#though that did further a plot point with the whole Evil Super

[siren-of-the-ocean-tumbls]

I feel like we as a Fandom need a term for how often the Batkids die/are presumed dead in order to promote growth in Bruce as a character. And not their own.

The fact that I can think of MULTIPLE EXAMPLES OF THIS HAPPENING is kind of stressing me out

[sealer-of-wenkamui]

Heian-kyo Thoughts

First I think this is one of my favorite chapters yet, no doubt because of my biases, though that means I’m better able to point out my complaints with it too. I was super hyped for it the whole time! As this is my thoughts it will mostly be focused on my interests namely Limbo and Danzou

The setup for this chapter was perfect, one of the most well done things about it, most of my complaints actually stem from that I think they could have taken better advantage of it. Limbo creating a singularity and planning a grail war for the purpose of establishing a lostbelt with them as its god, and it reflects what they learned from Shimousa? Yeah that’s good! And best of all! Inviting ONLY the master of Chaldea who keeps interfering (we wouldn’t have a plot if we weren’t invited too lol) and Danzou, who has been an obvious object of their fixation since then! Blocking even Mash and Kotarou (and making sure they KNEW it was him doing it)

Furthermore, after establishing contact with Chaldea it’s further established that this not for the purpose of defeating us or anything, but rather for Limbo to toy with us and I quote “indulge in his…. proclivities”. So you have it known that he’s doing this for his own pleasure, and what does he do? Invite the one who has been getting in his way, and his favorite toy from Shimousa of course!

This line from Seimei at the end made me laugh cause YEAH. That’s exactly it and it shows in Limbo as well. I have been saying all this time that he doesn’t hold affection for Danzou, but absolutely has a weird fixation with her. That manifests in trying to cause her and specifically her as much suffering as possible. Even restoring her memories is to make the pain he can inflict greater. Her interlude apparently further goes into it but I sadly don’t have her yet so I haven’t seen it myself yet (I’ll probably break down and watch it online soon lol it’s too relevant to me not to)

On the flip side this setup also means she has the chance to settle the score with him, and of all people she’s the one who is most fitting to do so. Limbo has manipulated plenty, and caused pain to countless others too, but the difference is with Danzou he has that fixation not present in say, Amakusa or Junao, or any of the Crypters, not to mention that she was directly under his control from the moment he repaired her, and once she turns on him, he makes her fight the people she now cares about and then blows her up. And the end goal wasn’t anything other than tormenting her unlike the other cases. His fixation means she has been the most intimately hurt by him and so this setup in Heian-kyo both further emphasizes this fixation as well as giving her the chance to strike back. Just a god-tier setup right there!! And I like Limbo here giving their evil villain speech to introduce the grail war, complete with creepy ways to refer to Danzou

And now knowing he is “Ashiya Douman” the living Douman is brought up as well, who I think is another one of the most interesting parts of the chapter. (Of course he had already been consumed by Limbo at this point too but it’s being hidden so it’s probably a good reflection of what he’s like..?) I kinda wish we got to see at least a little more of him (like the confrontation between him and Limbo sounds especially good the way they described it). Cause they’re not an evil person at all, nor do they want to be, but they do have their deep flaws and like…

He acts like he’s okay with this, and being treated as the villain, but I highly doubt it, his fixation with Seimei is the most famous one of all. And Limbo even takes advantage of that to break him.

Anyway for the main grail war section, I liked seeing some familiar faces and it did get me to care about them all the more, and Tsuna and especially Kintoki get good arcs across the whole chapter. Shuten is always a delight for me too lol, she’s great. And you can see how it reflects what Limbo was researching in Shimousa. The main thing I wished for here is at least some of what was going on with Limbo, or perhaps them toying with their guests a little more directly…? This is his entertainment so I wanna see them enjoying it.

The turning point was really exciting and got me hyped, also I LOVE that art for it

And this here is SO GOOD I wanted to see it, more human Douman please! He’s so fascinating in how someone like Limbo could be born from him and yet he barely appears!

The second part… I think could really have benefitted from being longer? Especially the parts about Kagekiyo and Ibuki, they show up then are gone in 2 sections, and I was pretty interested in them, especially Kagekiyo, so I would have liked more on them… and once again, Limbo is taking a more active role and establishing the tree, but there wasn’t enough showing their thoughts or toying with us more.

The final section had some both REALLY GOOD stuff as well as wasted opportunities. One thing I had liked is that Danzou tended to be the most outspoken against Limbo throughout the chapter, which of course is fitting with their history even if she didn’t personally remember Shimousa. The first direct confrontation was good, he’s calling her his puppet, she’s the one who seems most angry with him, he’s being his delightfully over the top evil self, it’s great!

Ibuki should have been in the chapter more but him just being like oh yeah I lied I’m gonna become a god instead was good lol

I also love that he’s unable to become a Beast because of a lack of love for humanity, which makes sense, and it’s a fascinating part of him, he fixates on people but it’s not affection.

But the thing I was annoyed about here is that Danzou and Limbo don’t really say much to each other….? She’s a major object of their fixation and she’s been so deeply hurt by him yet not much from either side? Why…. I knew my hopes of him tormenting her in some scene framed a highly sexual way was getting my hopes up, but the game has always been good about emphasizing this relationship in the past so I was disappointed there wasn’t something involving him attempting to inflict pain on her specifically… or really any sort of toying around with his guests? It’s the whole point of this so I wanted more of him doing exactly that….(you had machine destroying insect shikigami right there come on, so many ways to toy with his favorite doll, give me something)

On the plus side though, I’m delighted she was the one to finish him off, if he had to die, this is exactly how it should be.

