#this game is so good. someone help me

[darealsaltysam]

some of my favorite lines of dialogue i've overheard in marvel rivals so far

(keep in mind these are all paraphrased im going off of memory cuz i never have the reflex to screenshot these as they happen oops)

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"I never had kids, but I did have the Avengers. Same thing." - Iron Man spawning in

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"One for me, one for Steven, one for Jake." - Moon Knight after getting a triple kill

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"Can you teach me some of your magic-?"

"No."

"Why not?"

"I think you've had enough chaos already." - Loki & Scarlet Witch interaction

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"You have made your father proud, Wanda, my dear." - Magneto when assisting a Scarlet Witch with a kill

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"No one breaks a bargain with me twice."

"So I can do it once?" - Hela & Loki interaction

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"When I said "No More Mutants" you were who I meant, Logan." - Scarlet Witch after killing a Wolverine

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"How did you learn magic?"

"A place called Kamar-Taj."

"Oh so you weren't bitten by, like, a radioactive sorcerer?"

"[Extremely exasperated] Peter, please..." - Doctor Strange & Spiderman interaction

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"Leave real magic to the grown-ups, Ilyana." - Scarlet Witch killing a Magik

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"Nerd win!" - Bruce Banner if he gets a kill in his non-Hulk form

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"Are you fast enough to stop a bullet, if I shot you?"

"Well, you won't be able to. I already dismantled the inner-mechanisms of all of your guns."

"Wh- What?!"

"Now if you behave yourself I might fix them." - Punisher & Magneto interaction

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"So you can talk to rodents?"

"Tippy-Toe seems to think so!"

"Can you try and convince Rocket to clean his bunk?"

"There are some things even I can't do, I'm afraid." - Star-Lord and Squirrel Girl interaction

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"We sense great darkness and chaos within you, woman."

"You're one to talk, Venom."

"No, we... Find it strangely... Attractive."

"...Somehow, that made me want to save this universe less." - Venom & Scarlet Witch interaction

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"It's good to be fighting side by side again, like in the old days."

"Back when you used children as soldiers for your cause?"

"When you put it like that, you make me sound like a terrible father."

"For once, we agree on something." - Magneto & Scarlet Witch interaction

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"[in the sassiest tone you can imagine] Your GOD is SUFFERING!!!" - Loki taking damage

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[i also dont remember the exact dialogue but there IS one with rocket asking to buy bucky's arm. so yes we won there]

[chloesimaginationthings]

The day FNAF Charlie Emily was shut out..

[poorly-drawn-mdzs]

Remember: The burning sensation is part of the process.

[marypsue]

Man, it's cool and all if you see a metaphor for marginalisation in the monstrous, and if you want the power fantasy of 'what if you could just eat anybody who threatened you/pissed you off'. Me too.

However, as soon as you start saying 'no, these monsters are a 1:1 on Specific Marginalised Group, and you have to treat them in the fiction like they are directly representative of real human members of the marginalised group', BUT you also, in the fiction, make them hurt/kill/eat humans? And then try to shame me, your audience, for noticing or engaging with the bit where they kill people, because you made them directly representative of a real-world marginalised group? You have lost me, and also, I think, the plot.

[leciraofthewilderness]

So, despite some faults, I really enjoyed totk, and on its anniversary I want to say something about it. Other people have said similar things before but it’s really important to me and actually a big part of why the story of totk was meaningful to me, so I want to also say it:

Zelda needed to come back from draconification. The story needed that. It wasn’t lazy and just ignoring “consequences” because (imo) that was the *point*

The point is to feel like there are going to be terrible consequences and then say actually, no. You can come back from this, with the help of other people.

To me at least, that was the theme of the whole story.

If botw was about how the world goes on past loss and grief and starts to heal (how flowers grow in the ruins and the world can be beautiful again, be worth saving, even if it has changed)…then totk was about a more personal kind of healing.

The weight of the world should not be on your shoulders alone…you, alone, should not have to fix everything…you should not have to sacrifice yourself, but when you do, someone will be there to save you from it.

