#they are talking about lights death scene-

[lover-of-mine]

Hi, welcome to Anna wants to point shit out about the quiet scene in 806 because why not :)

Bachelor party color combo but inverted, Buck is in black and dark green (because he is still wearing the breakup shirt) and Eddie loses his shirt which happens to be the darkest part of his outfit, and in contrast, on 806 the only thing he keeps is the baby pink shirt.

Green and pink is also the color combo of the hildy prank.

Also, similarities with this particular framing, including the beer (Eddie chasing tequila with beer my beloved), but the lights here are a lot more blue, and obviously, there isn't the space that exists between them on the couch in 806, and considering that the bachelor party both of them were dating other people and are currently single makes it interesting that they won't touch.

The beer they are drinking? New brand. A red brand. Not the regular yellow genuine or the blue one from the coming out scene.

A lot of elements there are interested when you consider pink is a much more Buck color than Eddie and Eddie is in green all the time. The possibility of the pink and green combo having something to do with them having fun is real cuz 3 examples is a pattern lol. The way they don't talk to each other or touch or even look at each other add a lot, it's not about anything specific, it's about the presence. Buck is part of Eddie's joy and Eddie is part of Buck's safety yet again. Great scene. So much done with no lines.

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@dingdongfries @angelcamael

[amaryllis-sagitta]

Hi again, going through the different endings of DAV, I was pretty surprised to hear Solas being all like "I am a god!!" when Rook beats him in a fight. I know he has pride issues but that felt so OOC to me?? I was wondering if you had an opinion on it?

Hi, thanks for asking again!

There are 3 tiny (or not so tiny?) moments that I think push the envelope on Solas's characterization in a way that allows us to portray him as more genuinely sinister than the main line established in Trespasser, post-Trespasser media and most of DATV, which is the "Pathetic, stubborn man ridden with massive unprocessed guilt and shame, who can't make a choice without some catastrophic collateral for the life of him, and the unforeseen consequences of his choices repeatedly push him to double-cross people and have them do his dirty work".

One moment that had me thinking is the third memory of the rebellion - I mentioned earlier how Solas's pose and facial expressions make him unduly smug when Felassan calls out that they were supposed to do better than send out an army of spirits, appealing to their nature in seemingly good faith, when they were really a distraction doomed to fail. It shocked me because it seems to strike at one of Solas's core values. It's supposed to hurt more in relation to spirits because we know how much Solas despises wasting, destroying or twisting spirit purpose. And yet, in his confrontation with Felassan, he seemed content, smug even, about achieving victory against Elgar'nan and didn't show a trace of regret.

Another moment is the jab in the Fade that "at least you have Varric to talk to", again with a smug sense of satisfaction. Learning about this line took me by surprise because for all the disingenuity Solas is capable of, I never had him for someone who takes delight in such petty cruelty, especially when the matter is also personal to him to a degree. Varric's death should have hurt him by virtue of their mutual respect gained in DAI, so has the game underdelivered in representing this? Or are we really pushing a narrative that he never really changed his mind on non-elves, or chose not to acknowledge them as people, so Varric was just a disposable fool?

The third specific moment that shows Solas in a worse light is the moment you mentioned in the ask. Though, watching this scene, I feel we need to cite the full sentence:

Rook: [...] I am not alone, but you will be. The Veil needs to be tied to the life force of an elvhen god. And now it is, Dread Wolf. Solas: You sneer at me as though you understand. You are mortal! Compared to you, to your infinitesimal existence, I AM A GOD!"

This is a conditional state of an ending, when you decide to fight him and at least the companions in your party have reached the Hero status, which means they survive Solas's counterattacks, so in the end Rook doesn't stand against him alone, and does not end up in the Fade prison with Solas. This is where Solas is at his most desperate, I think, because when Rook remains alone in the Fight ending, it's a pyrrhic victory. Solas doesn't lash out then, because he isn't done with Rook. The context of "I am a god" is that Rook will soon perish while The Dread Wolf will prevail for centuries still, and no mortals can stop him in a way that matters.

But could it also be a trigger for his greatest fear: that there's a realistic chance he can very nastily die alone with his regrets and self-loathing? Because he does not say he is immortal - he never bound a dragon, so he can't take advantage of the Evanuris perk. Neither does he accept a definition of godhood. It's a matter of scale and comparison; in this final moment, he's looking for a way to belittle Rook and their team.

In fact, the "I am a god" in this context represents the extreme of the views he's held about mortals before - arguably, before joining Inquisition. Though I think that even then, he had trouble humanizing races other than elvhen. If his mind has really swayed throughout DAI, it feels barely half a step towards acknowledging that mortal elves, especially the Dalish, might have a point in their approach to history. Then, in Tevinter Nights, he says to Charter that the elves who survive the un-Veiling might find the "new" world better. Not really a win.

I believe a proper background for this is found in two conversations. First, when Rook keeps poking at Solas's plan to tear down the Veil and he stops eluding the question, Rook says "Spoken like a god". Solas's reply in this moment frankly sounds... too deflective. Like it's coming from someone who genuinely needs someone to constantly whisper "Remember you are but a mortal, Caesar" in his ear.