The one who had been most personally hurt by Limbo getting to deal the finishing blow on him is perfect. It’s satisfying, it’s closure for her, it’s just GOOD!!

As for the aftermath, the scene with human Douman right here is one of the best parts of the chapter, I adored it, I cried a bit even…

Perhaps he’s the one hurt most by this whole incident… coming face to face with the embodiment of the evil dwelling within him, of what he fears becoming, and breaking down weeping once freed, and nearly killing himself knowing it’s a potential future for him. (Honestly I think Seimei is kinda an ass to him lol I mean oh I thought you wouldn’t fall to Limbo as an excuse for not trying to help him?? He’s terrified of that potential and Limbo struck him at his weakest point, that fixation with Seimei)

And finally, I wish Danzou got some sort of epilogue section, most people did, and it would have been nice to see her reflecting on being rid of Limbo, either by herself or with Kotarou….

And for some final words on Limbo, I love that he gets extra my room lines after finishing, unsurprisingly YEAH it’s Limbo, and he even remembers everything, which is uh, quite the situation! When it comes down to it, I think what Da Vinci said in the opening puts it well,

I don’t think his evil is even subconsciously trying to help anyone or anything like that. It’s a genuine wish for destruction but it’s also rather pitiful…. His whole thing with Seimei probably doesn’t help with seeing no worth in even himself too. Like at the end he’s right back to yelling out at Seimei

And he’s quite a fascinating character for it too, having someone so truly evil, but having originated from an “ordinary onmyouji” who feared becoming old that. Someone who is a “monsterous rakshasa devoid of love”, and I don’t think anyone can magically make him ~love~ but like… it’s interesting to me how someone who CANT love in any way has these fixations on people, and what they’re like as a result (which is why I’m especially interested in his thing with Danzou, it captures that aspect of them well) Best you could hope for I think is them maybe seeing some sliver of worth in things…? They’re both comically evil and also complex in their own right and that’s why I love them so much, I’m really gonna miss them showing up to toy with us all!

TLDR- Heian-kyo GOOD, godly setup that could have been utilized more especially when it came to Limbo and Danzou’s interactions (why wasn’t there more?). Best possible way for Limbo to die and I love human Douman a lot too and he makes his character all the more interesting.

[wonkyreads]

Don’t Let the Forest In by CG Drews

2 out of 5 forest monsters

Don’t Let the Forest In follows Andrew as he returns to Wickwood Academy for his senior year. Everything in his life seems a little unstable, including his relationships with Thomas, who he loves, and Dove, his twin sister. Throw in Thomas’s parents’ disappearance and the fact that there now seems to be monsters in what was once their favorite place and it sounds like a real horrifying mystery might be afoot.

Unfortunately, this book just massively didn’t work for me. I fought it nearly every step of the way, which is a shame because I’d been so excited for it. Don’t get me wrong, the book has its merits, but they’re few and far between for me. I think this book needed a lot more thought and development just in general, to be honest.

I spent the majority of Don’t Let the Forest In trying to pinpoint what the message of it was and by the end I still think it’s way too muddy to make a lot of sense. Andrew has a hundred and two problems and it doesn’t feel like any of them get addressed. He’s struggling with his sexuality (but he is asexual which is some representation I’m always super excited to see), his relationships are shaky, he is anxious as all hell, and is trying to hide an eating disorder to top it all off. It just doesn’t seem like these play a particularly cohesive role in the story as a whole.

That does kind of bring me to Andrew as a character, though. I love an unreliable and unlikable narrator but he got under my skin almost constantly. Andrew constantly blames everyone else for his problems and the rare time he does take an iota of responsibility or takes a second to look within to fix their problems it’s shallow and surrounded by pitying ‘woe is me’ kind of speech. He’ll rant for full paragraphs about how despicable he is because he’s too anxious and weak and skinny and asexual for any given person or problem and a page later he’s whining about how Thomas or Dove are responsible for what’s currently wrong. I can understand the intent behind these character choices, but they’re maddening to read through. With a character like Andrew I expect some major character arc and self-reflection and growth, but here it just takes far too long and is way too little too late to make an impact. The way he treats people just never really finds the time to come up.

It’s not just Andrew’s character that struggles, though. None of the characters seem to have any consistency besides maybe Lana and the bullies - and the bullies are Disney villain over the top evil for what seems to be no reason at all. Characters will get into throw down, blow up arguments over nothing and dialogue choices will follow almost no logic (I was reminded constantly of that ‘I’m so RaNdOm rAwR’ time period and it physically hurt, though that may be a me problem).

Plot-wise, it did a few things to build tension that almost always backfire. Keeping the reader in the dark while continuously hinting to this thing that happened just before the narrative started. A main character intent on not actually following leads the plot is throwing at them. It was frustrating to me because the book is so focused on fairytales and the power of storytelling and missed out on making the book itself follow fairytale rules and structure. There doesn’t seem to be a logic or real flow to what happens and it’s hard to string together why each plot point happens in the grand scheme of things. Fairy tales are tight, everything happens for a reason and there’s a moral to every piece of the story. A lot of this just felt like “and then this happened and then this happened next” just for the sake of the imagery and to bulk the story out further. Honestly, it didn’t feel like a lot of the emotional beats or plot points were there for any logical reason in-world at all so much as the author needed something to fill space between point A and B.

