursyuno @yutasputa69 @winkeuu

[saturnniines]

i love thinking of faroeverse as more of a role swap au than a ‘genderbend’ au (except for Denise “The BUTCHer” Collins i love you Denise “The BUTCHer” Collins) where it puts focus on existing female characters in malevolent that either don’t really get explored or who kind of just exist as backstory for men (addison larson, samantha holeman, faroe herself) and ive found that through that process it creates REALLY INTERESTING characters because once you break out of the male default for a lot of character archetypes you can start having a lot of fun with their motivations

who is Samantha Holeman in faroeverse? well, if her brother fought in the Great War (and maybe he dies in it in this universe), perhaps she worked in the munition factories, as some women did. maybe the poor conditions led to her developing breathing problems. maybe there’s something to be said here about the betrayal of serving your country dutifully until your lungs are feeble and your skin yellow from the sulfur, only to never truly be recognized for that sacrifice after the war ends and you are once again cast aside, with a parting gift of your brother shipped home in a box, unemployment, and your now irreparably damaged health. maybe the woman faroe meets wears a gas mask, but also her brother’s old clothes, someone still stuck in a time long since past (and faroe really isn’t much different, is she?)

who is Addison Larson? in canon, she’s a sacrificial lamb, a casualty of her father’s lust for power, a parallel to arthur’s loss of faroe, and not much more than that. but in faroeverse maybe she was a little girl who always had a habit of snooping around, spoiled by her rich father, who never thought to question his love for her until she finds a hidden room in their house, and starts discovering a whole other side to his life. she starts to steal books, she eavesdrops on his meetings, until she eventually learns what he has planned for her. maybe in this world where father’s love prevails, he wasn’t even going to go through with it, not his Addy. but addison wouldn’t know that. she sits at a dinner table across from a man she knows is planning to kill her all of those nights, her whole world shattered. maybe that’s when the idea comes to her; it’s him or her, and she’s Not going to die. in the end, it’s her father who is torn apart, crying out at the betrayal of his own daughter doing what he could not. and once she tastes that power, she finally understands.

addison believes that her father’s death, a ‘sacrifice’, in the most literal sense of the word, enriched her own life. faroe has never stopped torturing herself over her own father’s death, a true sacrifice made out of love. she can’t help but just see herself as addison

[greenfiend]

The Nested Universes Theory

and the high chance of a very literal bitter/sweet ending…

Yes, Will and Mike will end up together, but their ending may be both happy and tragic simultaneously.

(This theory may explain why the cast and Netflix executives were crying heavily when informed of the show’s ending…)

I'm warning you guys, take care of yourself while reading this. This isn't an easy read.

CW: CSA, sex, drugs, HIV/AIDS, period typical homophobia, death

Framed Narratives/Stories

Framed narratives are basically a story within a story. Common examples of this are the movie “The Princess Bride” and “Titanic”. Both stories have the story of the narrator and the story within.

Another example is Stranger Things itself. When we see the boys playing Dungeons and Dragons, they are creating a story within a story.

Sometimes, framed narratives are nested, meaning multiple layers of storytelling. An example of this would be the movie “Inception”. In that movie there are dreams within dreams within dreams… It’s a complex but fascinating way to tell stories.

Now, I do think Stranger Things is also a nested narrative story. Meaning, there may be a layer of a story that hasn’t been revealed to us yet (or more than one).

Basically I’m saying: the show itself may be a story created by some of the characters.

I’m guessing two characters in particular. Which two characters? The two most associated with creating stories. The writer and artist. Two of the characters that have existed since the show’s inception.

Mike and Will.

Multiple Universes

I do think there are multiple timelines/universes within Stranger Things… but it’s not exactly what you think. It’s not parallel universes/timelines. They do not exist parallel to each other, they exist within each other.

This is the reason for the “memory within a memory”, “play within a play” references.

It’s a story within a story within a story.

While Mike and Will are creating their DnD campaigns, there is another version of Mike and Will creating the story we see within the show.

Let’s break it down:

Inner layer: Mike and Will’s characters existing within a DnD campaign

Middle layer: Mike and Will within the show creating the DnD campaign

Outer layer: Mike and Will creating the story of the show

Mike and Will’s story within the frame (the outer layer) likely does share a lot in common with the story within the show, with one major difference:

There’s no Upside Down, and no supernatural elements. No superpowers, and no superheroes. There are still monster(s) and heroes, but these monsters and heroes are real.

Living on as “Heroes”

Ever notice the association between characters being referred to as “a hero” after facing their demise?

We have seen this time and time again. It’s not a coincidence, it’s a pattern.

Love for horror and escapism

@threemanoperation has a great post on Will’s love for horror.

It makes perfect sense for a boy like Will to enjoy horror. It can be a great way to process trauma and grief.

We also know even from the earliest descriptions for Mike and Will’s characters that they both love to “escape” into fantasy. They do this together, through DnD.

Gods/Puppet Masters/Creators

Within the show, there are many subtle nods to Will and Mike somehow controlling/manipulating things. These hints have lead to many interesting theories about Mike and/or Will having powers. In a sense, they both are absolutely right! But if this theory is correct, their influence over the show is mainly due to them creating it. They’re the authors, so in a way, they’re both “Gods”.

Solving the “Letter to Willy”/Lettergate puzzle

"Letter to Willy" is a song that plays over three different scenes within ST4. Each scene involves regrets, and survivor's guilt.

Max mourns Billy and reads out her letter "before it's too late" aka before she dies too.

Mike and Will have a heart-to-heart and Mike expresses guilt over El leaving, thinking there was more he could have done. This occurs while they are burying a dead man's body.

Dustin tells Eddie's uncle that Eddie died a hero, despite what the town thought.

This all leads back to Mike and Will within the story's outer layer. This also connects with the writer's incomplete letter they posted years ago on Twitter. I'll get back to this.

A father infecting his child

Oh boy. I hate this part but it requires context so…

Hopper admits to indirectly causing the death of his daughter, Sarah. He had been exposed to Agent Orange which led to his daughter developing cancer at a young age. He has remorse and has been grieving Sarah this whole time.

Now, Hopper is a decent guy and father, and is written as an almost “fix it” version of Mike and Will’s own fathers. He isn’t perfect, but he’s a man who strives to grow and improve himself.

Papa, is not a decent guy, and we also see him injecting El and Henry with needles.

So, what I’m saying is that this may be a hint to what happened to Will (in the 99/100 timeline). Lonnie is hinted to be a drug user, and it wouldn’t be far fetched to say he may have used IV drugs. Exposure to IV drugs is a way to transmit diseases, as blood may be exchanged through contaminated needles. Also, Lonnie has been hinted at, through subtext, to be a horrible monster. (<- click that link for a post about him.)

The “1/100” Timeline

The show itself is the 1 out of 100 timeline. It is the only one where Will was not kidnapped by his parent/guardian (Lonnie).

This means, it is the one where none of the tragic stuff ever happened, specifically to Will and Mike’s story at least. They may encounter challenges, but nothing they cannot overcome together, as a team.

1983: The Demogorgon got Will. He survives the horrors done to him in the Upside Down… but barely. He is taken to the hospital and heals from it all, including flu-like symptoms (cough, nausea/vomiting).

1984: Will suffers from flashbacks. He is also plagued with the nickname “Zombie Boy” and suffering from the Mind Flayer’s possession of him. But with the love of his family, and Mike, is able to return back to his reality.

1985: He then begins to struggle with the pressures of growing up, and having to move away. Plus the Mind Flayer returns and reeks more havoc.

1986: He then moves to a pleasant place. Where things are sunny and warm. Things on the surface seem happy and “normal” but there’s a looming threat hidden beneath the surface. Henry/1/Vecna. This opportunistic threat preys on the weak and begins to take over Hawkins.

1987-1989: Will is back in Hawkins and his ties to the Upside Down increase. He can’t shake it off as easily as before. He also can’t shake off his love for Mike, who grows even closer to him. One thing leads to another and they become lovers (they have sex). They eventually are able to stop the contamination of Hawkins, and save everyone. Will also realizes that he has developed superpowers from his time in the Upside Down, through his blood. Mike also develops superpowers, given to him by Will.

Okay… you might understand where I’m going with this but I still must warn you before reading the next part. It’s devastatingly tragic.

The “99/100” Timeline

(I’m probably wrong on some of these details but this is what I theorize thus far):

1983: Lonnie “got” Will (CSA). Will survives the horrors done to him by his father… but barely. He is taken to the hospital and heals from it all and from flu-like symptoms (cough, nausea/vomiting).

1984: Will suffers from flashbacks. He is also plagued with the nickname “Zombie Boy” and suffering from the flashbacks of his father’s possession of him. But with the love of his family, and Mike, is able to return back to reality.

1985: He then begins to struggle with the pressures of growing up. Plus the memories of Lonnie return and reek more havoc.

1986: Things on the surface seem happy and “normal” but there’s a looming threat hidden beneath the surface. HIV -> AIDS. Opportunistic infections slowly begin to prey on Will.