The second moment is when, after having the loud argument with Elgar'nan to get Rook out of a Fade pocket of despair, Solas admits Elgar'nan is who he feared becoming - callous, tyrannical and contemptuous. I guess Solas's worst moments are supposed to show how close he really could get, because the "I am a god" most definitely defines an ego trip that comes from a place of great insecurity.

If I were a hater looking for a hook to make an uncharitable argument that "He was amoral all along and his gentler side was a mask that just waited to slip", I'd start there.

[eerna]

Ekko and Powder dancing together was so so cute !!! The song made it even more special, when I recognised it was in French sung by Stromae and Pomme (I'm a frenchie fan of those two) I was so emotional, I didn't expect it at all, and the lyrics killed me, what can I even say, I was tearing up... Such a beautiful scene, a moment full of light ! I really enjoyed the exploration of their dynamic and what could have been, even tho it was also really heartbreaking and bittersweet... Also Ekko is truly such a good character, I could talk about him for hours !

But can we talk about the fact that in the end he went and saved the world, what a King, but because of that he wasn't there with Vi, Jinx and Vander/Warwick, while he could have saved them just thank to his flying board or even his time loop watch if he still had it... BTW what did you think of Jinx's "death" ?

YEAH like that episode just established why Ekko is the greatest king and Heimerdinger sucks butt. Heimerdinger got stuck in a fairy tale universe where all is good and decided to become a bard. Ekko arrived and IMMEDIATELY decided he should return to his own horrible reality, and try to transform it into something closer to the happiness he was witnessing. He enjoyed his time with Powder, but she wasn't a replacement for the girl he knew, because that girl still needed his help. I don't speak French, but I just checked the lyrics to the song earlier, and oh wow it totally made me tear up :') It's the childhood friends to enemies to allies of it all :') I have to go rewatch that ep like right now fr. Ekko best boy

Jinx's "death" SUCKS!!!!!! I said it earlier, but I see no motivation for that. Jinx craves love and someone who will trust her and rely on her. She finally has all those things, but she decides to fake her death and run away???? And for what???? Because "no amount of good deeds can delete the bad deeds"????? It's the same thing that happened with Heimerdinger - they give them one grand gesture, and call it redemption. Bullcrap!!!!!!!

[thelostcameron]

I WAS READING A DEATH NOTE FANFIC AND JUST SAW THIS- I AM CRYING 💀💀💀

Whoever wrote this, I love you.

Wattpad commenters, hats off to you hilarious people 🫠👍

[astersofthesky]

Is it just me or does "ghost" L looks more soft and serene and pretty in this or it's just Light romanticizing the heck out of L in his imagination.

This scene happened 10 days after L's burial, meaning they stayed there for 10 days straight. What if the reason he asked the task force and Misa to live in an apartment because during those 10 days, he kept seeing L's "ghost" wandering in the headquarters.

Literally like this, he'd see L sitting in on his chair. He'd see L on the bedroom they shared with. He'd see sugar cubes stacked on each other and sees L putting another piece in it's tower.

Probably explains the dead eyes, those soulless, empty eyes. He is being haunted, not because of guilt, but because he actually misses L's presence (but he's too prideful to admit it) so this feeling of missing him reflects on his eyes. Light looked like a walking dead man in here.

What's even crazy is that Light blatantly mourns for L that even Ryuk notices.

Just look at his face. It was as if he's fed up at Light for just moping for days now. The way he asked, "Is your score finally settled with L?" appears he's hinting that "Are you done being depressed over your dead rival? Cause I'm starting to get bored af."

Which works in Light's favor because he now atleast a more concrete reason to dedicate himself to judging criminals because if he doesn't, Ryuk can just kill him. And he won't have his work thrown out the window just because he keeps on seeing L's ghost and feeling depressed at the sudden emptiness in his life.

Light, you are such a loser / pos

[numbuh424]

the 2nd half of death note should've just gone full comedy complete with a laugh track and had these two dissing each other the whole time

[eightspringdays]

Near's aura is so big i forget he's like two apples tall (hello kitty metric system)

[shadystranger]

this moment so fucked up💀

[longagoitwastuesday]

I have learnt things about Geto that I wish I could unlearn

[what-is-it-to-be-pk-esque]

My partner finally finished BG3 but has no idea that his ending was actually bad cause he was a pro-Vlaakith githyanki who rode off with Lae'zel but got NO EPILOGUE where Withers points out y'all died im 😭😭😭

they have no idea what happened with Gale or anyone else (who was still alive) after flying away 🙃🙃🙃

[infizero]

im gonna be sick

[thedreadvampy]

I mean sure, I can understand this perspective, but I'm not sure whether most people feel less shaken to be thrust into conversations about "self-unaliving" than conversations about "suicide"

and I for one as a survivor would much rather unexpectedly encounter somebody talking about "rape" than somebody talking about how funny it is to have sex with somebody when they don't want to, a normal thing that doesn't need to be named because it's So Normal.

which is to say. this is a post about words. the words are not the distressing thing about the discussion. the distressing thing is the distressing thing about the discussion. sugarcoating, dodging or renaming the distressing thing doesn't make it less distressing but it DOES often make it harder to have a frank discussion about it or address it in serious terms.