This turned into a really long ramble so:

You (Link) gained so much and now it’s gone. It feels like you’re back to where you started and yet you know you have to do it all again…you were weak and you failed and you’re weaker now…but

You go down to the surface. Monsters swarm across it once again. Other people are fighting them too though. You help, but it’s not just you…

You go to the Rito, the Gorons, the Zora, the Gerudo…just like with the divine beasts, there are friends who help you save each region. But this time, part of them comes along with you when you leave. It’s nice, you realize, the first time one of them protects you from a monster you weren’t prepared for. You’re still weaker than you were before, but someone has your back…

When you go up to the sky you see a strange new dragon there. There’s something about them that feels familiar. You try not to think about it.

You go down to the depths too. It’s terrifying at first. You hate it. You only want to get what you came for and get out of the dark….but slowly, the light grows. You get stronger. The dark feels like a challenge you can face (and someone has your back).

There are spirits down there. You don’t know when they’re from, but some part of you wonders…are these all the people you let die in the Calamity? (You help them find rest from their wandering. The weight on your shoulders feels a little less heavy).

There’s so much gloom. The first few times the sky turns red and hands chase you (a reminder of what you’ve lost, how you failed) you just run. Eventually though, you have to fight. It feels like the (second) worst day of your life again. But you manage to get free of the grasping gloom and stand and fight, as wild and desperate as it is. Beneath the manifestation of your worst fears, there’s another thing to fight, but this time it has a face (a voice in the back of your head says…you know this isn’t all on you and your failure…it’s really Ganon’s fault right?). You get through it.

At every turn in your travels, it seems like something reminds you of Zelda. Her passion, her curiosity, her kindness. You miss her.

At first, the tears you find reassure you. She may be in the past, but she’s safe. She’ll come back somehow…but then you hear the word draconification for the first time. You want to believe she wouldn’t do it but you know her and the fear sits cold inside you. (Zelda is a lot of things. She’s been allowed to be more of them, since she was freed from her hundred year battle, without her father holding her back. But deep down inside her, there’s a vein of self-sacrifice that still runs strong. It’s what saved the world before, after all).

She did it. She really did it. She’s gone from you (from Hyrule) forever, and it’s all your fault. If only you hadn’t failed so utterly in the battle (you can hardly even call it that) under the castle. If only you’d caught her. If only you hadn’t let the sword break. You should have protected her you should have been better it’s all your fault and now she has to live with the consequences, forever. Everything really is on you, you should have been better.

(Zelda POV: you couldn’t call upon Hylia’s power in time, you were too content to let it wither and fade away from you, ready to be free of it. You shouldn’t have. He got hurt, the sword got hurt, it’s your fault…Sonia and Rauru help you channel it again, Sonia helps you learn how to turn back time…but you don’t save her. She dies because you couldn’t save her. Rauru dies not long after. There is no one left to guide you, once again. You could spend years trying to figure it out on your own. But you did that last time. It didn’t work. Self-sacrifice, stepping in front of someone you love, that worked. (You do what you can, to call upon the sages, to help Link in the future, first). And then you swallow the stone. You’ve come a long way, in the past five years, allowing yourself to exist. But in the end, self-sacrifice worked last time. It’ll work this time too.)

You (Link) go down beneath the castle. You were supposed to bring the sages but you didn’t. It’s nice, for someone to have your back. But no one else should get hurt to fix your mistakes.

They follow you anyway. They fight with you, against the hordes, against the greatest enemies you defeated together, along the way. They’ll have your back, even if you don’t think you deserve it.

You fight Ganondorf, and then the demon king, in the hardest battle of your life. You think it’s over and then the demon king decides it’s better to lose himself completely than let you win. You’re exhausted and afraid of yet another battle, but up there in the sky, when you’re falling, the Light Dragon catches you (you wonder why she changed her path to catch you, you wonder if there’s still something of Zelda left in there to save). With her help, you win.

And then you’re in some other realm. The spirits of Sonia and Rauru are there. You remember how the two of them and Zelda channeled such incredible power together. You think about Recall. Turning something back to the memory of what it was before, like Sonia said. You stand with them and you allow yourself to hope. Maybe the Light Dragon can remember the form she took so long ago, the person that she was.

And then you’re falling, and Zelda is falling, but this time you catch her. You catch her. She’s back home with you, finally, finally.

And maybe, one mistake doesn’t have to be the end of the world. You don’t have to be perfect. Sometimes, someone else can stand with you, and it’ll all turn out alright. (You can put the weight of the world on your shoulders, you can sacrifice yourself, but someone will be there to catch you, someone will be there to pull you back to yourself, when all is said and done).