Sorry, I’m just so frustrated because this book has so much potential and so many people seem to have enjoyed it and I just couldn’t. I’m so tired of books not receiving the amount of editing and care they deserve.

There are things the book does get right, though, even for me. There are scenes in here, specifically some of the more action-based ones, that are absolutely heart-racingly good. They show the talent that Drews truly has in a way the rest of the narrative misses out on. If you’re into gore, this book is exceedingly gory. There’s body horror and creepy forest monsters galore. The imagery itself is super tight. Almost all of the description falls back to forest imagery or hunger or stuff like rib cages and eye sockets (I will say that it could be a little too tight because it did get on my nerves with how repetitive it felt at times). There’s also some decent queer talks as Andrew grapples with his asexuality.

So, Don’t Let the Forest In isn’t a book without its merits. I just think it could have been so much more in a way that makes the disappointment crushing.

Thank you to NetGalley and Feiwel and Friends/Macmillan Publishing Group for the eARC in exchange for an honest review.

[sailormoonandme]

Usagi’s Evolution as a Healer Goddess

The other day I saw a post discussing the evolution of Usagi’s fuku and it occurred to me how Eternal Sailor Moon’s costume was her first Senshi uniform to ditch the tiara. 

That in turn led me to consider how that kind of makes Usagi weaker as it removes a very useful weapon for her. After all, if you include the movies, Usagi uses some variant of Moon Tiara Action in practically every season prior to Stars.

However, dwelling more upon it I realized how this tiny change was all too appropriate for Usagi’s character development.

Firstly, by supplanting the Tiara with her Moon planetary symbol, Eternal Sailor Moon more closely resembles both Queen Serenity, her own Princess Serenity form and her future self as Neo-Queen Serenity. 

Since all three are objectively more powerful than Usagi typically is as Sailor Moon I think the change emphasises how she has ‘levelled up’ in her Eternal form. When combined with the angel wings, Eternal Sailor Moon shifts Usagi visually closer to her future self as NQS, which in the anime is implied to be her most powerful incarnation.* It is almost as though the visual was communicating that the Divine Miracle Magic that she’d previously drawn upon as Princess Serenity in Classic-SuperS had now become ingrained in her standard Senshi form and thus was more accessible to her. 

It was in thinking of her previous efforts as Princess Serenity that I inevitably recalled her duel with Metalia/Beryl in episode 46 and realized that Eternal Sailor Moon was the first time since Classic that Usagi’s default attack was a healing  technique not a destructive one. 

Moon Healing Escalation was Usagi’s first healing technique but until Starlight Honeymoon Therapy Kiss (and it’s later upgrade, Silver Moon Crystal Power Kiss) it was also her only healing technique. 

Between regaining healing techniques and ditching her tiara/other destructive attacks/weapons, I think this represents her subtle growth in both her power and status. After all, it is a sad fact of life that it is easier to destroy something rather than fix it, thereby making the latter far more impressive.**

This skewing towards healing power rather than destructive power is also (arguably) thematically appropriate given the nature of Sailor Moon as a female power fantasy as (rightly or wrongly) the act of healing is typically coded as feminine. 

We can even take this further by examining things from the ‘opposite direction’ as it were.

Consider that in the climactic final episodes of Sailor Stars, Eternal Sailor Moon’s healing technique actually fails her when used against Galaxia. In later episodes, upon adopting her Princess Serenity form (complete with larger and more obviously angelic wings), she uses a sword to duel Galaxia.

Obviously a sword is, at least predominantly, an offensive weapon and can therefore be viewed as symbolic of aggression; let’s leave any Freudian or gendered interpretations alone for today. Her use of the sword is highly uncharacteristic (in the anime). Even her explicitly offencive weapons (like the Cutie Moon Rod or Spiral Moon Heart Rod) weren’t as clearly aggressive nor obviously violent. Desperate times calling for desperate measures? Perhaps, but we might also speculate it was her subconsciously reacting to grief. Not only can grief make you act in ways you wouldn’t normally, but a sword after all was a weapon wielded by her lover in his Prince Endymion incarnation. Her lover whom Usagi had just learned Galaxia had murdered. In other words, amidst her grief she reacts by going too hard in the other direction after healing her enemy proves ineffective.

However, when all is said and done the sword fails her.*** Ultimately is simply escalates the conflict by prompting Galaxia to become Chaos Galaxia and thereby make Usagi’s chances of victory all the slimmer. If we wished to stretch things, you could perhaps say that this is a commentary about how war and violence ultimately begets yet more war and violence.

Even if that is an over extrapolation though, it still served to emphasis the point that a sword is not befitting of Usagi, that she was doomed to lose if she continued to battle with destroying her enemy as the end goal.

In fact, her road to real victory begins when she not doesn’t attack Galaxia but makes it easier for herself to be attacked. In the end, Usagi doesn’t confront her most powerful enemy as the God-Queen of the future, the demi-goddess Princess of the distant past, the sailor-suited soldier of love and justice in the present, nor even a humble school girl.

She does it by literally stripping herself of all those things, of stripping herself of everything in fact.

Her weapons? Gone.

Her other items, like her Tiare? Gone.

Her comrades? Gone, and they’d be powerless against Galaxia anyway.