1987-?: Will can’t shake off colds and infections as easily as before. He also can’t shake off his love for Mike, who grows even closer to him. One thing leads to another and they become lovers (they have sex). Will soon discovers he has HIV/AIDS, which he had transmitted to Mike. Devastated by the news, they do everything they can to fight it together. They cope through creating a DnD campaign together to process everything they’ve gone through. They play DnD in Mike’s basement until Will’s condition becomes critical. Will is forced to stay in the hospital, while Mike is unable to visit (strict rules about visitation due to the disease and because they aren’t/cannot be considered legal partners). So, Mike does the only thing he can do: he writes letters to Will and continues the story. Mike eventually loses Will, for real this time. He’s devastated, and plagued with grief, depression, and survivor’s guilt. He didn’t complete their story in time. But his family and friends support him and encourage him to finish the story. To change the ending before his time runs out too. He completes their story himself, and reads his final letter to Will’s grave.

“anyway I think you’ll like [the ending]. sorry I couldn’t get it done [on time] but you mean so [much to me] and it’s been [so hard being without you] hope this is [enough to] last until [we meet again]. Love, [Mike].”

Attached to this letter is the full campaign. The full story of the show itself, which started on November 6th, 1983. He successfully turned back the clock, and changed their ending. They became superheroes within their story, saving Hawkins with their love. Mike dies soon after and we are met with…

Mike and Will reuniting within their own story. Blue meeting yellow at a gate, one final time, that leads “into the west”.

They continue their story and it’s a never ending story… Living on as heroes, forever and ever.

Some thoughts:

To simplify things, I didn’t include other characters much here but they likely all play an important role in the story. Many characters likely only exist within the mid layer (the 1/100 timeline).

I do think their story likely will be published, and this will be done by another character (my guess is Lucas). Their story will impact others profoundly, perhaps completely altering perspectives. This will lead towards positive change, and increase pressure for the development of a “cure”.

Lonnie obviously dies too, but we won’t see it. He’s significant but irrelevant. We don’t need to see him. Perhaps he rots in jail.

If characters like Nancy, Jonathan, Joyce, and Hopper all exist within the outer layer (the 99/100 timeline) in a similar way, they too may be inflicted with HIV/AIDS. Remember, it wasn’t just gay men, everyone was affected by this awful epidemic.

The time period is super relevant in this story. There’s no way that HIV/AIDS will not play an important role. Think about it… it revolves around two gay boys growing up during that time. This epidemic was widespread and terrifying. Had they been born a decade later, there would have been treatments/“cures” accessible to them.

The biggest reason why I strongly believe this theory is because… this is basically the ending of Stranger Things season 1, on a much grander scale. Think about it. Mike changed the ending of the DnD campaign so Will could be a hero, not a victim. This was further established in the comics.

While Mike and Will within the outer layer (99/100) have a tragic ending, Mike and Will within the show (1/100) do not. They beat the odds. Although it is undeniably a tragic end, remember that somewhere out there Mike and Will are still playing DnD and Nintendo for the rest of their lives.

Free Will and Writing your Own Ending

Free will has always been a reoccurring theme within Stranger Things; meaning we can choose our own destiny, fight chance, and beat the odds.

Do we truly have free will though? Obviously, we don’t know. The point is, we should still live life as if we do have it. To take control where we can, and not let external forces dictate who we are and what our destiny is. I think that’s the message there.

[nick-writes-stuff]

Ransom

Hwang In-ho x spouse!reader (gn)

summary: As much as In-ho tried to keep you a secret, a plot to overthrow and loot the compound involved holding you as ransom. The plan is unsuccessful, but your life wouldn't be the same again.

!warnings: canon-typical violence, home invasion themes, reader is injured and manhandled, hurt/comfort, implied traumatic experiences

a/n: this is probably going to be the last solo in-ho fic for a bit. i don't want to get burnt out from writing him. expect some headcanons or fics about some other characters in the future!

In-ho liked to keep you away from his work. You didn't know all of the specifics. You knew what he was doing was gruesome and shady, but you preferred to stay out of it.

A year or two after he began working as the Front Man, he had reached out to you, hoping to get some piece of his life back. You two had been close friends in your childhood up through your first year of university. You knew him and his brother well. Jun-ho would always pick on him since he thought it was obvious the two of you were pining for each other, but nothing ever came from that.

Then you drifted apart. There was no animosity between you. You talked occasionally, but you were just doing separate things in your lives. You would be lying if you said you didn't think about him every once in a while, wistfully wondering how your life would have been different if you had ever gotten the courage to ask him.

That thought made you feel guilty every time. You heard about what he was doing in his life. You knew he got married, was expecting a child with his wife, got fired for alleged bribery, lost his wife and child, then distanced himself from everyone in his life. Nothing stopped the thought from popping up, but you had never thought about acting in it.

Until you bumped into him at a coffee shop on the outskirts of Seoul years later. You didn't think much of this encounter. He had seemed nonchalant and casual that you assumed he had already cleared things up with his family.

This wasn't a chance encounter like you thought it was. Quite the contrary, as In-ho had meticulously planned it for a month in advance. It included a bit of surveillance on his end, but that was nothing out of the ordinary for his line of work. He met you there, and it felt exhilarating to finally be able to leave the mask behind for once.

You finally kept in touch with him. Your relationship only grew from that point on. Before you moved in with him, he sat you down to talk about his work and living situation. He was straightforward for the most part, but he spared you any of the extremely gory details. And you didn't run. You wanted to be there for him. Even if you were morally opposed to his line of work, you really cared about him. And it's not like you were participating.

You had lived with him for a few years before he proposed to you. Unlike every other thing he does, he didn't have a plan for it. Everything was spontaneous, and it was something you really appreciated. Not thinking about it beforehand showed that he really felt strongly about you and didn't have to think it through to convince him.

You stayed in the apartment for most of the time. You found a way to make yourself busy. Sometimes In-ho would have some random tasks for you like baking bread or making dalgona. You didn't know how that was helpful, but you didn't mind.

He was happy to have someone to return home to at the end of the day. But with that came the worry of your safety. The compound was secure, but there was always the fear in the back of his mind. You've taken self-defense courses before. You weren't helpless, but the people who could be a threat are rather unsavory people. They acted rashly and without forethought. Their unpredictability was concerning.

In-ho wanted to teach you how to use a gun, but you refused. You didn't like guns. You witnessed something traumatic that you didn't like discussing, and In-ho knew that. You at least let him show you how to check if the safety was on or off. He did insist that you carry around a stun gun, something you reluctantly agreed to.

You both had hoped you wouldn't have to use it. But sometimes things never go how you planned.

You had been straightening up when you heard the alarm start blaring. You swallowed hard, trying to calm your breathing. Panic would do nothing but make you more vulnerable.

The shrill ring of the rotary phone receiving a call shocked you more than it reasonably should have. You felt your heart stop for a second as it reverberated through the room. You shook your head at your jumpiness and walked to answer the phone.

You picked up the receiver. “You scared the shit out of me.” You said with a slight chuckle.

In-ho wasn't in a joking mood. He couldn't be right now. “Listen, there's 5 players and 2 rogue guards storming the place right now.”

Your jaw dropped. “Oh god.” You muttered, realizing the gravity of the situation. Your breathing quickened as a response.

“Stay calm, okay? You need to keep your mind sharp.” He said. He knew it was a tall order, but he was right and you knew it. His voice was level despite the pit forming in his stomach. “There's one near you. Lock the door and hide in the storage room. Get ready to catch him off guard and lock him in there, okay? I'll get to you as soon as I can.” He said quickly.

You took a deep breath. “I will. I love you.” You said.

“I love you too.” He said. His voice was softer than it was before. He tried to keep you a secret while at work. Sure, some people knew you were living with him, mostly just some of the managers, but he didn't like advertising the fact that you were someone he cared about in fear it would be used against him.

And it was being used against him. There had been a scheme brewing behind the scenes for a few years that they hadn't caught onto. A player who voted to leave and didn't come back to the games decided to make a group to infiltrate the compound and steal the money outright. If they had 45 billion Won to offer the winner, they had to have even more at their disposal. The two guards had been working there for a few years. One of them was one of the managers who knew about your presence on the island. The one who was right outside the door to the apartment.

Things started to piece together in In-ho mind as he watched the events unfold. He became suspicious of other soldiers now. He didn't think he could trust anyone to rescue you except himself. What if they were in on it? Maybe he was being paranoid, but he didn't want to risk your life. He started devising a plan to neutralize the situation, giving out orders when needed. Once everyone knew their task, he made his way toward the apartment.

-

You put down the receiver the correct way out of habit. You rushed over to the front door, trembling fingers struggling to lock the door. You flicked the lights off and entered the storage room. You flicked those lights off as well. Maneuvering the best you could in the dark, you stood beside one of the shelves with your back against the wall. You focused on the coldness you felt where you made contact with the wall. It was grounding you. Your hand gripped the stun gun in your pocket. You tried to calm your breathing, but it was still shaky.