[lesiasmadness]

POV you're trying to leave the puzzle master's house

[dronny-milart]

Drawing of the siblings in the good old times

[the-real-list-of-ominous-threats]

I'm going to make you obsessed with evil video game men

[xxplastic-cubexx]

now i aint ever had no one on the enemy team call me out.... lol ...... abysmal they say this right as the mvp screen pops up too.....

[peripatetic-rowan]

Leon Scott Kennedy - Resident Evil 4 Remake

[trans-leek-cookie]

listen I'm not gonna be a Curly apologist he did Fucked Up as captain but I genuinely recommend ppl watch a playthru that goes thru the game in chronological order. It kinda helps clear up the events and gaps between them, bc even tho u See the times, you still experience it out of order.

The stuff Anya says definitely sets off alarm bells but it doesn't seem like he Fully Understands what she means, and I'm going to be 100% honest I think she was trying to repress it herself. This isn't to say that she is AT ALL "at fault" for what happened after and she should've gotten help even if she wasn't ready to fully discuss the issue but I genuinely think she herself was still coming to terms with things, so she didn't necessarily process the full impact before talking to Curly, and a lot of what happens occurs after they're laid off- like this delves into personal interpretation but I genuinely think Anya only registered Jimmy as a serious danger after his outburst towards Curly. Ofc my interpretation is limited bc of the limited pov in game and not having gone through what she has, but it personally reads more akin to coercion over time than a singular Obviously Violent incident (like. Not to say that Sexual Assault isnt violent in nature, just that coercion often specifically works to obfuscate the fact it is a form of violence.) The layoff is a Massive catalyst for her bc of Jimmy, in that she now has a very clear understanding of his capacity for aggression.

To extrapolate a little from the "Dead Pixel" conversation, she starts by saying she Likes The Screen (even though it's fake). While Curly has his quotes about the pixel "not ruining the illusion" which. Y'know is Symbolic Of His Flaws. She doesn't say the pixel ruins it, just that she can't get it out of her mind.

If we take the pixel to represent her Or jimmy, either way the way she talks about it kind of downplays things, like it's a Minor Thing that's Slightly Upsetting, but she's still okay with the big picture. Idk I could be 100% wrong but that is my take

Besides that, Anya tells curly she's pregnant 2 days before the crash, and it isn't until she outright states it that he starts Putting The Pieces Together. I want to note, he says "I'd do anything" and "this doesn't have to go on our performance evals" 1. Before he knows shes pregnant 2. Under the assumption she might attempt suicide, and I doubt he even thought about her using the gun on anyone else before she brings that up. He says literally before the line where she tells him she's pregnant that "being laid off isnt a reason to hurt [herself]". Like I've seen ppl talk about the performance evaluation thing like it's about her and jimmy, but I think he's referring to (his belief) that she might attempt suicide or similar which might genuinely be a consistent thing he's seen her struggle with, given she's able to go through with it. Also just to note: assuming their society is like ours (hellish) reassuring her he won't blab Abt her mental health is like. Genuine reassurance- lots of mentally ill ppl will Not Open Up bc it could have long term consequences (like. For example. On employment) ANYWAYS I hope it doesn't come off like "Curly never failed Anya" but rather "Curly approached this specific situation without the context of why Anya is panicking and (possibly validly) assuming she's dealing with a very different issue"

Also let me say again the time frame is 2 days. We don't Really see what happens, but we know Anya tells Jimmy without Curly knowing. I genuinely believe he maybe didn't do a Great Job in those two days (the fact he says Anya should've talked to Him before telling Jimmy is uhhh. Mm. 1. Your job to create an environment where she comes to you my man 2. Weird to tell her what she should do with HER OWN PERSONAL INFORMATION) but like.

I get a lot of ppl want immediate consequences but consider that they can't really get rid of Jimmy (co pilot. Which is. Y'know it's Own Problems) but also like. Curly knows Jimmy, and we know that Jimmy tends to lash out. Curly should probably Not Confront Jimmy Unless He Knows Exactly How To Keep Him From Hurting Anya. Like I'm not an expert but this is something genuinely important- when confronting an abuser you NEED to take into account the impact it can have on their victim, and sometimes for the victims safety you need to wait until you have a Solid Plan. It sucks but it's important.

And theres discussion to be had about Curly kinda going along with Jimmy saying "well what if we all died" and like. I do believe he Didn't Realize What Jimmy Said. Like he was just processing/trying to keep the situation under control (and failing because he underestimated how willing Jimmy was to hurt everyone including himself).