And finally, even her clothes? Gone!

Beyond the Silver Crystal (an outward visualization of her heart/soul) and the angel wings (symbolic of her role as a saviour) she is completely (but tastefully) naked.

Usagi visually and quite literally is more vulnerable  than she’s ever been, even more so than on her first night as Sailor Moon.

And yet this is Usagi at her actual most powerful.

It is her distilled to her absolute essence as a person, all other trappings removed. She’d just one person showing another they will categorically not harm them, that they bear them no malice and they have nothing to hide. That openness and compassion is what ultimately enables her to connect to the good within Galaxia and pull her away from the darkness that had corrupted her.

Usagi in this moment completely fulfilled her character arc.

·      In the Dark Kingdom arc Usagi destroys (or seals away depending upon your POV) Beryl/Metalia.

·      In the Hell Tree arc, Usagi resolves the over all plot via a healing technique (although it is functionally similar to a destructive attack). However, that only happens because the Hell Tree both instructs Usagi to do that and because it lets her. It is the equivalent of a sickly doctor instructing a nurse on what to do to make them better. The nurse might have the power but their agency as a healer is limited.

·      In the Black Moon arc, Usagi, with help, destroys Wiseman/Death Phantom. 

·      In the Death Busters arc, Usagi does save Hotaru and ‘purify’ her. However, like the Hell Tree, that was something Hotaru wanted. Additionally, her purification functioned as a way to heal the body of someone sick and who wanted to sacrifice themselves, not someone actually evil. The evil in question was Pharaoh 90 and it is presumed that Usagi destroyed him (although it might’ve been Hotaru or the pair of them together). 

·      Forgive me for skipping the Dead Moon Circus arc as Chibiusa is the real protagonist there, and Usagi’s role is chiefly as a rescuer. It therefore doesn’t really apply, although the Nehelenia mini-arc from Stars is a different story. There, Usagi was a healer again, but she did it with the help of her loved ones and with the aid of her Tiare device. Nevertheless, we can see by this point Usagi’s capacity as a healer heroine had been gradually growing until we get to the battle with Galaxia.

By the end of series, Usagi has successfully healed Galaxia and it is neither with the aid of her comrades, nor with the power of a weapon or device, nor with any instructions from her ‘patient’ or any other third party.

Additionally, Galaxia (unlike Hotaru) wasn’t someone’s who was saved from a noble self-sacrifice or had a physical ailment that needs to be addressed. In Galaxia’s case, her very soul had lost it’s way and become corrupted. She had lost who she was supposed to be and her purpose in life had been perverted.****

When combined with how powerful Galaxia always was, how Chaos and the Star Seeds empowered her further, Usagi’s victory here cannot be understated.

Her ‘patient’ was more powerful than all her other adversaries, was in need of more healing than her other ‘patients’ and was more resistant to being healed. Not to mention, since she’d directly murdered her beloved friends (and indirectly aborted her future daughter), Usagi would’ve been forgiven for not  even trying to salvage Galaxia 

And yet, with no weapons, no backup and just the power of her heart and soul basically, Usagi succeeded. 

After Stars the idea that Usagi could heal the entire planet after a global catastrophe and reshape it into a fairy tale crystalline utopia was all too believable.

What’s healing one planet when her ability to empathise had already healed a whole galaxy?

Who needs a tiara to reduce evil to dust when you can simply convince evil to be good?

*This is arguably symbolized by baby Hotaru’s vision of NQS transforming into Eternal Sailor Moon in episode 1 of Stars.

In fact, we might argue that a low-key subplot running through all of Stars (both the Nehelenia and Galaxia portions of it) is gradually transitioning Usagi closer to the person she is destined to become as Neo-Queen Serenity, hence why the first episode features the most explicit reference to her fate as Queen since R. 

**Personally I am an atheist, but nevertheless I and others like me can grasp why  deities in most major religions through history weren’t simply capable of mass scale destruction, but also of essentially manipulating reality to create  things too.

By that same token, it’s little surprise that perhaps the widest spread religious figure in history was Jesus Christ who rarely (if ever) engaged in aggression or destructive acts, predominantly employing divine healing powers.

I suspect the attraction of such figures to human beings lies in the fact that on some level we know that, given the right time and resources, we mere mortals would be capable of destroying anything. Given time it’s all but certain we will develop the technology to even destroy planetary bodies. On the flipside, I think we also intuitively grasp that  reversing  such damage, of reattaching a limb, of stanching bleeding, etc, is far more difficult if not impossible. Hence we attributed the ability to do such things to larger than life Divine Entities.

*** Now that I think of it, it’s also poignant that Usagi tries and fails to defeat Galaxia with a sword when we take Sailor Uranus into consideration. 

Uranus is of course associated with her weapon, the Space Sword and, like Usagi, tried and failed to use such a weapon against Galaxia.

Giving Uranus a sword is symbolically appropriate given her role as the leader of the more aggressive branch of the Sailor Team. Having her fail against Galaxia and Usagi consequently fail by in some way ‘mimicking her tactics’ is equally symbolically appropriate. Not only because of their ideological conflict in Sailor Moon S but also their tensions in Sailor Stars itself. In both situations Usagi’s more open, less aggressive, ideology was ultimately proven correct. 

Thus in using a sword against Galaxia it represented how Usagi was always doomed to fail by taking the aggressive/destructive route and how she was arguably not being true to herself in that moment. 