You flinched the first time you heard a thud. It wasn't a gunshot, more of an impact. The second time, it happened you realized it was someone breaking down the door. And they seemed to have gotten in. You heard heavy footsteps pacing through the apartment.

You hoped they would think you weren't there. Maybe you took a trip outside or even to the mainland. Maybe they didn't even know you were here.

That wasn't the case. You knew it the second you heard him shout. “Come on out. I know you're here.”

You tensed up, realizing how bad of a situation you were in. You just hoped In-ho would be there soon.

You heard him opening the doors one by one, doing a sweep of the apartment. Eventually, he opened the door to the storage room. You took deep breaths trying to stay quiet. Once he walked past you, you made your exit. He noticed you before you got out. “Not so fast.” He called out.

You managed to get through the doorway and start to close the door on him. You tried shoving against him, but you were overpowered and knocked to the ground as he shoved the door open.

You gathered your bearings and started to stand up, but you noticed the weapon in his hand. A pistol. Standard issue for the managers to keep on their person.

You started breathing faster, panicking despite In-ho's words repeating in your head. Stay calm, okay? You need to keep your mind sharp. You took a deep breath as you stood up. You tried to run off, but he stopped you by shoving you into the wall.

“Sorry, but I can't let you get away.” He said mockingly while closing the distance between you. He wrapped a hand around your throat.

“What do you want?” You asked, managing to get the words out despite the circumstances.

He laughed, using his other hand to pull off his square mask and hood to reveal his sick grin. “You're going to be my golden ticket to the fortune it takes to run these games. Your husband has to have hundreds of billions of Won, and he's gonna fork it over if he doesn't want me to put a bullet in your head.” He said. He tapped the barrel of the gun against your temple. You flinched away from it, both out of fear and a reflex from the cold metal.

He was clearly deriving pleasure from watching you struggle, and it made you sick to your stomach. You couldn't breathe, both from the panic and his grip on your airway.

“You don't have to do this.” You muttered, voice hardly above a whisper.

“Oh, I know. It's nothing personal, sweetheart.” He said with a sickening sweet but mocking tone. He had a sadistic glint in his eyes.

Your vision started to blur as he spoke. You reached your trembling hand into your pocket, fumbling with the stun gun. When you got it oriented the correct way, you made your move. You held down the button and jammed it into his side.

He jerked backward, releasing the grip on your throat and the gun. You took a desperate breath as you ducked out of his hold, but he recovered from the volts quicker than you thought he would. He turned and shoved you to the ground.

“You motherfucker.” He growled. He kicked you, causing you to cry out in pain. “You're gonna regret that.” He spat.

-

In-ho was making haste to the apartment when he heard you cry out. He grimaced under the mask. He tried to calm down his own breathing, but that attempt was in vain the second he heard a gunshot.

“Fuck, no no no no no.” He muttered. He felt the panic rise within him. He didn't know what he would do if he lost you. He can't do this without you. He can't lose you. If he did, it would be all his fault. You didn't deserve this. You didn't belong in the world that he dragged you into.

Why did the universe hate him? Was he doomed to lose everyone he loved? His mother, his father, his wife and child, his brother, his mentor, and now you too. Maybe he was meant to be alone. The universe was trying to show him that, but he never learned, and now he's lost the last person who he cared about.

He quickly noticed that the door had been broken into. Whoever did this was sure of their actions.

Whoever did this was about to be killed as well. He pulled the gun from his own pocket. Part of him wanted to keep them alive and torture them, make them regret the pain they put you through. But he knew you wouldn't want that.

He braced himself for what he thought he would see when he entered the doorframe, but it wasn't what he expected.

You were sitting with your back against the wall. You held the manager's gun in your hands, still outstretched as if you were frozen in time. Your gaze looked far away. Your breathing was shallow.

The manager laid in a heap on the ground, blood beginning to pool around him from the wound.

You shot him dead.

Once In-ho assessed the situation, he was at your side almost instantly, and the black mask was discarded just as quickly. He grabbed your wrist gently, which snapped you out of your haze. You jerked away from his touch, head quickly turning to look at whoever startled you.

“Hey, hey, it's me, okay? It's just-” He started.

The second you realized it was him you wrapped your arms around him. The pistol clattered to the ground. You cried into his shoulder, letting out shuddering sobs.

He wrapped one arm around your waist while the other cradled the back of your head. His thumb gently stroked your scalp while he repeated, “It's okay. You're safe,” in a soft whisper, hoping both of you realized it was true.

His own breathing was uneven as well as he tried to keep himself calm. He wanted to be a rock for you to cling to, the calm in the storm. But he was so fucking scared himself. He thought he lost you. He thought he was going to walk in and see you dead on the ground.

So for the first time in a long time, tears ran down his face. He couldn't remember the last time he cried. It was probably when he returned from the games to learn his wife had passed. After the confrontation with Jun-ho, he didn't cry. He just shut down emotionally, distanced himself, and drank a bit too much for a few days. He had never really given himself time to process those emotions except during the recurring nightmares about the incident.

After a few minutes, you heard a voice at the door. “Sir?”

You looked up to see two triangle soldiers. You tensed up, about ready to get up and run out of the room, but In-ho's embrace tightened ever so slightly to keep you with him.

He didn't turn. He couldn't because he didn't have his mask, and he wasn't going to doom the two guards by looking at them. “Get a cleaning crew to deal with this. We'll be out of here when they arrive.” He said, keeping his tone level.

When he heard them leave, he released you from the hug. He pulled back and looked at you. “Could we move into the bedroom? Is that okay?” He asked you gently.

It took you a moment to register his words. Your gaze was directed toward him, but it seemed you were looking through him. You eventually nodded your head. He had been intending on carrying you, but you stood up using the wall to keep your balance. He noticed your grimace from the movement. He suspected you were in pain, but he didn't dwell on it now.

He grabbed your hand gingerly, leading you into the other room. He didn't even care to grab the mask, totally forgetting it as his priority shifted to you.

When you entered the room, he locked it behind you. He didn't want to be bothered by the games right now. He would get the information about the breach later. Right now, he was needed here. Plus, he thought you would feel safer knowing it was only him with you.

You sat on the edge of the bed, feet dangling to the ground. You just sat there motionless, staying into space. He looked over at you, his eyes a storm of anger and fear and worry and love. He sat next to you, an action that startled you until you realized it was still just him.

He wrapped an arm around you and pulled you close to him. “It's just us in here, okay?” He said softly. He grabbed your hand in his, fidgeting with your fingers absent-mindedly. Occasionally his fingers would find their way to your pulse point as if he was subconsciously ensuring you were still alive.

He didn't know how long you both sat there like that. He didn't want to overwhelm you, so he just held you and occasionally murmured some comforting words. You could talk when you were ready.

Eventually, you broke the silence. “I didn't know what else to do.” You murmured softly. Your face was still blank, but he took some comfort in hearing your voice.

“That's okay. You did what you had to do to survive.” He said. Explaining this to you felt strange to him. It's the same words used to justify the murder in the games. Maybe his vision was clouded by his love for you, but he didn't think the games and what you just went through were comparable. It felt wrong to use those words even though by the game's logic, these two situations were both considered self-preservation. He didn't have time to go through this moral dilemma. Perhaps he would rethink all of his past decisions in the quiet of night, but right now, you needed him, and that was the most important thing to him.

After a few more moments of silence, you spoke again. “Do you want to know what happened?” You asked.

He sighed softly. “I would like to know eventually, but we don't have to talk about it now if you don't want to.” He said honestly. He didn't want to pressure you, but knowing the information would be helpful for investigating the incident and his own mental well-being. He wanted to know how he could prevent this from happening again.

You took a deep breath before beginning to speak. “He broke down the door and started looking through all the rooms. He was looking for me. I hid in the storage room, and I tried to sneak out like you said, but he was too fast and forced the door open.”

He grimaced slightly. He already assumed that the manager was there for you, but hearing it stirred an anger in his chest. “Did he say anything to you?” He asked.

You nodded. “Yeah. He said that he was going to hold me as ransom for the money.” You said in a small voice.

He stayed silent for a moment before gently cupping your face in his hand. He guided your gaze toward him. “Did he hurt you?” He asked. He tried to keep his voice gentle, but the simmering anger inside him caused his voice to be stern. He needed to know.

He felt you tense up, and that answered his question enough. You nodded slightly. “I got shoved around a bit. He tried choking me out, but I got him with the stun gun. That disarmed him and…” you trailed off, taking a deep breath before adding, “you know the rest.”

He tilted your head up slightly, dark eyes landing on the redness that would certainly turn to bruises. Physical reminders of the pain In-ho felt like he caused you by putting you in this dangerous environment.

There was that anger again. He could feel it coursing through his veins. It was wrath and hatred and fury. He wished you hadn't killed him so he could force the manager to feel at least 1000 times more pain and torture. He wanted the satisfaction of killing him slowly on his own terms.