[pinch of salt: solid probability from their blog that this person is a Literal 14 Year Old and the perspective from 30 and 14 are very different. I do stand by all the points I'm making but I think this conversation lands a lot different for people at different life stages - there is something to be said for the general issue that the internet has flattened social groups to the degree that I as a 30 year old can make a post to my audience of largely adult millennials that immediately enters the same conversational space as people half my age and still in school. that seems. ungreat. as the primary way we engage in conversation. but I don't have solutions to offer.]

you gotta be able to say "die"

you gotta be able to say "suicide"

you gotta be able to talk about "sex"

they're uncomfortable topics, YEAH for SURE

because LIFE is uncomfortable. Death and suicide and sex and pain are straight up going to happen. not having words for the way it discomforts you doesn't make it more comfortable, it just makes you less able to reach out about it.

even more vital, you gotta be able to say words like "rape", "abuse", "queer" or "racist". cause we fought fucking hard to name those experiences. to identify "rape" as distinct from "sex" and "racism" as distinct from "acceptable behaviour" and "queer" as distinct from "invert"

like the function of communication is not to minimise immediate discomfort. we gotta be able to talk about stuff that's hard or sucks or causes difficult conversations.

[melancholic-fig]

What I loved about the Substance was that it took impossible body standards imposed on women seriously. It didn't treat me like a kid throwing a temper tantrum about not being sexy. It didn't try to tell me "everyone is beautiful" and "every body is a beach body" in a pitiable voice that makes it all worse. There's no one singing to me about how "I cannot see my own beauty", as if validation from men will ever be enough to cover the black hole in my stomach drilled by years of self-loathing, binging-purging cycles and appetite-suppression pills. It haven't stopped for a second to congratulate itself for platitudes.

The substance threw an ice bucket on my head, grabbed me by the shoulders, dragged me to the mirror and told me "look at what violence you're inflicting on yourself!". It showed me a perfect body, the carrot on the stick, and then it hit it with a sledgehammer in white neon light. Is it worth it? Aren't you mad? Look at how he eats shrimp and doesn't wash his hands - is this the person you want to be liked by? Is this what you deserve for being human, really?

I've seen this movie on Friday and it's been stuck in my head ever since. I haven't looked in the mirror the same again. Somehow this made me kinder to myself.

I've seen reviewers say that this movie counts as "male gaze" and "violence against women" but I think they don't see the forest from the trees here.

First the male gaze: it felt like a deconstruction, in the best way. Sue's butt was the least erotic thing ever put to screen. The soft porn dance studio was shot in a lifeless manner, I felt like my mom was reading the browse history. Personally, I'd never want to have Sue's job. Even the sexist dudes that watch the movie seem to "get it", that their overly sexual media diet looks embarassing under the microscope. The medium is the message, and the sound and visual cues are all there to make sex appeal look very unappealing and immature. There's nothing sexy in "Pump it up", it's catchy and fun and has sexual undertones, but not a hint of sensuality.

Then the violence against women: there is only one scene where a man attacks a woman, and I'll not spoil it, but i'll say it's so bizzare it feels too cartoony to count. The rest of the violence is all self-inflicted. Every step of the way. Women don't just suffer abuse under patriarchy from men, they self-inflict and reenforce the structures of their own suffering onto others. Elizabeth is a fitness coach actively making bank off of other women's fears, and in the process of telling everyone over x kg to skip lunch she's grown her own self-loathing too. It wasn't really the horny men watching the fitness show, isn't it? Sue is even worse, she goes on talk shows to tell women her looks come from being kind, a silly statement considering she injects herself daily with an old woman's spine liquid while loathing her for existing. Elizabeth and Sue are both victims and perpetuators of violence, and it's gruesome because it's not a silly feminine thing, it's all-encompassing and a matter of life and death. Without violence, what would be the message of the movie? "It kinda sucks to be a woman hating your body". Doesn't sting, isn't it? This is not chopping women and putting them in refrigerators to give the good guy a reason to kill the baddie, this has to be violent to show the depth of pain of the protagonist. It's necessary. And I like it, because crying and wallowing in pain is not the behaviour you want to see on screens, it feels lethargic and leads to the problem not being taken as seriously.

[bamsara]

Alright, spoilers for Trod, as some details in here are still going to be used in future chapters. Ramble ahead.

Older draft for the scene BEFORE the Harvest Ritual was conducted in Trod, with some explanation:

This took the place of the confessional scene and/or the confessional scene went more smoothly than how it did in the final draft, Narinder does not leave to ask Ratau for help in apologizing and Lambert is more calm.

Setting: Spoiler. Instead of an angst filled time before the ritual, the scene is more softer as the Lamb has taken Narinder to a secret location they only know about, referencing back to the beginning chapters of Trod when talking to Narinder through the door and offering that they know a place where he can be alone and not bothered. Detail removed and will come back later.

>Scene transitions to the Harvest Ritual scene where it succeeds and Lambert along with the rest of the flock discover the bountiful results>Lambert sees Narinder and puts the puzzle pieces together that he helped, rushes hugs him/final draft here.

So a few reasons I decided to revise this part:

While I love fluff and I intend for this location and The Dream Talk to happen eventually (especially since I've had that dialogue drafted since Oct 2023) I didn't feel like it was the right time. I need to put these characters through as much loneliness and angst as possible before they're at a point where vulnerability is no longer a option but a necessity, specifically Lamb's repression and Narinder's emotional constipation and pride.