****It’s not to dissimilar to Darth Vader/Anakin Skywalker now that I think about it. 

[quillsandtypos]

Pretzels, Popcorn, and Winners

Summary: Peter simply won't leave you alone to watch a movie till you finally turn the tables. But can you keep the tables turned?

Warnings: none but this fic is basically just a tickle fight

Words: 1.8k

Pairings: none but could definitely be read as Peter Parker x reader

...........................................

You quickly took your seat next to your best friend on the large sectional in the middle of the Avenger’s living room. Peter and you had decided to watch a move on one of your days off of school and hero work.

“Peter, did you grab my popcorn?” you called out as Peter messed with something in the kitchen behind you.

A large popcorn bowl quickly appeared overhead. “Thank you!” You gladly took the popcorn bowl and immediately started munching on it.

“Wait, you can’t eat it yet, the movie hasn't started!” He attempted to pull the popcorn bowl out of his hands, but you held it out of his reach.

“Then play the movie then!” you argued, as you still protected the bowl.

“Fine, but you’re no fun,” Peter said with a faux irritated eye roll. You chose to ignore it in favor of watching the movie.

But apparently, Peter had other plans. You probably hadn’t even got five minutes into your movie when Peter reached for your popcorn.

“Peter, you have your own snack!” you pointed out as you held it above your head.

Peter’s mischievous face matched your amused one. “I know, but I want your’s,” he pleaded, as he still reached for your popcorn.

“Well you’re not getting it,” you said as you stretched it further out of reach.

Peter's eyes seemed to glitter as a sly grin formed on his face. “You do know I could stand up to get it right?”

You cocked your head, you knew your best friend well enough to know that you were going to win this argument. “Are you going to bother to stand up?”

He thought for a moment as he considered his options before giving up with a shrug. “Mhmm, probably not.”

“That’s what I thought,” you said smugly.

After another five minutes had passed you found that Peter’s mood had somehow infected you. You waited until he was fully engrossed in the movie before slowly snaking your arm over to his pretzel bowl, but just as you were about to pull your arm away with a handful of pretzels, Peter’s hand grabbed a hold of your wrists.

Peter raised an eyebrow. “What exactly do you think you’re doing with that?”

You perfectly matched his body language. “You tried to take my popcorn, I think this is perfectly fair.”

“But I didn’t take it,” Peter pointed out.

“That’s because you’re,” you poked his chest with your free hand, “way too short to,” you scoffed.

“I’m not even that much shorter than you!” Peter released your wrist to throw his hands up in the air in exasperation.

“It’s okay, I still love you Lil Petey,” you teased as you happily ate your stolen pretzels.

If it was possible Peter glarred more, but you noted the smile he was trying to fight off. “I hate you.”

“You wish,” you laughed.

Peter shook his head but he turned back to watch the movie. You soon found yourself engrossed in the movie. Now that you were getting into the plot of it, it was actually fairly interesting. But just as you were on the edge of your seat you felt someone squeeze your side.

You didn’t bother to let your eyes leave the tv screen. “Peter, don’t start shit you can’t finish,” you sang.

“What are you talking about? I didn’t do anything.” You didn’t have to look over at him to know that he was lying, or that he was trying to look innocent and failing miserably. You chose not to give him the satisfaction of answering him. That was until you felt another squeeze at your side.

“Peter,” you warned. This time your eyes drifted over to his.

“What?” His grin grew wider, but so did the devious glance in your eyes.

“I will beat you at this,” you smirked.

“You’re joking, right? I would wreck you,” he gloated.

“Maybe,” you shrugged. To Peter’s surprise, you turned back to the movie. He eyed you curiously, he was certain that you were going to try to do something, but you didn’t seem to be up to anything. He cautiously went back to watching tv, but just as he did you jumped on top of him, successfully pinning him to the couch.

“But I’d wreck you first,” you whispered as you squeezed his sides in unison.

“Whahahahit y/n nohohoh!” he giggled. Peter was desperately trying to pull your hands off his sides, but to no avail, he was laughing too hard to use his strength.

“You know you’re too short to get away, right? You’re stuck here Pete,” you teased as you noted his failing attempts.

“Liahahar,” he retorted. Even in his unfortunate state he still wouldn’t give in. You weren’t in the slightest bit surprised, but you decided to play along.

You held one hand up to your heart. “Peter I am honestly offend-” you had started to say, but removing your other hand had given Peter the opportunity to flip the tables.

He immediately started squeezing right at your hip bones, which he knew killed you.

“Peter!” you screeched. It felt like your nervous system was being played like a piano. All you could do was laugh, you couldn’t even tame your reactions.

“What, does it tickle y/n?” he asked. Though you both knew it wasn’t really a question.

You managed to wheeze out a response. “Shuhuht uhuhp!”

“Aw, I bet your face is so warm right now,” Peter taunted.

You couldn’t answer from all of the screams and laughter coming out of your mouth, but you could feel your cheeks heating up. But that evidently wasn’t enough for Peter, considering that he was still teasing you.

“I bet you couldn’t wipe the smile off your face if you tried.” If he hadn’t pinned you, you would’ve had him on the ground screaming in that moment. You sincerely wished you could wipe the evil smirk off of Peter’s face but he was not giving your hips a break.

“Oh, I have an idea!” he suddenly blurted out. His hands finally moved away from your hips, but just as he did, his face tucked down to blow on your stomach. You screeched as your feet kicked out at the air.