You wanted to reassure him that you were okay. The bruises will fade with time. The lingering sense of pain where the manager's hands gripped your throat will leave. When he didn't seem to react, you sighed softly. It's time to take another approach. “If you think this is bad, you should see the other guy.” You said cheekily.

You could see it in his eyes. While he was unreadable to almost everyone, you could see his emotions clear as day. Although to be fair, you were the only one to see him without the mask. You leaned up and pressed a kiss to his cheek. “I'm fine. Just a few bruises. Nothing that times won't heal,” you said. Physically, at least. This day would definitely haunt you for years, but you knew that wasn't his concern right now.

It took him a moment to register your words, but when he did, he looked down at you. Upon seeing your smirk, he couldn't stop the smile from creeping onto his face. He laughed lightly, shaking his head. “Only you could go through something like that and joke about it after.” He said.

“I just don't like seeing you upset.” You said softly.

He paused for a moment before pressing his lips to your forehead. You leaned into him. You both sat there in the intimate silence for a moment before you spoke again. “You know, I don't regret doing it.” You said. You sighed. “I didn't like doing it, but I think he got what he deserved.”

He tried not to seem surprised. He was surprised, but he didn't want you to think it was him appraising your statement negatively. He didn't have room to judge as he had an obvious reputation.

“And that's okay.” He said gently.

In a strange way, he was almost proud but not for the reason most would think. He could imagine Il-nam praising him for getting you to see the purpose of the games. Others would think he was happy to corrupt you. But honestly, that's bullshit.

He was happy that you had a reason to fight for your life. You considered yourself, your husband, and your future together more important than your personal code of ethics. He had seen how opposed to violence you were, and the fact you would act against your moral values for him was almost heartwarming.

It reminded him of himself. He did the same for his first wife. He was an upstanding police officer, but he decided to work with the people he was supposed to take down. He took loans and bribes to pay for her treatment, and he wouldn't have changed a thing. It was a testament to his devotion. His love language is acts of immorality

In-ho arranged for two nights off to spend with you. You both tried to pretend the other's nightmare hadn't woken you up. He appeared like he didn't notice your hands reach to your next and try to pry off the hands of the man in your dream. You didn't react when you felt his fingers on your pulse point as he calmed himself down. Through the next couple days, you tried to live as normally as the situation allowed. He occasionally needed to step out of the apartment to assess the state of the games and give orders. You waited for him rather impatiently. He also wanted to be with you as much as possible. It calmed both of you from the anxiety which was likely going to linger. Being here was dangerous and that was a risk you both would have to take. And you took it willingly if it meant being together.

He'd do anything for you, too. His list of misdeeds had grown more serious, so it's more accurate to say he would change his ways for the better for you. If he had to break the strict rules or if he had to leave the games behind entirely, that's fine. He'd do it in a heartbeat if you asked him to.

[literaryvein-reblogs]

Writing Notes: Fantasy Worldbuilding

Fantasy worldbuilding - the process of creating a fictional world replete with core characters, overlapping storylines, detailed settings, and fantastical elements that set the world apart from our own.

A clear, detailed fantasy world will help readers invest in the characters that inhabit it.

Essential Elements of a Fantasy World

The fantasy genre often contains elements of science fiction, magic, or imaginative creatures—but it’s more than just writing every fictional element you can think up. The world of your fantasy novel, video game, television show, or film has to make sense in order for the rest of its parts to work in harmony.

Magic: Decide if there is a magic system in place, then set the rules of it. What powers it? Is it a secret? Can anyone use it?

Geography: It may be helpful to create a fantasy map. Identify major landmasses and historic sites. How does the landscape impact the plot or the characters? What is the climate like? You can get as specific as identifying the indigenous flora and fauna, even if you don’t use those details. As a world-builder, you can include as much or as little in your process and final version as you like—as long as your story comes together in a way that makes sense for the audience.

Society: Figure out the inhabitants of your fantasy world. What language do they speak? What do they look like? Are they humanlike? Are they creaturelike? What sort of culture do they have? How have previous historical events impacted the way they live now?

History: While you don’t have to outline the beginning of your world’s history to the end, it’s useful to know of any key events like wars, plagues, political strife, extraterrestrial invasions, or anything else that had an effect on the way your world operates now.

Time: How does it flow in your world? Is there a calendar? Are there seasons? What affects the light and the darkness?

How to Create a Fantasy World

There are many avenues for writing fantasy worlds, and you can start with whichever aspect you like first:

Use real life as inspiration. That doesn’t mean taking people from existing ethnic groups and putting costumes on them—but observe how other cultures live, how they interact with their environments and each other. By incorporating real-life into your fantasy book, you can avoid falling into tropes and clichés, and create a richer template for your characters and plot to thrive in.

Define the setting. A good starting point when creating a fantasy story is the universe itself. Is this an imaginary world existing within our own world, like Black Panther’s Wakanda? Or is it its own entirely new world, like Narnia in C.S. Lewis’s fantasy series The Chronicles of Narnia? Describe what the landscape looks like, what colors it contains, or how many suns and moons it has. Any details that can help make your fantasy world feel more like real-life in order to help ground it in something believable will make a difference in how your audience feels and experiences it.

Create inhabitants. A fantasy world has more than one type of inhabitant. They can be vastly different from one another, or only have subtle contrasts between them. For example, in J.R.R. Tolkien’s Lord of the Rings, the magical world setting of middle-earth has both Dwarves and Hobbits, which, despite both being the smaller races, contain many differences between them. They each have their own origins and backstories, temperaments, key aesthetics, daily life routines, and various other aspects that enrich and define the separate races. Inhabitants include the antagonists as well. Make them more than one-dimensional bad guys—give them a motivation that’s relevant to the world they live in.

Make magic. Implement your magic system, if there is one. Write its limits, along with its capabilities. For instance, in George R. R. Martin’s Game of Thrones, the magic in the world seemingly gets stronger when the main character Daenerys Targaryen brings about the birth of her dragons. Magic needs rules in order to function properly in your fantasy world, and while you don’t need to include a list of laws in your writing, the use of it must make them apparent.

Source ⚜ More: References ⚜ Writing Resources PDFs

[catboymoments]

First off for the updated big refs of the lumata characters we have my boy, your boy, our boy!!! KAY EL!! I’ve been working on this story since 2019 and I’m so happy that so many people love my ocs as much as I do!!! I’ll be posting the rest of the gang soon, so keep an eye out!! ;]

Lupus Automata is a scifi mecha story that takes place 1000 years in the future during the height of interstellar growth between humans and alien species, but focusing on a group of five characters from different corners of the universe that haven’t been dealt such a fortunate hand.

However, after they’re arrested for all being part of a major crime in a wrong place wrong time situation, they wind up being on the same team in a twist of fate when a strange woman named Kiida Callahagn approaches them with an opportunity they can’t refuse…

[burning2know]

I agree wholeheartedly with OP and these tags from prev. prefacing that I will be ignoring the game that shall not be named and probably repeating some points.

There's nothing quite like the interactive medium of a video game that makes you examine your own choices and beliefs. And when it comes to politics, there's often a disconnect between ideology and lived experience. My favorite thing about DA was always the fact the it tried to bridge the two. Whether it's showing that various individuals in similar circumstances can have completely different ideologies, or it can be to explore what happens to individuals and their experiences after reshaping the world according to the player's ideology. That bridge, albeit implicit, has been formative in the way I think about my own world. When it comes to the lore and world building, it demands the player to use critical thinking, much like a historian might, to make sense of it. And I did end up feeling like I needed to make sense of the world to make my choices.

Even though DA has argued both sides, it does it incredibly well. The arguments it presents come from character perspectives that makes sense in the universe, and it makes it all feel real. I think a lot of credit should go to origin's writers for providing those arguments. It feels like the writers talking amongst themselves trying to hash out what each action means for the world and to eachother using the NPCs, and in the spaces of these discussions, I get to reflect on where I agree and disagree and what that means for me as a player. The experience reminds me of me watching Contrapoints videos in which she has a conversation with various parts of her own beliefs about her gender identity, and engaging with her inner-discourse lead me to a deeper understanding of my own identity.

That's the true value of arguing both sides. It lets the audience decide for themselves without being prescriptive. And while it does demand the audience construct their own reasons and values to explain their choices, it also provides a window into possible viewpoints that the audience might or might not agree with. And not in a judgmental way. That process shows how one character may arrive there, not through insanity or stupidity, but through various circumstances and experiences.

DA's goal was always to challenge the player. That isn't to say that there's no bias, or a particular perspective that the writers are coming from. But the point is that it opens a space for exploration. It takes a certain kind of person to be able to do that without falling into the hole of appearing contrarian or troll-ish. And to some extent the writers themselves had to treat each argument with equal respect and legitimacy to display its outcomes in the game according to the rules of the world rather than their own ideals. And that itself is not easy. It doesn't surprise me that that world view and capacity disappears when the series changed hands.