Although they are kind and caring, my Lambert Takes No Shit and is not a pushover, and the confessional scene is basically a 'if you hate me so much, okay, then leave.' and my Narinder is too prideful to admit to their face that He Doesn't Want to right tin that moment without a little bit of character development and possibly outside help and guidance. I don't think it would have fit to have Narinder, a character who is caullous, be suddenly apologetic and perform that apology decently when he not only doesn't know how, but also is conflicted on why he cares enough to change his behavior re-evaluate in the first place.

^^Since this 'before ritual' scene would happen after confessional or I even had it set to replace the confessional scene entirely, since Narinder's behavior would affect the Lamb's feelings, obviously there's no way to smoothly transition the lush field/dream scene talk from angst wheat field/confessional booth so easily without it feeling janky. There wasn't time for the characters to soak in their consequences.

Narinder also asks for new inks from the Lamb instead of literally continuing to use his blood for drawing in the dream journal, but I feel like that sense of casual communication was out of place for that particular part in the story. Not there yet.

Although written to be subtle, Narinder is uncomfortable when he hears the Lamb being uncomfortable even if he tries to hide or deny it, or not know why he feels that way. This includes something simple like hearing their stomach growl. Originally was flipped the 'final switch' was hearing them be hungry while also reassuring that they'll try to figure out the harvest ritual on their own, but this was later more emphasized as an 'apology' rather than 'i don't like it when my lamb is hungry.'

^^^ but this is eventually brought up again in the aftermath of 'Drunken Gods' and is why Narinder brings them hangover breakfast:

Originally the Harvest Ritual scene itself was supposed to take place in Narinder's POV ONLY and have the reader more insight as to what he's thinking, but I opted to have a more Lamb focused POV instead since I felt it was more dramatic to have the Big Climatic Happen to the protagonist and readers vs following the person who's doing the surprise climatic thing.

That means I still have snippets of scene where Narinder's pov is more prevalent. Like this final draft in more Lamb's view:

Vs Narinder's Draft View:

It's subtle but I feel like it's more freeing as a writer (and reader) to have more room to think about what the other person is thinking in a situation like that vs having it explicitly spoken.

TDLR The scene before Harvest Ritual and what was supposed to be in the place of the confessional scene was a lot softer but I decided angst was needed for character development and explanation instead.

Anyway apologies for the ramble! That being said, I'm going through all my drafts today so if there's any questions about other chapter's old drafts I'm looking at you with big wet eyes

I FOUND IT anyway does anyone want to see a draft scene of before the Harvest Ritual in Trod where Narinder hadn't left the cult to go ask Ratau for advice and the Lambert was more resigned and they had the 'dream' talk wayyy earlier than it's currently planned?

[sttoru]

‘and if i only could, i’d make a deal with god, and i’d get him to swap our places. .’ — kate bush

 𝝑𝑒 𝐓𝐀𝐆𝐒. gojo satoru x wife!reader. fluff to angst (no comfort). spoilers chapter 261. reader’s pregnant. major character death. mentions of blood, death. nicknames ‘pretty, sweets’. not proofread bcs i couldn't through the tears. i cried nine times writing this so.. good luck! wc: 3.6k

“he’s kicking again,” satoru chuckles excitedly. he’s been clinging onto you ever since you got back from your doctor’s appointment. your baby boy is growing up healthy and there don’t seem to be any complications.

you smile and rest back against the velvety pillows. you’re enjoying the affection you’re receiving, the kisses and nuzzles against your swollen tummy makes every bit of suffering worth it. your husband is going to be an amazing dad, that you can tell.

“hey, little guy—don’t give ya mommy a tough time,” satoru huffs and gently taps the side of your stomach that was last kicked by the unborn baby, “that’s my wife, y’know?” you giggle at the scene in front of you and close your eyes, relaxing your body.

a comfortable silence hangs in the room. satoru’s warm hands cupping and rubbing your round stomach add to the tranquil atmosphere. the weight of your husband’s head presses onto the front of your plump belly—ear pressed against the stretched skin as if expecting to hear your baby boy talk.

after a while, you open your eyes. you hear a sniff and then the usual silence follows. you look down at satoru settled between your legs, hugging your waist and resting his cheek on your tummy. he’s awfully quiet and you’re unable to see his eyes because of his bangs.

“toru, everything okay?” you carefully ask. your voice comforts him for the next couple seconds, before his muscles tense up once more. satoru tries his best to seem unaffected by the many thoughts scurrying through his head.

“mhm,” your husband nods and forces a small smile. though, he can’t keep the facade up any longer. the longer you’re pregnant, the more worried he gets about a certain something; something that’s been bothering him ever since.

it’s the reason why he doubted even having kids in the first place.

“i—well. i don’t know, sweets,” satoru sighs. a deep sigh that shatters the mask he’s had on for so long. his brows furrow and his eyes dart from one place to the other. his fingers stop their movements on your stomach. they curl around the material of your shirt instead; showing a clear sense of vulnerability.

satoru seems. . . afraid, yet also angry. perhaps at himself, perhaps at the world. you don’t utter a single word. if there’s anything you want, it’s for your husband to speak about his inner turmoil freely. you’re the only person who he can have such emotional conversations with—the only person he can be himself with.

the real gojo satoru.

not the strongest.

that’s why you’re not surprised when satoru opens his mouth to confess the inevitable to you. “i’m scared,” his voice cracks. it’s a faint change in tone, but it is noticeable to you. you’ve been his lover for long enough to notice every minuscule thing.

the white-haired man lets out another sigh. you brush his soft bangs out of his eyes and instantly notice the sudden weariness in them. normally, those beautiful blue eyes shine brightly, yet that light has now dimmed.

you pat his head and satoru immediately leans into your touch. you allow him to process his own emotions and words before speaking up.