After your third raspberry, you had decided that you need to turn the tables somehow. So just as he pulled away from another raspberry you took your chance to dance your fingers around his neck. Peter practically ducked and rolled to get away from your hand, and you had pinned him again in a second.

“Wait, wait, wait, wait-NO!” Peter screeched as you scuttled your hands across his neck.

“See, all it takes is one poke to your neck and you’re done for,” you grinned.

“Fuhuhuck ohohff,” Peter giggled.

“Oh, and you can’t forget the saying about people who have really ticklish necks,” you said ominously.

“Whahaht?” Peter asked, as he unknowingly played right into master plan.

You bent down so your mouth was parallel to his ear. “Everywhere else is worse,” you whispered. Before he could figure out what you were doing, your hands darted down to claw at his ribcage, and Peter practically screamed.

“Sthohohop!” Peter barely squeaked out.

“What? I thought you’ve told me that teasing doesn’t affect you?” you asked smugly.

“Youhoho are so dead!” he yelled.

“That was so intimidating with your eyes all scrunched up because you’re totally not the most ticklish person ever,” you said, sarcastically as ever.

“Shut up!” he screeched like a pterodactyl.

“What was that you said earlier? Right! I have an idea!” You quickly reminded him of his earlier torture of you by blowing a raspberry right on his neck.

Peter’s laughter went silent, but his body did not. His arms desperately tried to push away your head as his legs twisted from side to side.

You paused for a moment to look at him. “Aww, Peter are you blushing?”

His face turned an even brighter red at your mention, but pausing to take it in was your first mistake.

You were once again underneath him, but this time you noted that you couldn’t move your arms. He had webbed your hands to the floor, which left you with no way to escape, until he decided you were done.

“Now, for the real tickling to begin,” he paused, “after you tell me your worst spot,” Peter instructed.

You raised your eyebrows in surprise. “I’m not telling you that.” You subconsciously looked down to where Peter was sitting for a split second, but the second was long enough for Peter.

“Ahh, so it’s your thighs,” Peter concluded.

You bit your lip in anticipation. Peter’s hands hovered just above them, and you couldn’t help but let a few nervous giggles slip out.

“I have a deal,” he started as his hands neared closer to your legs. “If you admit defeat, I won’t tickle you anymore.”

You stubbornly shook your head and you clamped your mouth down more.

“That’s what I thought you’d say.” Based on Peter’s smile, you were certain that you had given him the exact answer he wanted.

His hands hovered just centimeters away from your thighs and they began to wiggle as he counted down. He was counting painfully slow, but you wouldn’t look away.

“3…...2….-” His hands latched onto your thighs before he hit one.

You would’ve yelled at him for cheating, but your belly laughter was using too much of your air. It was loud, and it seemed to fill the whole space with a sort of light, a light that Peter couldn’t help but grin at too.

He squeezed up and down your thighs just as you had done to his sides. “If you admit that I won, then I’ll stop,” Peter sang. You knew he was taunting you, but you weren’t willing to give in just yet.

“Fine, if that’s how you want it.” His hands moved down to squeeze just above your kneecap and your laughter went silent.

“Fine!” you screamed. Peter stopped and looked at you.

“You win,” you admitted quietly.

He smiled in satisfaction, but he cupped his hand to his ear. “What was that?”

You would’ve crossed your arms if you could’ve. “Peter you have super hearing, I know you heard that.”

Peter squeezed above your knees again.

“Fine, you won!” you yelled.

“That’s what I thought,” he laughed.

Peter finally released you from his web fluid and offered you a hand up. You each took your spots on the couch again, but this time you made sure to stay a safe distance from him.

“I hate you,” you joked as you finally got your blankets situated again.

Peter returned your grin. “You wish.”

The two of you peacefully existed for the rest of the day, happily enjoying one another's presence. Or at least you did till Tony questioned why he could hear your laughter from five floors down, and then Peter and you took off again.

[inevitably-johnlocked]

A Little LOKI Theory Post

*SPOILERS FOR LOKI E1-3 BELOW CUT*

I am loathe to admit that I love the new LOKI TV series, mainly because of the Mobius/Loki dynamic, the interesting sci-fi plot, and just... I so far surprisingly like every episode. This was the show I had such low expectations for, because I didn’t really like LOKI – I felt he was the Moriarty of the MCU, overused when they didn’t need him, and making me annoyed by an actor I love.

EXCEPT I’m also a sucker for character-driven, psychoanalysis stories, like all these D+ Marvel shows are, and it’s leaving me super shocked about me liking characters I didn’t before. I’m fully invested in all these characters now.

I think the only reasom I really wanted to see this show for was because it ties directly into the next Dr. Strange movie, so YEAH, I’m in love multiverse and time travel things, so it was inevitable that I would enjoy this show, I think.

AND of course, I’ve theories and speculations because there’s a lot to work with, and I LOVE stories like these, so I decided I would take some time out and stretch out my meta-writing grey cells. And I wanted somewhere to have my theories/ideas written out before they come to fruition, because DAMNIT I have headcanons and hopes and dreams.

So here we go, spoilers below cut. Please note I know nothing about the comics aside from what other theorists and reviewers have mentioned:

The TVA are “the bad guys” but I think it goes deeper than that... Like the whole Timekeeper thing is really sus. I think it’s only one Timekeeper, who is Kang the Conqueror, who maintains the Sacred Timeline to ensure that he stays in power to PREVENT the Multiverse War which I think he knows happened to stop him. I also think Renslayer is behind all of this suspicious thing; I learned that in the comics Renslayer is a love interest for Kang, so like........... SUS.