And underlying all of that is a philosophy about how individuals operate, and how they operate when they come together into groups of individuals (many different words to say power and hierarchy). And that underlying philosophy is what resonated with me so much with over time. It's very compassionate to be able to hold space for these other perspectives. Not only rare to see due to the complexity required to show it, but easy to lose and difficult to gain back once you've lost it. And at this moment in the history of DA, we have lost it.

In some ways, I think the timing of this happening Makes Sense. We live in a tumultuous time where reality is uncertain and volatile due to the nature of new modes of information exchange. We see all kinds of people sharing things on social media that could easily be interpreted as lived experience or disinformation. And more than ever, our shared reality is being shattered into a million pieces by personalized content. (I too have felt the "we live in parallel universes" thought creeping up on me). In this chaotic environment, we Need the psychological comfort of certainty, of knowing what the world is like. The easiest and most familiar way is to find an authoritative voice and trust that single voice as the guiding star. That voice is only strengthened by others' agreement, and we contribute to this strengthening with our own psychological needs for certainty and stability. And we become resistant to dissent and critical analysis, because the amount of information to sort through gets very overwhelming very quickly.

What DA does has always been the opposite of that, it demands the player to confront multiple perspectives (albeit in a much more curated and coherent way). And it is logical to me that the game goes against such a primary psychological need in these trying times, perhaps now more than ever. But this theme has always gone against the grain, and media that goes against the grain in this way is so rare and So Badly Needed. We Need people to be able to think through and cobsider multiple perspectives, because there are so many perspectives accessible to us. At the same time I understand the draw of never ever having to do that. And I also understand that a lot of people just don't think that deeply ever. And that's why losing DA hits extra hard for me. Because it is another piece of resistance swept away with the torrent of greater trends that push us away from shared understanding with the people around us.

i feel like all of my pondering and analyzing and criticizing veilguard over the past few months has actually truly given me a better understanding of what dragon age meant to me, what about it specifically was so meaningful, and why, as a result, veilguard felt so wrong. it took a while for me to figure it out. about three full months of relentless essay writing, actually. but i think if you had asked me a few years ago what the core of my love for dragon age was, whatever answer i gave would not have truly gotten to the root of it, because i think i had to experience the disappointment of veilguard to fully understand why i love dragon age. and ive realized that core is that i loved how the previous dragon age entries demand so much of the player, and deliberately prompt introspection and critical, often political, thought.

dragon age games have historically forced the player to be self-reflective and introspective about their worldview and beliefs. solas is obviously a fantastic example, as he was deliberately written to be a reflection of the player in order to prompt them to reflect on how they treat people, how our expectations of people influence their behavior, and how people are pushed to extremes and turned into monsters or saved by love and kindness. how do people become monsters? what drives them to blow up buildings or start rebellions or destroy the world as you know it? are they right or wrong? does it even matter? how did you contribute to this? are you innocent? it puts these insane, politically and morally charged situations in your face and forces you to confront them. slavery, a refugee crisis, poverty, class disparities, racism, foreign occupation, the list goes on, and you are not given the option to look away or be a bystander. you have to ACT. you have to choose, you have to make judgements, you have to take responsibility and explore your role in this world as someone with the capacity to act upon it, to make your will a reality, to fail, to make mistakes. i honestly can't think of any other video game that does this to the same extent? nor any media at all because the act of being IN the world as one of it's people through the act of role-playing is essential to how it provokes this experience in the player. its ballsy. they deliberately try to make you uncomfortable. these games are full of liars, deceivers, betrayers. the games themselves lie to you. its character try to deceive you. did you catch it? or were you fooled? what else might you be fooled by? who else might be lying to you? in the game? in real life? and then you get to play it again knowing the end, and what the game prompts changes with your new knowledge. now it asks, do you forgive them? what makes someone worthy of forgiveness? where do you draw the line? what do you think?

i dont think i realized until recently how impactful this was for me considering how i first got into dragon age at 16 years old. i dont think i had experienced anything up to that point that would put a situation like judging a war criminal who ordered the deaths of children or another war criminal who just left me to die and orchestrated a near-coup or a traumatized terrorist who just blew up a church right in my face, and said MAKE A DECISION. and i didnt know it at the time, but looking back i can see how valuable it was for me at that age to have what was effectively an avenue of exploration and self-expression of all of these moral and political issues that i was grappling with as a young adult. i played inquisition for the first time just months before i voted in my first presidential primary. i already had a political consciousness at this point, but it was nonetheless new and vulnerable and still blossoming into something more concrete. inquisition, then, almost provided a sort of political, moral and personal sandbox for me from ages 16-20 to better help me understand myself in relation to the world. the RPG-ness allowed me to put myself into these situations - like the mage-templar war and its metaphor for mass incarceration and police brutality - while i was also simultaneously grappling with and trying to understand these issues in real life. having dragon age to help me further unpack my own beliefs and conception of these issues was undeniably impactful. it provided a space, through a narrative i enjoyed and cared about, to make choices and judgement calls and better understand who i was, and what felt right to me. it asked, "what do you think?"

veilguard lacks this. completely. and lets be clear that the previous games did not always do a perfect job. many of these depictions are messy and harmful and problematic, but they at least, by extension of their own existence in a narrative that forces you to THINK and JUDGE and DECIDE, give me the space and opportunity to judge them as messy, as problematic, as harmful. i can confidently say that i think da2 is too sympathetic to the templars as an organization because the fact that da2 presents me with so many narrative conflicts regarding the templar organization allows me to not just make in-game decisions and play as a staunch advocate for mage freedom and circle abolition, but to form opinions on the game itself by extension. i can confidently say that i believe the qunari's portrayal is islamophobic because the game has prompted me so many times; what do i think about the qunari? what do i think about the oppression of the elves? what do i think about dorian being a seemingly good person but defending the practice of slavery? who should rule orzammar; the progressive asshole or the conservative traditionalist? do i forgive loghain? do i forgive anders? do i forgive solas? this in-world critical thinking about issues in thedas leads to meta critical thinking. further questions naturally follow -> what message did the writers intend to send through anders? how can i notice the echoes of how this story came into fruition in the shadow of 9/11? what do solas's endings tell me about the writers view of retributive punishment? how is bioware's portrayal of the dalish, as inspired by indigenous north americans, reflective of deep-seated anti-indigenous canadian sentiment? why did the writers stop prompting these hard questions at all in veilguard? did they only like it when it was about characters, not when it led to critical thinking about them and the company as a whole? through these processes of in-world interrogation, i am inevitably invited to analyze the effectiveness of their narrative portrayals and the writing itself. perhaps this is why dragon age is so famous for its discourse lol.

ive said before that im not sure that veilguard could ever have been as impactful for me as the previous games, partly because when you are 16 everything is more impactful because your brain is an eager sponge, unless it did something that really resonated with me as an adult. but what it should have been, at the very least, is something that could have been as impactful and formative on a current 16 year old that sees a gif on tumblr and decides to check out the game, as inquisition was to me 10 years ago. and im sure there are teenagers and younger adults out there playing this game and loving it and loving the characters and the world and thinking its great, good fun. thats great. however it fundamentally cannot have the same profound, developmentally catalytic experience it had on me because it simply does not challenge the player. it does not prompt them to question their own beliefs and the power structures within their lives. it does not prompt them to reflect on the political narratives they may have been fed all their lives. it does not confront them with the sorts of topics that get books on banned lists in florida and force them to bear witness, to think deeper, to feel guilt or horror at the outcome of your own poorly-made decision, to make moral judgements, to make mistakes, and to live with the consequences.

i think i now understand why veilguard was so disappointing to me and ultimately would be a failure in my eyes no matter if i enjoyed the combat or the exploration or whatever other shiny coat of paint sits atop it. veilguard does not ask much of you. it does not prompt any sort of introspection or interrogation of your presently held beliefs. it does not demand anything from the player except to dodge at the right moment. this is a fundamental, core departure from what made me fall in love with dragon age in the first place. if you love dragon age because you want "fantasy escapism" and fun characters to smooch, then i am happy for you. but i would remind you that can find fantasy escapism all over the steam library - farming sims, cozy games, a witch looking for her cat in the alps, etc. what you cannot find are games that are willing and brave enough to challenge and provoke the player into a better, more thorough understanding of themselves in relation to our world and it's many, complex and daunting political and moral issues. to have lost such a thing, when media like this has become so few and far between, and during a time when we need it more than ever, is a devastating loss.

[xoxoaugust]

I Dont Know If I'll See You Again

In which: Sae Itoshi knew what he wanted from the beginning. He wanted to be a professional soccer player, and to play alongside those who weren't a waste of time (well according to him). Unbeknownst to Sae, a little birdie told him that you, a childhood friend of his, would be in Spain for the next three years. He didn't think he'd ever see you again, especially not after your, not so peaceful falling-out. But who knows what might happen when he comes face to face with you again? (2.0k wc)

an: This is 4 years after the start of the first selection, so Sae is around 22 years old. In this timeline, Sae and Rin have made up (because I said so) and he has returned to Spain to continue playing. I put this with the U-20 team because the only other person I know of that was on the Spainish team is Luna, sooooooo idk idk. Reader is fem, and is a university student in film studies. Enjoyyyy!(might make multiple parts)

His POV

January 1st, 2022

The New Year, god he hated the New Year. What is so special about a new year? It's just another 365 days to spend, what is so different that you must celebrate so loudly. Sae was just a little bit grumpy that all he could hear was loud music, drunkenly cheers, and laughter all night long.