Like he's definitely an enabler but I would say his problems are mostly before he understands the gravity of the situation, in that he's friends with Jimmy and assumes the best of a man with abusive tendencies, and fails to create an environment that can keep Anya and the others safe. Like, he definitely doesn't handle in game events perfectly (psych evaluation for one- he does do it instead of Anya which is actually helpful, but he still treats it like. Weirdly.)

Idk I have a lot of thoughts about this game and I don't necessarily want to defend Curly but more like. Anya's situation is very delicate (and light on details) so sometimes the way ppl talk Abt it feels like they aren't actually focused on what she wants and what it means to prioritize her safety y'know?

Edit bc I just now figured out kinda how I want to word it: curly is an enabler and making things worse bc he doesn't put a stop to Jimmy's BS, but in the specific scenario we see in game I think he's trying to use his Skillset of like, people pleasing not for Jimmy's sake but for the crews (like "if I nod my head and say I sympathize he won't lash out and hurt them") which like. There are situations which that is unfortunately the safest option (on an individual level yes, but sometimes it's also necessary to prevent abusers lashing out in response toward ppl who are more vulnerable) but it was the Wrong Choice.

It's like. I think Curly was trying and had good intentions, and understood that he needed to protect the crew, but he didn't have the toolset/experience to realize he can't Just go along with things and that he needs to be able to set hard limits, even for ppl he likes and trusts. Like he failed but the failure was "for want of a nail", where it began way before what we see (for want of an understanding of power dynamics I guess.) Again, don't think this makes curly more forgivable or whatever, I just think he's a good example of trying to make the right choices when you never realized you'd have to make these kinds of decisions and therefore are unprepared and/or unaware

Second edit: personally I don't think you can really incapacitate jimmy without there being serious risk (again he's the copilot) but curly should've given Anya the gun when she told him Abt the pregnancy

[necrotic-nephilim]

Do you have any fucked up babscass headcanons? This is vaguely for the ask game but I’m curious. I’ve also had a vision of dick being drawn into their dubiously consensual mommy kink thing, probably unwillingly. I just love the idea of babs being her teacher for everything normal, like yes on some level it is grooming but cass knows everyone’s intentions automatically, could babs really make her do anything she didn’t want to do?

for the ask game!

GOD YES. i love BabsCass. just. so dearly. they're so fucked up. and adding Dick to the mix is *also* so so fun. the concepts of how consent plays into it all when Cass knows everyone's intentions and feelings (sometimes before they themselves do) but Babs still holding clear power over Cass and how vulnerable Cass is emotionally it's just. good soup i tell you.

so, i think it's fun, if in a way, Babs has always been slightly jealous of Bruce. after becoming Oracle by means out of her control, she works with other heroes sure, but she doesn't have a protege. she watched with Dick and Bruce, how close of a bond Batman and Robin is. how Bruce got to shape and mold Dick into the hero he's become and the reverence Dick has for Bruce. there's such a nuance to that relationship, and Babs wants it for herself. the first person to carry on the Batgirl torch is Helena, something she violently disapproves of. so for her to give Batgirl to Cass, that's significant. it's both a sign of acceptance, and a sign of ownership. it's basically her way of saying to Bruce "this one's mine." and thus, their relationship reflects it. because it's easy to seak out a close bond with Cass, who's never had anyone show her love and affection with no strings. Babs' love is unconditional. and Cass wants to bury herself in it. she knows it's romantic and possibly sexual, but Babs doesn't sexualize Cass the way men do. there's no leering comments or objectification. Babs is kind and respectful, so Cass doesn't mind. she even leans into it. there's something nice in being appreciate for something other than how good of a weapon she makes. and Babs' touch is just. something Cass craves. Babs wants to respect boundaries, but Cass is practically crawling into her lap after certain rough missions, just for the companionship.