“scared?” you ask quietly and carefully, giving your husband space to explain.

satoru nods. there are a thousand thoughts running through his mind. all those thoughts he’s tried to suppress since the day you’ve announced your pregnancy. maybe even before that—at the day of your wedding.

he’s sat down with you a few months into the marriage, to have the talk about kids. he seemed to be delighted to have children with you, however there have always been some dark and hidden thoughts lingering in the back of his mind.

the sorcerer has chosen to ignore them for the longest time. he’s been trying to convince himself that he has nothing to worry about. you’re going to be fantastic parents and your children are going to be extremely loved.

the day you surprised him with your pregnancy, was like a dream. satoru cried - which he rarely does - so it was an emotional night for both of you. neither of you could wait to meet your child—happy with whatever gender.

despite all of the optimism and enthusiasm, satoru’s struggles with his inner thoughts have not yet ended. he doesn’t want to bother you with it. you seem so content and he does not want to ruin that at all.

but even the strongest without limits has to reach a breaking point.

“yeah,” satoru speaks up, his voice hoarse. he kisses your belly button, hoping his child doesn’t pick up on his distress somehow. your husband closes his eyes as he places his forehead against your tummy, praying that the heavens above hear his pleas, “i don’t want our kid to inherit my cursed techniques. at all.”

your hand doesn’t stop stroking satoru’s hair. you don’t flinch at his words, nor do you immediately discard his worries. in all honestly, you’ve shared the same feelings before getting pregnant.

you know how satoru’s treated by the jujutsu society. it’s dehumanising how he’s seen as a weapon of some sorts. a weapon that could solve all problems—one that cannot rest until its duty is done.

you despise it. you’ve told satoru about your hatred for the toxic society, even going as far as asking him to move to a different country without telling anyone. you’re sick and tired. you can’t recall the amount of times that you’ve cried alone, in the bathroom, after you’ve seen the state your lover comes back home in.

the white-haired man always seems so tired. his eyes and head hurt because of them overusing his cursed techniques. there are even days where satoru doesn’t put his blindfold or sunglasses off at home.

and when you try to talk to him about it, satoru simply assures you that ‘he’ll be fine’. you believe him in the moment, but you don’t know for how long you’ll be able to keep that trust.

you’re letting him break, slowly yet surely, right in front of you. he’s working himself to his demise. it’s nothing out of the ordinary to not want the same for your child.

though, you’re sure that it’ll be fine even if your baby boy inherits satoru’s techniques. that’s because you two are going to protect him with all you have. no one is going to treat your child like a weapon—not while the both of you are still alive.

“i don’t want our child to take over the burden i carry,” satoru continues. his brows are furrowed and his lips are pressed into a thin line. he’s already thinking about all the possibilities that can follow with the birth of your son.

he can hide his child from the world, but wouldn’t that be too restrictive? he can keep an eye on him every second of the day, but wouldn’t that be overprotective?

you notice satoru’s internal state of panic increasing, so you quickly cup his face. you lean down and press a firm kiss against his lips, to which he instantly responds. his breath hitches and he sits up on the mattress, deepening the kiss as his hands hold you by the back of your head.

he needs this—you—more than anything else in the world. if it wasn’t for you, he’d have lost his sanity long ago.

you pull back after a good minute and pant. you chuckle as you notice the slight pout on satoru’s lips. he never seems satisfied with just one kiss, which is adorable. you coo and pepper his face with small pecks, “aww.”

it’s comforting to the sorcerer. he closes his eyes and his mouth forms a small smile. you’re doing an amazing job at calming him down. satoru’s muscles relax and he finds himself nestled between your legs soon enough.

you realise that he’s still somewhat afraid for the future of his child by the way he’s playing with your shirt. his head lays on your chest and his long fingers trace shapes on your exposed skin.

“i know, honey, i know,” you murmur against the top of his head. you massage satoru’s scalp gently, nearly making him purr because of how incredible that feels. you stare at the ceiling and continue your little talk.

“i’ve thought about all of it too,” your fingers find his undercut, playing with the little hairs. all you can hope for is that your partner stresses less about the outcome of your pregnancy.

if you can do one thing for him, it’d be that. reassuring him that you’ll both do your best for your child will surely put him at ease. your husband has enough to worry about anyway.

you want to share that burden. you don’t want him to carry the world on his shoulders alone—he’s got you for that now.