Sae was meticulous about his night routine, he would work out, shower, brush his teeth, wash his face, set his hair, put on his sleep mask and then pass out. Unfortunately for his teammates, he couldn't sleep properly that night, so now everyone must suffer. Luckily, practices were called off for the week, for new years, and weather reasons.

'no practice' is not a thing to Sae, even if they were called off, he would still be at that field. So there he was 6:00 AM on January 1st, practicing alone. He didn't mind being alone, he was more than used to it. But sometimes, even just for a split second, he forgets that there was a time where he wasn't truly lonely. That split second eats at his mind like that plague, he hated how vulnerable it made him feel, so he would act like it never happen.

January 5th, 2022

When he wasn't at the field practicing or at home watching clips, he would be found at the little family cafe down a couple blocks from his penthouse. He would go there after an early morning jog, and order the same thing. An unsweetened iced matcha with a yogurt fruit bowl, he liked it because it didn't fill him up too much before a practice.

That morning at practice in locker rooms, he overheard something...interesting. He couldn't give a crap about anything Aiku had to say, but this was the only time he was truly listening.

"A close friend of mine is coming back for some time, she hasn't told me how long she's going to stay, but she's studying here."

Out of curiosity, Sendou asks,

"What's her name? Is she hot?"

"Why is that the first thing you think of? She's pretty but thats so weird to say. Her name is [y/n]."

"Well my bad! Its not like i'm going to try, I'm going to date a hot actress."

The groans let out in that room echoed from wall to wall, but Sae on the other hand broke character. Sae is know for his neutral, cold demeanor, but hearing your name clashed against the chink in his armor, and was enough for the walls to come crashing down.

November 27th, 2017

His POV

God, what a drag. Why was Rin so damn persistent on that dream, it wasn't even realistic.

Sae had just won the goal against Rin, and sealed the deal of scrapping that old dream. He had to say, he didn't enjoy saying this to his brother, but if no one was going to be honest with him, who was?

He knew his brother would be at that field, but he didn't know that you would be there.

He turned to look at you, standing there with a shocked expression and teary eyes. He couldn't stand it, why were you looking at him like that? Like he was evil, or something.

You walked closer to the brothers. Sae thought you would walk to him and say something. Maybe a 'Welcome back!' or something that matched your usually cheerful personality. But no, you walked right over to Rin, and helped him up off the ground.

Rin saw you like an older sister, you basically were. You always made sure he took care of himself, even before Sae left. He had immense respect for you, he considered you his best friend.

Rin stared down at you with a heartbreaking expression, tears flowed down his face as he avoided making eye contact with you for too long, he thought it might spare some of his dignity.

Your POV

At first you were shocked, how could Sae do this? Easy answer, this wasn't your Sae.

Your Sae would rather die than ever hurt his little brother, he would never intentionally hurt him. Your Sae would give his younger brother the last popsicle, he would bandage his wounds, he would play with him, protect him from anything or anyone that even tried to harm his precious brother. They were like peas in a pod.

You would know, you and Sae had practically raised Rin. You would pack him and Sae food to eat after playing because they would always forget, and they would always get hangry. They would stop by your house right next door and take you to their games, to get popsicles. You saw how kind Sae truly was, Rin brought out the best in him.

But now, he's changed.

Now you felt anger, unadulterated rage.

You didn't hesitate. Not even a little bit.

You shot a glare at him before marching up to him.

You slapped the everliving shit out of him.

You left a red mark on his face, the hands he used to hold had now hurt him.

The two of you never dated, but you acted like a couple. Just two kids holding hands on the park benches eating snacks, stolen glances and warm cheeks.

Sae was your first love, and you were his first love.

No, scratch that. You taught him love.

He stood there, like a kicked puppy holding his cheek. No expression, just a frown tattooed on his pretty face, the same on he walked in with.

You never yelled at him, until today.

"Sae Itoshi, I don't know what happened to you in Spain, and honestly I don't care right now, but you cannot treat Rin this way!

I don't know who you think you are, maybe that 'Japan's Treasure' title finally got to you, but the audacity is appalling!

You come back after FOUR WHOLE YEARS, you didn't contact Rin or I for three years out of the four.

and the first FUCKING thing you say is say is this lame, no PATHETIC EXCUSE OF A HELLO?

no, you don't get to treat either of us this way, some treasure you are."

That got his attention.

"What did you want me to do? Let him live on with some childish dream? He won't get anywhere dreaming like a toddler. I was busy building my career, not that you would know anything about that."

If you weren't angry before, you were SCATHING now.

You took a breath in, and out.

You wanted to scream, but you knew it would be a lost cause.

"When did you get so cruel?"

...

Thats where the memory ended before Aiku's loud voice snapped him out of his daze. His mind clouded by the vision of her teary eyes.

It couldn't be you right? There could always be another person with the same name, there's no way you could ever be friends with Oliver Aiku.

*incoming call from [name]*

Oliver picked up his phone and answered your call.

"Hey what's up?"

"I'm at the airport right now, can you drop me to my apartment building?"

"I am nothing but a servant to you huh?"

"So dramatic, i'll just take an uber you lazy ass"

Oliver laughs before saying

"No i'm done with practice i'm on my way"

Now he was sure, it was you. He would never forget that voice. The voice that he would wait to hear every night over the phone when he first went to Spain. The voice that brought him comfort when he was homesick. And the same voice that flooded him with guilt for the last 5 years.

a week later ----------------------------------------------------------------

He jogs to his little cafe down the street, same time as usual. He walks in, slightly sweaty.

As he approached the counter, he froze.

"Can I have one sweetened iced matcha and one avocado toast? Thanks!" You smiled as you swiped the card and clicked the 20% tip option before turning around to find a nice table.

When you turned around, you made eye contact with Sae.

It was as if time stood still, or rather time spun backwards.  

You hated this, you hated how you turned into that lovesick little girl in his presence, even after five whole years.  

You broke eye contact. You weren’t going to let him ruin your breakfast or ruin your stay in Spain. You walked past him to the nice table next to the window.  

He walked up to the register and order his usual. He tends to forget that he grew to love matcha because of you, yet another reminder of you.  

He grabs his food and sits at the table right next to you.  

“You just can’t leave me alone, can you?” You said sharply. 

“You’re sitting at the table I usually sit at; this was the next best seat.” 

“Still an ass I see” you laughed bitterly. 

You sipped on your matcha as you typed away on your laptop, being an exchange student was no joke. You felt Sae’s eyes on your screen.  

“What are you studying here?” Sae asked. 

You sighed, loudly.  

“I’m here for my bachelor’s degree, in film studies.” 

“You still want to be an actor? Wow, you haven’t changed.” 

You turned to him and glared. 

“No, I'm studying to be a director.”  

He turned his head to look at you.

"You always talked about how much you wanted to be an actress, what changed?"

You scoffed, how dense can one man be?

"Well people change, you're walking proof."

He sighed, he and Rin had made up years ago, why were you still upset?

"You know Rin and I made up right?"

You stopped typing.

"I know." You said softly.

In all honesty, you didn't know why you were still angry, it was probably bitterness because he didn't reach out in those five years to say anything, but then again you didn't expect him to anyways.

In your mind you felt bad, you shouldn't hold a grudge, especially not for this long, but you'd never admit that out loud.

"How have you been? It's been a while." You said, in effort to reciprocate the conversation.

"Not too bad, what about you?"

"I'd be good if my professor wouldn't assign more than he can grade, but aside from that i'm good."

You smiled awkwardly before turning back to your laptop to type. Sae felt relief, he's never felt this tense about anything.

"How is Rin? Did you see him before coming here?" he asked.

You felt a smile creep up to your lips, you knew he loved his brother.

"I did, he's doing great, he's playing in pro leagues now, watch out though, he might kick your ass."

He almost laughed, you're still the funny and loving girl you've always been. You sat in comfortable silence for the remaining time, but as you got up to leave and say goodbye, he stops you. He writes something down on a notecard that slipped out of your bag.

"Is this your number?"

"Yes, I got a new one back when I got a new phone. Call me if you need anything."

You smiled.

"I will, i'll see you around." You waved at him before walking out of the cafe.

You had only just left, but Sae hopes that you'll call soon.

As he jogs back to his penthouse, he feels his phone vibrate.

Today 7:13 AM

Is this Sae? It's {name}

Yes this is Sae.

jeez you text like an old man

Using grammar is being like an old man?

yes

Now I see how you and Aiku are friends.

thats so mean :(

whatever

Oliver told me to come to one of your practices so you might see me there

Okay, see you then.