AND I think Multiverse War they talked about in the beginning of the show IS the Multiverse War they’re ABOUT TO HAVE. This is a show about non-linear time, and there’s hints about multiverses in the next Spiderman, and Dr Strange is LITERALLY called “Multiverse of Madness”. Wild Theory: Maybe Doctor Strange IS one of the Time Keepers following the Multiverse War.

Loki initially wants to learn the enchanting that Sylvie does for his own selfish gain, and I think he was lying about breaking the TempPad so he would force her to open up. HOWEVER, I think he had a sudden change of heart after learning about the TVA’s Variant Staff; we already see him sort of fond of both Mobius and remembers Casey’s name, so I feel like that he will end up using this knowledge he gained very differently.

Further on this point, they established in Ep 3 that TVA agents / staff need actual real memories to “manipulate” them. So, I think Loki will use this power he learned from Sylvie (I mean, she explained to him how to do it, and this show is really good at using the “Chekov’s guns” given to us) to bring Mobius to “his side”, and TOGETHER they take down the TVA and make it what it should be. Mobius is very dedicated to the TVA, so I really do forsee that it will be Loki “freeing” Mobius as the catalyst to swaying to siding with Loki until the end. He’s a good man with a big heart for humanity, so I think he will totally side with freeing everyone else.

On that note, I think the reason Mobius is fascinated with the nineties is because he’s a variant jetskiier pulled from the nineties. I suspect in his original timeline he probably had a jetski accident and died, but in the Variant timeline, he survived, and out of pity I think Renslayer “saved” him and recruited him. The TVA wiped his memories after he couldn’t cope with the fact that he was SUPPOSED to die.

ALSO still on Mobius, I think every time he keeps questioning too much, he gets his memory wiped, which would explain why he never remembers leaving the cup stains on Renslayer’s table.

I think there’s more to Miss Minutes than meets the eye. Another theory I had was that she was similar to VIKI in iRobot, essentially running the company to her programmed “laws” after the TimeKeepers passed on. So like there’s no TimeKeepers at all, but there was at one time, and Miss Minutes was left to her own devices.

Another theory similar to this, is the Doctor Who episode, The Long Game, where everyone wants to be promoted to “Floor 500″ because it’s rumoured to be a paradise and is the top floor no one has ever returned from; It turns out it’s run by an alien that feeds on the human or something similar, and the people who went to the top floor ended up frozen husks of who they were. Not saying it’s this exact thing, but more the idea that everyone thinks what’s upstairs is a magical wonderful benevolent corporation looking out for what’s best for everyone, but instead it’s one evil thing doing stuff for their own purpose. Eh.

Another rogue theory: Mobius IS a Loki variant, which is why he’s obsessed with Loki himself, knows Loki better than Loki knows himself, and either knows and omitted it, or DOESN’T know but naturally is intrigued by the Loki Variant and him always finding out the truth is WHY his memory keeps getting wiped, and why everyone is always squeamish about having a Loki around. Mobius mentioned that Loki is the one Variant they have stopped more Lokis than any other Variant....

On that thought: IF Lokis are the most common Variant they capture, I think a LOT of the TVA are Loki Variants, trapped in the forms they were presenting as when they were brought in, and because magic doesn’t work in the TVA, they CAN’T turn off the glamour, had their memories wiped, and in turn could now be Codenamed Casey, or Mobius, or B15........ An abstract theory, but I think it’s interesting.

And another, since I learned that it is in the comics: Mobius is a clone drone. This one saddens me and I really hope he’s not. Because I love Mobius.

I think Sylvie was a Variant who worked for the TVA, but somehow had an awakening and wants to free everyone else... the only thing against this theory is her seeming surprised that her magic stopped working when she arrived at the TVA. If she was an agent, she would know that magic doesn’t work within the TVA.

And I think this series will inevitably – if the rumours of a Season 2 are true – have the Mobius / Loki dynamic solving Time Crimes... a.... Holmes and Watson if you will. :D HAHHA.

So yeah. This list will change obviously for the next 3 weeks, and I had a lot of fun with this so I will probably keep it up.

Some things I hope happen by the end:

A giant “probably not going to happen because this is Disney”: I hope they pay-off the “bisexual” confirmation by the end of this... highkey with Mobius (damn it I ship them okay), but lowkey just even a passing remark about anyone LOL. I really ship Lokius, okay. I need this dynamic in the MCU

PLEASE DON’T KILL CASEY, we love Casey. #FREECASEY

I’ll be really honest here, I will effing GROAN and be a not-happy Steph if they do the ship that I think they’re gonna do: Sylvie x Loki. Which is weird to me that Disney would be okay with self-love, but the OBVIOUS initial dynamic of Loki x Mobius is too much, “look we gave you bisexual Loki, aren’t you happy enough??” Just. I dunno. It’s weird / a pet peeve of mine that a lot of online reviewers are bitching about “woke” Disney the one time they ACTUALLY FINALLY let a title character say they’re queer, but are all “UWU SYLVIE AND LOKI ARE GONNA GET TOGETHER BECAUSE LOKI LOVES HIMSELF UWU”. Even though Loki spent legit more screen time with Mobius, and literally did everything he told Sylvie that he wouldn’t do around people he doesn’t trust around Mobius ALREADY?? It’s like they already forgot about the first two eps. LEGIT the whole dagger=love metaphor LITERALLY happened in the previous two episodes, but alright chiefs. Anyway. Sorry, it’s stupid to be bothered by it. 