“but i think that our son will be fine. why? because he’s got you,” you smile and kiss satoru’s forehead. it’s his favorite type of kiss and it works wonders when you comfort him. his ocean eyes regain their sparkle, both because of your unconditional love and trust in his parenting skills, “our boy will grow up fine and protected because he’s got you as his amazing dad, yeah?”

satoru takes some time to let your words sink in. your trust in him is a beautiful thing. of course, he’ll protect his kid no matter what. both you and his kid will be safe for as long as he’s alive. you’re going to be a happy family—one that he’s always dreamed of having.

he isn’t going to raise his child to be the strongest. he isn’t going to raise his child as an heir to the throne. he isn’t going to raise his child as his legacy. he isn’t going to raise his child as a tool.

his son will have a normal childhood and he will guarantee that. satoru will give his kid what he didn’t have as a child himself;

unconditional love and support for whatever his son wishes to become.

satoru raises his head and leans in to kiss you, hugging you to himself. he adores you so much, you’re all he needs to feel like he can do anything and everything all at once.

carrying the world on his shoulders so you can live peacefully in it is all satoru does it for.

“heh, damn right. i’ll be the best husband and dad ever.”

. . .

but in the end, your dreams are just dreams, right?

an escape from reality, that’s all dreams really are. all those times you’ve sat together to pick the furniture you want to place in the nursery, to paint the room a baby blue, to buy clothes and toys, diapers and carriers, to giggle about the places you would love to visit as a family, to think about possible baby names, to joke about whether your son will say ‘dada’ or ‘mama’ first — all of it were naive, hopeful dreams.

perhaps you were too caught up in them to realise that reality will hit when least expected.

satoru and you have lived in your own bubble—your own little fantasy world where tragic fates does not exist. no one in this planet would suffer if life worked that way.

no one on this planet would have to pick up the phone and have their world shatter, their dream bubble pop. to have all hope lost in the span of a second.

grief is a scary thing. it’s devastating and it will consume you whole. you don’t realise that until you experience it firsthand. losing someone close to you will break you in half. it’s a punch to the gut.

especially if it’s your husband. someone you considered your partner—who’s promised you to be together forever. maybe those promises were also a part of your fantasy.

maybe they were also but a beautiful lie.

your footsteps feel heavy. you don’t have any energy left in you. every drop has been drained from you the moment you heard the news over the phone. your eyes and head hurt, both feeling like they’re going to burst. you don’t want to accept any of this.

the faces of the people around you are a blur. they’re all holding their head low, their hands gathered in front of them to show respect. no one speaks—all the room is filled with are your sobs. the loud cries you let out in hopes that they wake you up from this absolute nightmare.

you drag your feet to the examination table in the middle of the room. tears continue to blur your vision, though surely, you can confirm the outline of the body laying underneath the blanket.

how could you not recognise the person you thought you’d spend eternity with?

it’s unfair. it’s unfair. it’s unfair. it’s unfair. it’s unfair. it’s unfair. it’s unfair. it’s unfair. it’s unfair. it’s unfair. . .

“satoru.” your voice is barely audible. your hands are shaking and your face is stained with endless streams of tears. you stand at the side of the table and you instantly curl your fingers around the edge.

seeing that face from up close hits different. usually, it’d have your stomach fill with a feeling of delight, yet now all you feel when looking at it is unimaginable dread.

the blood on the corners of his mouth. the blanket that’s hiding whatever is left of him from below the waist. the dull eyes that once stared at you with hope and love. those dried lips that normally shone with a layer of gloss.

god, it’s awful. you don’t want this to be true. you’re still waiting to be woken up by your husband. so he can hold you close and hug you, whisper sweet nothings and reassure you that he’d never leave you alone in a savage world like this.

your shaky fingers reach out to his right hand. his skin feels cold and his hand doesn’t hold yours back. your breath hitches and you let out a long, devastating cry. it sounds like a scream for help as your body crumbles—falling to your knees whilst you tightly grip your lover’s limp hand.

“no, god no, please!” you cover your mouth with your free hand, nearly hyperventilating from pure pain. you feel like your heart is going to give up on you. it’s breaking into a million pieces, as does your future. you can’t live without him—you can't do it.

satoru is the sole reason you’ve held out for so long. you were each other’s support system. you can’t do any of this on your own. you can’t breathe properly—your body doesn’t let you.

not until you feel a hand on your back, rubbing it gently. you can guess that it’s shoko, but you’re too distraught to even pay attention to her. you lift yourself up by holding onto the edge of the table, your legs shaking. you sniffle and sob uncontrollably.

you reach out to touch satoru’s lifeless face, as gentle as you always do. you flinch when you feel just how cold his body is—the usual warmth that would comfort you gone, nowhere to be found. you don’t get a reaction from him when you touch his cheeks.

it only serves to remind you of the tragic events that unveiled. you’re still in denial, but the moment feels real. your brain is slowly yet surely processing the information. though, you don’t want it to. you want to live in a world where you grow old with your husband.

where your child is going to grow up with a father figure at home.

“satoru, come back to me.. to us, please,” you beg and beg, hoping he smiles and sits up, telling you that it’s just one of his silly pranks again. when none of that happens, you feel yourself become more hopeless. you hunch over him and cup his face. the same face that would light up whenever you’d touch it.

you hiccup and wail, unable to breathe. you rub his cheekbones with your thumbs, settling your forehead against his. your tears fall underneath his eyes and slide down his temples, making it seem like he’s crying with you.

you wait for satoru to respond, but he doesn’t. there’s an eerie silence on his part and you’re panicking. you need him to comfort you, but he isn’t there to do that anymore. you’re left alone, all alone.