i think it's fun if the mommy kink starts with Cass. sure, Babs has been carefully guiding Cass toward being comfortable with sexual things. Cass is regularly naked around Babs with no problem, she lets Babs touch her anywhere. but it's when Babs is holding Cass that Cass talks about how she doesn't know who her mother is and she wishes she knew what having a mother felt like. and sure, Cass knows that Babs isn't entirely motherly. not when her hand is resting inside of Cass' pants at that very moment. but this is the closest thing she has. i enjoy the idea of Cass knowing that this isn't normal. sure, she doesn't fully understand relationships, but she knows mother/daughter and dating are different. but it's a two birds one stone kind of thing. she's so convinced she's not going to find enough people to love her to fill all the "roles" in her life, why not combine the two. after all, Dick and Bruce are doing it. so when Cass brings it up, Babs lets Cass call her mommy. it's a soothing thing, more than a kink thing. and it delightfully plays into Babs' hand for how she wants to groom Cass, giving her more control and trust over Cass. it's easy to get Cass to side with her instead of Bruce when she just has to stroke Cass' hair and praise her whenever she does what Babs want. Cass is so used to negative reinforcement that she'll take any kind of positive reinforcement, even if she knows it's slightly manipulative. sometimes, what matters to her the most is just that someone wants to protect and take care of her in the first place.

i love the idea of Dick getting dragged in unwillingly so much. Cass has very high standards for what a mentor/partner/mother figure should look like because of how reverently Babs treats her. and Cass is known for being critical of Bruce's methods. so when Bruce is particularly cruel to Dick, or that have a nasty argument that Cass witnesses and Bruce possibly even hits Dick, that's when Dick gets dragged in. it starts with Babs inviting him to just eat dinner and chill out with Babs and Cass in the Clocktower. then he's being invited to stay the night more and more often so he doesn't have to crash at Wayne Manor when he's in Gotham. the first time he wakes up with Cass sleeping next to him, he doesn't comment on it. he knows what it's like to be so tired you just crash on the nearest bed. it's when he notices that he's being more and more separated from Bruce, that Dick starts to notice something is off. he's never commented on what's going on between Babs and Cass bc well, he's one to talk. but now he's caught between them. Cass and Babs don't even have to talk, they just wordlessly know they're on the same page about bringing Dick into the fold. for Cass, it's genuinely to protect him. she's happy with Babs, and she wants Dick to feel happy in that way too, with someone who's not as emotionally closed off as Bruce. and Cass just wants as many close relationships as she can get. and for Babs, there is genuine attraction there. she and Dick almost flirted with dating before, and nows her chance to have him and finally beat Bruce. and as unwilling as Dick is, it's hard to say no when they're being so gentle with him. he keeps telling himself he's going to set hard boundaries and tell them no, eventually. but Babs has the manipulation down pat, and Cass is so gentle and loving, Dick just gets swept in too deep. they both know he's unwillingly, but to Cass, that's just how love works. you have to be talked into it sometimes because you don't realize you deserve it.

Babs teaching Cass about sex my *beloved*. first, it's just Cass and Babs. Babs showing Cass how she can feel good, how she can make Babs feel good. but now with Dick, they have a whole new person for Babs to see to teach Cass about sex. Dick has to be talked into it by Babs, who paints it as a learning opportunity for Cass. I just. I love throuple dynamics where one person is basically being used as a toy for the dom to tell the third person to use, and that fits them so well. Dick is just a toy, a prop basically. and Babs is guiding Cass through it, teaching her how to make Dick feel good, how to ride him. I like the idea of Babs edging both of them until she feels like Cass has "learned" enough. which is clearly just part of the kink, corrupting Cass. and they all know it, but it's an unspoken thing. even more fun if Babs gives Cass some token form of control, letting Cass control when Dick can come. and to Cass, edging is a natural part of sex, so she also tortures Dick like that, bringing him to the edge and holding him there no matter how much he begs. sometimes, Dick just watches Cass and Babs have sex and learns what they like through that. he learns Babs is a sadist, but she has to be careful with it. Cass views pain strictly as a very negative punishment and the last thing Babs wants to do is lose the trust she has built up with Cass. so she avoids pain for the longest time. it's Dick who notices Babs itching to hurt someone, so to make sure it's not Cass, Dick offers himself. and Cass watches as Babs hurts Dick, and Dick *likes* it. maybe impact play, maybe some CBT, that sort of stuff, just testing the waters of how far Babs can take it with Dick. it makes Cass curious enough to try it, both sadism and masochism. she finds it takes a lot for her to enjoy masochism, but in the right applications, it's nice. there's something about letting herself feel pain, which she was never allowed before. pain is something to be compartmentalized and worked through. so there's something nice about turning her brain off and just feeling. especially if she's being hurt while she's in Babs or Dick's arms, bc she knows she's safe. both of them have become her safe space to explore new things during sex.