He felt his chest bubble when he heard you call Aiku by his first name. But, at least he knew when he'd see you again.

xoxo, august

(pt 2 upon request)

[towers-in-starlight]

Some porn—let's call it Type 1—centers on characters doing consensual kink-activities with each other in ways that simulate nonconsent in some ways. Consensual nonconsent, noncon-themed roleplaying, et cetera.

Some porn—let's call it Type 2—drops the indirection-layer and just directly focuses on characters engaged in nonconsensual kinky situations. Characters get raped or tortured, or suchlike, in ways tuned to be hot to the audience but which those characters haven't opted into in-universe.

Type-1 porn can often converge in the direction of resembling Type-2 porn, in the name of immersion. One sees plot devices like "character consents and then uses memory-wipe-magic to forget having done so in order to get the full thrill out of the appearance of nonconsent", and narrative devices like "story POV shifts from the character doing the noncon roleplaying to the character they're playing", and so forth.

But, more recently, I've noticed that this effect is bidirectional: Type-2 porn seems to, in many cases, converge on resembling Type 1, too. It does so more subtly—it doesn't usually draw attention to its doing so in the same way—but it still does so. In particular: there's a pressure, when an author is aiming to write Type-2 porn but also is aiming to maintain a lighthearted tone, towards building the story such that the characters' activities more resemble consensual nonconsent than nonconsensual nonconsent, even as the canonical in-universe state of affairs continues to be one in which the nonconsent is in fact nonconsensual.

Taking, as a particular focus-example here, a certain noncon-focused subgenre of fantasy-adventure-porn—"protagonists go out on adventures, fighting antagonists who want to force Hot Kinky Activities on them, and said antagonists in fact succeed at this meaningfully often"—and in particular the subset of this genre wherein the author is aiming to keep the tone reasonably lighthearted, there's a natural progression of writing-decisions to make.

The nonconsensual activities can't be too traumatic for the protagonists, or for any non-protagonist characters they happen to within the narrative spotlight—rescued townspeople or suchlike—because trauma tends not to be a particularly lighthearted-tone-aligned narrative topic. They may not want the things to happen, but it's a mild sort of not-wanting, often with a substantial element of "it's in fact pretty enjoyable, just [embarrassing / in-violation-of-standards-of-propriety / etc.]" in its presentation.

Therefore, the protagonists and townspeople don't have a huge amount to fear from the antagonists. The stakes are low.

Therefore, it would feel lighthearted-tone-breakingly disproportionate for the protagonists to be too serious / lethal about their fighting against the antagonists. They'll fight, they'll put in real effort, but they won't tend to take measures against the antagonists which hurt them more than the protagonists themselves are hurt by the noncon scenes; thus, in practice, mostly just "beat them up, foil their plans, then leave them to fight again some other day".

Therefore—adding all of this up—there's a fundamental tone of play-fighting and consensual nonconsent to the whole thing. The protagonists are fighting, but not escalating to any seriously-harmful extent. When their fights put them in a losing position, they might struggle and beg against whatever is being done to them, but they aren't actually particularly hurt by it. Even though the events are, in theory, fully nonconsensual, they're not actually particularly different in their substance from what consensual versions of those events would look like. (While being much more different from what a... let's call it 'psychologically realistic'... portrayal of that sort of fighting-and-subsequent-nonconsensual-kink-activity would tend to look like.)

And so, starting from Type-2 porn, we've ended up moving substantially towards Type-1! In a manner pretty reminiscent of—although subtler than—the ways in which Type 1 sometimes moves in the Type-2-ish direction. It's a neat symmetry! And one that is, I think, much easier to miss than its inverse, if one isn't looking closely.

Bibliography

Quarta Amethyst: the game whose story was the biggest proximate inspiration for this post. Very solidly (at least as far as I've played) in the Type-2-converged-towards-Type-1 zone.

Armorverse: a series which often plays around by the blurry edges between the two porn-types discussed here, with occasional forays into both, including into both of the variants where one type converges on resemblance to the other. (Although it doesn't generally include straightforward non-Type-1-convergent instances of Type 2.)

I'm pretty sure I've encountered more stories in the Type-2-convergent-towards-Type-1 genre-space than just the aforementioned two bibliography-lines, although those two are all that's come to memory in the course of writing this post. If any readers have additional examples, I'd welcome reblogs with pointers to them!

[darkfictionjude]

Okay so I know this is a touchy subject already especially since certain people have already been bitchy about it before, but sometimes Crowny is genuinely difficult to play as. I feel super conflicted about them since they're the literal personification of "damn bitch you live like this?"

Realistically, progress isn't linear and different people get different results even if they do the exact same thing, but as of now it feels like they aren't really allowed to improve at all. If you study you're still mediocre leaning towards bad in terms of understanding. You try to workout you see absolutely no results, not even the tiniest bit. When it comes to the other characters, it's always one step forward and two steps back. When you give them a hobby or try to get them to pick up a skill they find little enjoyment. When people bother them they barely fight back or even argue, and when they do it's like a sarcastic quip or a grumble at most. By the end, they haven't even made a dent. These don't make them less of a person and it doesn't make them a failure since the world is quite literally out to get them, but it's like they aren't allowed any satisfaction in their life. (Yeah it's been like a month, maybe barely scratching two in the current timeline so maybe this contradicts what I first said about progress but I'm dumb as hell)

It's wild to go from the side quests, backstory segments, interactions with the ROs and then Crown family just for all the hype to fade when there's a segment with just Crowny all alone. I know that there's a reason for why they are the way they are, but I literally have to take breaks from reading their solitary moments sometimes because it seems to drag on. I know things aren't easy in this universe, I know the world is supposed to be cruel and unfair, but like can they at least get a cake for their efforts? Or a hug? Or be able to sleep through one night and wake up well rested?

I hope I'm not sounding like an asshole or a insane here. Personally, they're relatable in a lot of aspects. I may not have had supernatural shit going after me, but I had a lot of issues that many of their experiences brush way too close to. It's just the way it's presented that makes them feel like they're like the random piece of chewy cartilage in an otherwise perfectly cooked steak, unpleasant but I'm gonna eat it anyway.

I literally just wrote a whole ass book complaining, but I at least wanna say I do love your work, Crowny included even if my words seem to say otherwise, and I'm super excited to see what happens in the timeskip since i know this is like JUST the beginning. I'm like seriously praying my tone is coming off the right way if that's even possible. If you read through all this thanks. I'm not gonna hide behind anon because I at least wanna be able to explain myself if this comes across wrong.

but like can they at least get a cake for their efforts? Or a hug? Or be able to sleep through one night and wake up well rested?

Well no 😭😭

And that comes from the fact that they are self loathing, depressed as hell and have virtually no support system while dealing with things that they aren’t mature enough to handle, actually their mental health is getting far worse which is by design

I feel like perhaps some readers have not realized just how depressed crowny is. All the things you described about them finding little enjoyment, etc., are key markers of major clinical depression

I feel also people did miss the fact that crowny kind of exploded in the library they didn’t shut up, they didn’t let it go which I think is a positive because this is the first time they’ve have enough to say “enough”

Sorry but I like my things slow burn 💀 that Halloween party is meant to be a breakthrough for them and I think perhaps it’s been glossed over by some because what happened to James has gotten the most attention and the final moment in the woods. Crowny outed their “friends” for the first ever and fought back against their tormentor in only one single night. James for all his issues did the one thing that broke the camel’s back and pushed Crowny over the edge, all 7 episodes have led to this

Crowny is meant to fall before they come up that’s how I wanted it because realistically someone could not handle all of this without losing their mind. It has barely been two months, Crowny has only seriously hit the main plot in episode 4 which in the current timeline was about 3 weeks ago (from episode 7)

Truly the progress that crowny did make in episode 7 should have taken longer, people with crowny’s issues spend years in therapy before they feel they have the right to fight back.

There’s a reason episode 7 is the midseason finale. It’s not only about the plot but about crowny themself….

Dw you’re tune is fine I can usually tell when someone doesn’t think before they write 😭

[charliebug3]

Mankar is a daedric cult leader yes but having him then be wrong about... Daedra... completely discredits him as an antagonist. Like buddy that's your whole thing why do you not know something as simple as which Daedra rules which Realm when you have a whole thing about "Nirn is an Oblivion Plane"

In the very source you quoted above, the "all of that is true aside from 'the real Tiber Septim' part," Kirkbride is speaking, as himself, MK the real person, specifically about Daggerfall's endings, saying that the Tiber Septim of Daggerfall was not real, rendering basically all characters in Daggerfall either very incorrect or lying. This hits Zurin's lore especially hard as he is the one who directly interacted with and mentions Tiber Septim in his letter to the player. If Tiber Septim is not one person and he is actually many people all assigned to one mythological persona, then Zurin is... ??? He would have to be lying but he would have literally no reason to, if the player gives him the Totem then he does as he says he would, and uses it to kill himself. There is no need for deception (unlike for example Mannimarco who says he's just going to keep the Mantella safe and then proceeds to use it to become the god of evil necromancers). If he is not lying then he's just wrong about his... Own history??