“i can’t do this without you—we can’t do this without you,” you stammer between sobs. you can’t go through life, knowing satoru isn’t going to be there for you. he isn’t going to come home anymore. he isn’t going to cuddle you to sleep anymore. he isn’t going to experience what it’s like to have a family of his own. he isn't going to be able to hold his child and to play with him.

you blame life for being unfair—always taking away the people who don’t deserve it. satoru hasn’t done anything to deserve this. he just.. existed. his fate of becoming the strongest, decided at his birth, is what has lead to his death.

you continue to sob to yourself. you refuse to acknowledge anything or anyone else in the room. you’re solely focused on your husband. or rather, what’s left of him.

remembering how excited satoru was to spend the rest of his life with you and your future children pains you all the more. he’s been stripped from a normal life. you’ve tried your hardest to give him that said normal life, yet your hopeful dreams have gotten you nowhere.

you wipe your tears away for the first time in a while. your grief is making you delusional—disoriented to the point you try to make yourself feel better. you force a smile and hold tightly onto satoru’s limp hand, trying to speak through your quiet sniffles.

“o-our boy is gonna be born soon,” you chuckle bitterly and place satoru’s hand on your belly. it’s gotten bigger over the months and you’re already eight months along. he was so close to meeting your child—so close. yet his tragic destiny did not allow him to.

you hope he’s been happy with you for as long as he lived. you hope you’ve somewhat relieved him from his misery for as long as he lived. that burden he carried, the world he carried on his shoulders. . . it doesn’t seem to want to detach from him. even after death.

you press a deep kiss against his forehead. satoru’s favorite spot to be kissed at, you remember. you wish he feels it in the afterlife; wherever he may he. as long as he’s in a better place now, one that treats him well. this current world has been too cruel on him. it doesn’t deserve to home someone like your husband.

“i wish you were here to see your son. to see our baby grow up, you'd be so proud, honey,” you kiss satoru’s forehead again. it’s all you can do stop yourself from losing it completely. you know satoru would tell you to be strong, for his sake. for your unborn son.

“i’m going to tell him all about you, ‘kay? i'm going to tell him about how awesome his dad was,” your voice breaks for the nth time. you’re still in the first stage of grief, though you try to seem strong in case satoru is watching from somewhere.

that’s what he did when he was the one going through a tough time. he’d act brave and fine, putting on a mask to make you worry less, telling you all kinds of reassuring words while he was suffering internally.

now it’s your turn to safely send his soul off to the afterlife. to let satoru pass away in peace, with him knowing that you’re going to live on for him and for your child. it’s the least you can do at the moment.

you put on a brave face, staring into his lifeless eyes, smiling through the unbearable pain. you’re sure he’s still listening to you from somewhere. satoru’s always told you that your voice is soothing, so you do your best to calm his soul and reassure him that it’s fine for him to rest.

“i’ll do my best to raise him, yeah? so you.. you just rest.”

rest was a foreign word to the sorcerer. this world didn’t give him an ounce of peace. he’d either be overworked by his family or the jujutsu society, and if it isn’t work, his inherited techniques were slowly killing his brain and body.

you’re praying that satoru has none of that in the afterlife. you’re praying that he can live a normal life, eternally. so that when you join him one day, you both won’t have to suffer nor share the burden. you can live out your dreams without anyone interrupting.

not even fate.

“you deserve to rest. you really do,” you sigh.

soon enough, you feel yourself crumble again. you burst out in tears once you realise that he’s actually never coming back to you in this life. you bury your face in the crook of his neck and sob loudly, not holding back your emotions anymore. you just can’t—you can’t act brave when your second half has been taken away from you so suddenly.

you hope that you succeeded into sending him off without any worries. you can’t help but continue rambling to yourself, “i’m going to miss you s’much. oh, my baby.”

you lift your head back and stare into satoru’s eyes once more. did he think about you when he was on his deathbed? did he see his life flash before his eyes, including his many memories with you? did he see what could have been?

it’s unfair.

you give him one last bright smile and gently close his eyelids for him, hoping his lost soul saw your face before you did so. with one last kiss on his lips, you whisper your final words;

“please wait for me on the other side, my love.”

[dalishious]

The Sanitized Lore of Dragon Age: The Veilguard

Tevinter is the heart of slavery in Thedas. This lore has been established in every game, novel, comic, and other extended material in the Dragon Age franchise to date that so much as mentions the nation. But in Dragon Age: The Veilguard, when we are finally able to actually visit this location for the first time… this rampant slavery we’ve heard so much about is nowhere to be found. It’s talked about here and there; Neve mentions The Viper has a history of freeing slaves, as does Rook themselves if they choose the Shadow Dragon faction as their origin, for example. But walking down the streets of Minrathous, you’d never know. Because Dragon Age: The Veilguard, for all its enjoyment otherwise, has one glaring issue: It’s too clean.

The world of Thedas is full of injustices. Humans persecute elves, fear qunari, and belittle dwarves. Mages of any race are treated like caged animals in most places. The nobility is corrupt. Although, Dragon Age has not always handled these injustices well, mind you. Many, many times I’ve found myself frustrated with moments that just feel like a Racism Simulator. But what makes it worth it, is when you can actually do something about it. These injustices are things that a good-aligned character strives to fight back against, maybe even for very personal reasons. Part of the power-fantasy for many minorities is that this fight feels tangible. I cannot arrange the assassination of a corrupt politician in real life, but I sure can get Celene Valmont stabbed to death in Dragon Age: Inquisition, for example. Additionally, these fictional injustices can be used to make statements on real life parallels, like any source of media. For example, no, the Chant of Light is not real, but acting as a stand-in for Catholicism, through a media analysis lens we can explore what the Chant of Light communicates on a figurative level.