eventually, Dick comes to mostly accept being part of the relationship. he realizes he's in too deep when Cass casually calls him her boyfriend in front of Bruce just to make Bruce stutter. they're all adults, so it's not something Bruce can fight too hard. and Dick does have to admit, Cass has a point. there's far less arguing and fighting in this relationship. the grooming practically works better on Dick than it did Cass, bc now he's just accepted it and is going along with everything. he starts initiating sex, with either of them separately or together, just bc he likes giving up control to them. he likes the way Cass is gentle when she's domming, taking control from him without even asking and just taking care of him. and when Babs is in control, she's a little meaner, a bit rougher, but sometimes, he needs that too. sometimes he just likes to watch the two of them, see Cass call Babs mommy while she's crying and begging for anything. it's carnal and just fascinating to watch, even if he doesn't get off to it. seeing how much they love each other and how much they love him makes his head spin, because being with Bruce was nothing like this. Bruce rarely talks about his feelings, rarely said he loved Dick. meanwhile Cass and Babs will say it about a dozen times a day. maybe it's manipulative, but they make it sound so genuine, he can't bring himself to care. and Cass is pleased Dick is finally giving him, letting himself be loved. Babs is pleased to have control of both Dick and Cass. all of them are getting something out of it so really, what's there to complain about?

[toadlilyaus]

Incredibly self-indulgent quick sketch of the ot3 rare pair (trio?) that is Jean/ Neil/ Andrew; cause I feel like y'all ain't seeing the vision lol

If it ends up winning the poll maybe I'll get around to cleaning this up a bit and adding color and such, but for now this is all we get 😘🦊🦊🐦‍⬛🔑

[moeblob]

Demyx (my beloved)

[butterflydm]

"You lost someone important. Guilt's part of that."

*goes off and stares into the sea for a thousand years*

I do kinda feel as if I bought two games in one, because Veilguard is such a different experience in the second playthrough (this is not a complaint).

Grief. Regret. An ocean of it. And how to move past it. How important it is to be able to move past it and not let yourself be trapped by all your pain.

[endgame spoilers below]

Varric "goes to sleep" after your first big talk with him and then you can't talk to him again until after you've meditated and reached Solas (who is never far away, though you don't realize it).

It is amazing how Solas is able to criticize himself so strongly (via the memory of Varric) and then keep on doing everything that he's doing. He truly is the ultimate master of the sunk-cost fallacy.

Wisdom twisted into Pride. It is so painful to think that the thing that made Solas so furious and heartsick in his personal quest in DAI -- watching a spirit of Wisdom get twisted into Pride because it was brought into the mortal world to be a weapon -- is exactly what Mythal asked of him. And the anger that he shows towards those mortal mages (who he can and will kill unless you stop him) is thus displaced anger that he doesn't feel like he's allowed to feel towards Mythal.

So... what's up with the Rings of Power tag? It's about Solas, of course.

You meet a guy who is a lone wanderer. A vagabond, who claims no particular importance but somehow seems to understand the powers that are key to the world's salvation. He helps you out for a while. He's pretty arrogant - prideful, you might say.

You find out that he's essentially a demigod who has been lying to everyone for... weeks, months, idk. And that he actually is the person who helped break the world and make it what it currently is today... and he wants to fix the world. Except... well, except that fixing the world involves a whole bunch of people dying and basically destroying the world as it currently exists in order to create the 'better' world that exists in his imagination/memory.

His intentions may be good but every time he goes forward with his plans, it destroys so much and hurts so many people. His methods suck and his imagined perfect world can never exist. And he lies, over and over and over. He betrays you, over and over.

God of lies.

The Great Deceiver.

I've only finished one playthrough of Dragon Age: The Veilguard so far. And, in it, I gave Solas a good ending. The happiest ending that he probably could get. In which he doesn't get any of the things that he was trying to get during the game, but he does get a chance to atone for the many, many people that he's hurt and what he's destroyed. He gets shown a different path and is convinced to take it. He has someone who loves him enough to walk that path with him. "Where I'm going is terrible," he tells his love. "It won't be terrible if you're with me," she tells him.

Solas makes the choice that (Second Age/Rings of Power) Sauron couldn't make -- he chooses to stop trying to break the world in order to fix it. To atone by doing what the people of the world would want from him, rather than forcing his own vision on them. He stops. That's what Sauron can't bring himself to do. He can't stop trying to fix the world.