There is a difference between "the in-universe characters who write the lorebooks may not actually be telling the truth or know what they're talking about" (your Ted example) and just objectively attempting to word-of-god retcon a significant portion of a game's ending, character motivations, plot etc.

If I see one more person credit Elder Scrolls's worldbuilding to Kirkbride I'm going to crash out. Everyone who says that should be forced to play Arena and Daggerfall for a mandatory 10+ hours and see that most of the series's major worldbuilding happened before MK was even a writer or concept artist. And even then MK didn't actually do much of the writing for Morrowind, either, he wrote a few lorebooks that make no sense and actively conflict with other parts of the game (ex. The Arcturian Heresy saying Zurin is not the Underking when the GAME'S OPENING CUTSCENE accredits a quote to "Zurin Arctus, THE UNDERKING"). And yes this could theoretically be in-game lying but then so is 36 Lessons of Vivec which is the other major thing Kirkbride wrote, which would mean that basically all of MK's major canonical contributions to TES lore would be lies lmfao

Put some damn respect on TED PETERSON'S name, he's the real fundamental TES worldbuilding writer all the way from the beginning with Arena, through Oblivion. History of the Empire, On Oblivion, 2920, Feyfolken, The Warp in the West, and so many more fundamental lorebooks in the series written by HIM. There are, fairly obviously, many MANY other writers for this series. It's been going on for decades. But since everyone seems determined to attribute all of TES lore to one guy, at least pick the correct one

[lexirosewrites]

(lol here's my weird omegaverse body post, enjoy my rambling)

Ok so this is no hate to any of the worldbuilding that people have done previously. Ultimately omegaverse is ~handwavey~ so we all kind of suspend our disbelief. But i've noticed in fics, there's 2 options. either characters are born their designation, or their body changes during puberty and they become a designation. Both are totally valid! But like, if you go with the second option, then you're telling me a person could live 12-13 years (approx) with female sex organs and be socialized as a girl, and then wake up one day with completely different genitalia. like their clit and vulva are just gone and now they have a dick and testicles. I just think that's a little too extreme of a change for the body to do.

So i thought, what if it's not as extreme? Like everyone is born with a modified set of genitals. like "boys" are born with essentially a micropenis and nothing else. "Girls" are born with a urethra and a slit. No extraneous labia and it's not a deep hole. Everyone is born with nipples like human beings. It's expected that "boys" become alphas and male betas and "girls" become female betas or omegas. So this allows for some of that delicious in-universe angst when you get female alphas and male omegas, if you choose to do that. That would mean that there could be totally different gender expectations for kids, because while you'll probably go a certain way based on your genitals, female alphas and male omegas are rare, but not unheard of. This allows for a nonsexual childhood and possibly less rigid gender roles because the primary genders are so nebulously different.

Then when you go through puberty, your body changes to fit your designation. Alphas get a larger penis with a knot and testicles, betas get the "normal" human genitals that coincide with their primary gender, and omegas get a clit, vulva, and vagina. Beta women and omega's breasts grow, with females having larger overall to coincide with their primary gender. Alpha females would have breasts as well, but maybe no ability to produce milk, maybe just like larger pecs? And like male omegas wouldn't have breasts per se, maybe just larger pecs with milk producing capabilities as well? idk let them have tits, everybody likes tits. But yeah, i just thought it was interesting. That as a child you almost have no gender until you get older. Like how would that shape our understanding of what it means to be a male or female or an alpha versus an omega? (also if at any point this gets a little too terfy or gender essentialist, i 100% don't mean it that way. if anything i'm leaning towards a gender utopia)

my favorite part of omegaverse discussions are the breaking down of societal views/expectations of gender and how blurry the lines get when there are no guarantees from birth. what a wonderful flowy concept! of course we still find ways to make drama and inequality, but why not treat pups like pups and not simply as girls and boys with rigid gender norms!!

[glade-constellation]

This might just be a very niche problem I have, but if I don’t say anything about it it’s going to keep bothering me.

Please stop calling the Astrals a cult.

This post is not directed at any singular person, it’s something I’ve seen since the Astrals were first introduced. I know a lot of people throw the word cult around, so I tried to ignore it, but I also think people need a reminder as to want a cult actually is.

A cult, by definition, is “a religion regarded as unorthodox or spurious”. Basically, a religion based on weird or false information. Some definitions go even broader. What people tend to forget about is that cults have specific characteristics that classify them as cults.

First, cults typically display authoritarianism. There is typically one person in the group regarded as the leader, and they are treated with the highest of respect. Anything preserved as disrespectful towards this person is highly frowned upon, and can lead to harsh punishments. The leader can never be questioned and is never wrong about anything they say. There is no accountability to their actions.

You could say the Astrals portray this with Taurus and Leo, but that’s simply not true. They are very loud about their opinions, but they do not set the rules and they are not the leaders. They are simply the enforcers, just as Virgo is the judge. They simply play a role, they aren’t an authoritative leader. Plus, Gemini said some pretty disrespectful things about both and were allowed to have their opinion. Cults do not allow this behavior.

Which leads into the next point. Cults are very particular about behavior. They are isolationist by nature. They follow a very strict set of beliefs and rituals that must be upheld, or you will be shunned. Breaking them can also result in harsh punishment.

This one I can understand. The Astrals are very strict on rules and behaviors. Breaking them can result in death. Once again, you have to look at this in the right context. Astrals aren’t human. Both characters from the show and Reed himself have explained this. They cannot be held to human standards when they aren’t human. They have to have these rules, because one mess up isn’t just an oops situation. It could level worlds, kill entire universes. Lunar permanently disabled Earth, and has accidentally hurt others before with it. His punishment was completely fair considering what was at stake. I’m not agreeing with how they handled his training by any means, but you have to remember what was at risk.

There are other characteristics that just have nothing to do with the Astrals. The zodiac lore humans came up with pretty obviously aren’t real in TSAMS universe, they don’t have any “sacred text” to follow. They are enforcing cosmic rules to keep the balance of nature, not one set person. They work as a group, no single member has more power than the other. There is no abuse or exploitation of members because they aren’t a religion.

You want to call something a cult? Just look at our Dark Star group. Most are over here praising Cetus as some great higher being. They do everything in his name. The only reasons others are allowed to stay is because they’re spreading the DSP, and even then they’re aren’t really considered members so much as underlings. There are levels to their group. The higher you are, the closer you’re considered to Cetus. Anything else, they just kill. It’s about performance, not genuine belief. (There are cases like Rez where there is belief and then they just become deadly, because they believe everyone not in their group truly deserves their fate.) That is a cult. That is a religion built on false pretenses.

Context is key. Yes, Lunar wasn’t really treated with the best respect. There were things the Astrals could have done differently. Thing is, you cannot hold a non-human being to human standards. Plus, the last time they allowed someone to be an Astral, it backfired on them to the extreme (Cetus). When you have that much power, you have to enforce boundaries for yourself so you don’t accidentally kill a world. Lunar wasn’t blameless. He put himself in this situation the moment he even considered using DSP. The Astrals are not the only ones to blame for Lunar’s current predicament. If anything, the DS group are the ones to blame, not the Astrals. Cults will do that. They will exploit your weaknesses to draw you in and then keep you there. The only reason Rez wanted Lunar to join them was because Lunar had power Rez could use for himself. They dug at Lunar’s fear of uselessness and desperation for control of his life. Lunar is a victim, just not of the Astrals.

Cults are a real thing, they aren’t just a tool used in fiction. Real people are affected by them. Please stop throwing things like that around carelessly when you don’t know the true definition. It takes away from their true weight. Victims of cults are told they’re over exaggerating and telling lies. Turning real world problems into simple fictional tropes have real effects on real victims.

[hrrtshape]

I believe in shifting and loa but the thing i can’t get over is why for exempel people in psycosis don’t get their delusions to come true. Aren't they ignoring the 3d?

psychosis and shifting both involve altered perception, but the difference is agency.

people in psychosis don’t choose to believe what they do; their brains are handing them a script and saying “here, read this, you’re the main character, go.” meanwhile, shifting is about deliberate detachment from the 3D. it’s seeing the strings and deciding to pull them rather than being tangled in them. psychosis is a runaway train; shifting is driving the car with sunglasses on and one hand on the wheel.

but also, the 3D is not some brick wall. it’s a very malleable, very silly little thing. people in psychosis sometimes do manifest elements of their delusions. just in ways that are difficult to track, because reality isn’t a straight line, it’s a plate of spaghetti.

what you believe does change the world, but the world is built on lag time and mixed signals. the universe is listening, but sometimes it’s like a dad half-watching the game while you tell him about your day.

but you’re shifting. you’re an artist with reality as your medium.

you’re not just ignoring the 3D.

you’re dancing around it, kissing it on both cheeks before dipping into another dimension. and that’s the difference.