When starting Dragon Age: The Veilguard and selecting to play as an elf – this should be unsurprising to anyone who is familiar with my bias towards them – I was fully prepared to enter the streets of Minrathous and immediately get called “knife-ear” or “rabbit”. But this did not happen. I thought perhaps it was just a prologue thing, but returning to Minrathous once again, there was not a single shred of disapproval from any NPC I encountered that wasn’t a generic enemy to fight. And even the generic enemies, the Tevinter Nationalist cult of the Venatori, didn’t seem to care at all that I was a lineage they deemed inferior before now. This is a stark difference from entering the Winter Palace in Dragon Age: Inquisition and immediately getting hit with court disapproval and insults. Are we now to believe that Tevinter has somehow solved its astronomical racism and classism problems in the ten years since the past game? Or perhaps are we to believe all the characters who have demonstrated Tevinter’s systemic discriminatory views were just lying or outliers? Because it makes absolutely no sense at all for this horribly corrupt nation to not have a shred of reactivity to an elven or qunari Rook prancing around. But here were are, and not a single NPC even recognizes my character’s lineage. And because this is so different from every single past game, it feels weird.

As an elf, you have the option to make a comment about how “too many humans look down on us” in one scene early in the game. You can also talk to Bellara and Davrin, the elven companions, about concerns that people won’t trust elves after finding out about the big bad Ancient Evanuris… but this is presented as if elves don’t already face persecution. It’s all so limited in scope that it could be all too easily missed if you are not paying very close attention, and coming into the game with pre-existing lore knowledge.

All this made it easy to first assume that the developers simply over-corrected an attempt to address the Racism Simulator moments. And if that was the case, than I would at least give credit to effort; they did not find the right balance, but they at least tried. However, the sudden lack of discrimination against different lineages in Dragon Age: The Veilguard is not the only sanitized example of lore present.

In Dragon Age: Origins, Zevran Arainai is a companion who is from the Antivan Crows; a group of assassins. He discusses in detail how the Crows buy children and raise them into murder machines through all kinds of torture. The World of Thedas books also describe how the Antivan Crows work, echoing what Zevran says and expanding that of the recruitment, only a select handful of those taken by the Crows even survive. When you start Dragon Age: The Veilguard as an Antivan Crow, you immediately unlock a re-used codex entry from the past, “The Crows and Queen Madrigal”, that says the following:

“His guild has a reputation to uphold. They are ruthless, efficient, and discreet. How would they maintain such notoriety if agents routinely revealed the names of employers with something as "banal" as torture.”

Ruthless, efficient, and discreet. Torture is banal. This is what the Crows were before Dragon Age: The Veilguard decided to take them in a very different direction. The Antivan Crows in this latest game are painted as freedom fighters against the Antaam occupation of Treviso. Teia calls the Crows “patriots”. And while I can certainly believe that the Crows would have enough motivation to fight back against the Antaam, given that it is in direct opposition to their own goals, I cannot understand why they are suddenly suggested to be morally good. They are assassins. They treat their people like tools and murder for money. Even as recent as the Tevinter Nights story Eight Little Talons, it is addressed that the Antivan Crows are in it for the coin and power, with characters like Teia being outliers for wanting to change that. It makes the use of the older codex all the more confusing, as it sets the Antivan Crows up as something they are no longer portrayed as.

I personally think it would have been really interesting to explore a morally corrupt faction in comparison to say, the Shadow Dragons. Perhaps even as a protagonist, address things like the enslavement of “recruits” to make the faction at least somewhat better. (They are still assassins, after all.) Instead, we’re just supposed to ignore everything unsavory about them, I suppose…

We could discuss even further examples. Like how the Lords of Fortune pillage ruins but it’s okay, because they never sell artifacts of cultural importance, supposedly. Or how the only problem with the Templar Order in Tevinter is just the “bad apples” that work with Venatori. I could go on, but I don’t think I have to.

It is because of all this sanitization, that I cannot believe this was simply over-correction on a developmental part. Especially when there is still racism in the game, in other forms. The impression I’m left with feels far deeper than that; it feels corporate. As if a computer ran through the game’s script and got rid of anything with “too much” political substance. The strongest statements are hidden in codex entries, and I almost suspect they had to be snuck in.

Between a Racism Simulator and just ignoring anything bad whatsoever, I believe a balance is achievable; that sweet spot that actually has something to say about what it is presenting. I know it is achievable, because there are a few bright spots of this that I’ve encountered in Dragon Age: The Veilguard too. For example, some of the codex entries like I mentioned, and almost all the content with the Grey Wardens thus far. It is a shame there is not more content on this level.

Dragon Age: The Veilguard is overall still a fun game, in my opinion. But it’s hard to argue that it isn’t missing the grit of its predecessors. The sharp edges have been smoothed. The claws have been removed. The house has been baby-proofed. And for what purpose?

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