So finishing up Veilguard after watching Rings of Power let me play out a little power fantasy of: what if you could get him to stop? What if you could get him to see that his attempts to 'fix' the world are only making things worse? What would that look like?

Solas is able to admit -- after a lot of work by the protagonist to get him there -- that the world doesn't need him to fix it. By contrast, Sauron is going to double-down on his attempts to 'heal' Middle-Earth.

But it's interesting to get a chance to create a situation where a character who does have quite a bit in common with Sauron is able to have a different kind of ending.

As is tradition when I play RPGs like this, my first playthrough is for discovering a character and letting myself be fully led by the story, and now my second playthrough is to poke at all the choices and the seams of the story to figure out what I like best. And then I usually do a version of my first character again but 'perfected' in taking the alternative choices that I liked better than my first time through. So this second run is going to be for going through all the rest of the options and romances to see if I like them better than what my heart instinctively led me towards (Lucanis).

So this is my game plan for my second run:

Flirt with everyone. Make sure I do all Treviso quests before I go to get Davrin. Choose to save Minrathous (this is why I made my second Rook a Shadow Dragon -- Treviso seems so vulnerable to me, so I really have to stack the deck to get my Rook to choose to go to Minrathous). Sadly mourn that I cannot romance my Lucanis in this runthrough (my second Rook recently did the quest to acquire him and I found myself instantly enchanted all over again by his introduction. Thank goodness saving Minrathous takes him off the table; I don't see how else I could resist him).

Keep flirting until I get to the 'commitment quest' for each of the characters, and play through everything else until that's about all I have left. Then do separate saves for each romance. So six separate 'endgame runs' for this second Rook, allowing me to try out a variety of endgame scenarios.

Then, armed with lots of information, I plan to run as a dwarven Rook for my third runthrough, and do a run-through that uses my favorite choices now that I know how they shake out, and take a new approach with Solas. Probably a rogue. I've tried out the gameplay for all three classes, and rogue was my favorite (this is not a shock. Rogue has been my favorite in literally every DA game).

And now a collection of images I like to call:

They assumed Rook knew Varric was dead when these conversations happened.

Looking forward to what other conversations may happen where Rook is having an entirely different conversation than the other characters are having.

A collection of images I like to call:

Foreshadowing

A collection of images I like to call:

Ouch ouch ouch

One particularly excellent choice that the game made, imo, is that only Neve and Harding knew Varric already (of the companions). The rest of the team is assembled by Rook, and most of the team does not know Varric and doesn't even realize that there's a hole in the team, because Rook is already filling the position that she believes that Varric is meant to have. She is Varric's hand-picked second-in-command, and he trusted her to be able to handle this job. He chose someone with that thought in mind.

He knew the risks, and planned accordingly. He knew there was a chance (an excellent chance) that Solas was not going to listen to him. He had to try anyway, but he knows -- he says in the beginning -- that if it comes down to a fight, they will not be able to defeat Solas. He knows that if he can't talk Solas down, then he's probably going to die. And he goes in there anyway, because Solas is his friend.

He made a choice. Several choices. He chose to talk to Solas, knowing that it might lead to his death. And he chose Rook as his second, believing that Rook could save the day if Varric failed.

That's how Varric saved the world -- by finding the right person to finish the job.

[anxiously-sidequesting]

My favorite school will always be Storm because it's my aesthetic and I vibe with it more than anything else but from a narrative standpoint Death is my absolute favorite. Like almost all the interesting Wizard101 NPCS and the two major arc villains we've had all come from there, and everyone sans Penny has some sort of trauma associated with their school of choice due to the very magic they're practicing, or the individual that practices it. There's so much going on in that area where everyone inside it and outside is affected, even the world around them.

Even death itself is an interesting topic irl, and also the fact that Death is feared even in the wizard world opens so much content for multiple stories RIGHT THERE, and then you have internal problems such as Ambrose himself seeming to keep his biased opinions close to him and keeping necromancers at an arm's length, and that perspective then bounces off on other people (Morganthe, which starts her villain arc; Duncan, who was persuaded to switch schools even BEFORE he became a villain; Dworgyn and Mortis, who are left behind). It's just story after story after story. All the interesting characters and their stories are right where Death is and if Storm wasn't my absolute favorite it would be Death. Necromancers seriously rock and they're so cool in every single way