We’re gonna get that heart wrench moment that the other two shows had, and I TRULY BELIEVE it’s gonna be between Loki and Mobius when Loki tells / shows Mobius the truth. LOOK I JUST WANT MORE OF THEM OKAY. And I need my heart ripping moment in this show within the next two eps LOL. We got one in WandaVision. We got one in FATWS. GIVE ME ONE IN LOKI. MAKE ME LIKE LOKI.

Anyway, so that’s my rambling. Thanks for taking time out to read all this. I miss theorizing, and this show is perfect for me to do it. I’m not AS good at these shows as I was with Sherlock, but it’s still fun, because it’s new and my brain is full of headcanons and idea things. I’ll write again after Ep 4, I think. <3 Thank you lovelies for letting me do this!

[magireco]

out of curiosity what do you think of the characterization of homura in rebellion? i hugely dislike it but get the impression you enjoy it which i think is interesting cuz we seem to have very similar thoughts on homura pre-rebellion (CORRECT ME IF I AM WRONG)

THIS IS INTERESTING BECAUSE IT DEPENDS ON WHAT FLAVOR OF REBELLION HOMURA YOU MEAN. i really really like the way she was done in the first half of the movie but as for the twist at the end...? mmm...

...okay, so... i've been thinking about saying this at some point but i keep avoiding it in fear of causing discourse and such bc... this is a really unpopular opinion apparently, but I really do not think devil homura was done properly. read under the cut if you wanna know why i feel this way!

the first issue i'm going to address is that there wasn't NEARLY enough buildup for it. i'm going to explain this from the perspective of a first-time viewer: what would you have thought would happen after the very last scene of rebellion leading up to them breaking homura out of her soul gem? when homulilly got purified and the flowers on her head turned to sakura flowers (y'know, the flowers that symbolize life and rebirth, homura being reborn from her witch)? did you think homura was suddenly gonna undermine madoka's godliness? because, uh, first-view me did not think that at all. and neither did almost anyone i know who watched it for the first time. not only is that poor setup but it's just so sudden and it feels so out of character compared to what we'd seen in the entire series as a whole, especially considering that the entire last part of the movie leading up until that was about purifying her... and saving her... there wasn't enough buildup. most people are like "but the flower scene happened!" but that's still way too vague...? it's hard to tell what conclusion homura comes to at the end, because we don't get to see any of her internal monologue... there is no other buildup after the flower scene... it just skips to homura realizing she's a witch. wouldn't that bring the viewer to think the flower scene was something that made homura realize she was a witch rather than her suddenly starting to form her plan? it always felt like to me the conclusion homura came to at the end of the flower scene was that she was validating madoka's bravery and telling her that if it ever came to that, she'd have the ability to make that hard decision. which is... so... weird? because i always interpreted that as homura coming to terms with what happened? i could just be interpreting it wrong though, but isn't that supposed to be our proof scene? our buildup scene? why would they make it so hard to understand? we need to know such important buildup points just as blatantly as the natural buildup to homura becoming a witch was. that's just from a moviemaking & writing perspective though.

secondly, i'm gonna discuss homura's motive. i actually ended up understanding were she was coming from after a while of being like "what the hell that makes zero sense!!!!". madoka is a 14-year-old girl who, in order to save the fate of every magical girl, literally had to sacrifice herself and erase herself from the world, and in the end, madoka just ended up saving homura again, and that must've made homura feel like her promise with madoka was never fulfilled. it's unfair what happened when you think about it and the law of cycles should not have been run by madoka herself because she, as any other 14 year old, deserves to be happy on earth. although it was said in magireco that madoka felt happy with what she was doing (and she felt like it truly gave her a purpose), she did admit to feeling lonely and homura probably made that assumption big time. but the way the writers went about it just made her seem so sinister... so out-of-character-ly sinister. what with the evil smirking and the deepened, almost... uh, sensual-seeming voice, and homura completely ignoring madoka's fear. it feels like they twisted her character extremely suddenly and it throws the viewer on a loop. they could've gone with that ending without making such drastic and sudden changes to homura's character, and if they were planning on doing that, why did they not give us more buildup? buildup that wasn't extremely cryptic that you have to scan and search every detail to get a clue? something i love about rebellion is that every time you watch you find something new, but how come some of the only clues illuding to devil homura's existence are in the op? it's odd. why didn't they go with something like making the incubators run the law of cycles? they were the ones at fault for causing it to be created. but honestly, the incubators cannot be trusted with anything, which is why it'd make sense for a magical girl to run the law of cycles, but if homura and madoka had the combined power to do so, what if they just remade the law of cycles so it was less unfair to madoka...? i don't know. either of those possibilites would make more sense than what happened.

something else that kind of irks me about it is that they demonized(literally, lol) homura's love for madoka. homura is very much a canon lesbian, and it's incredibly discomforting to me that they made her seem, outwardly to the viewer, so selfish...? please don't get me wrong, i'm not ACTUALLY calling homura selfish -- i know the entire akumura facade is a mask she put on, but like, it's so much more blatantly sinister than she is in the series when she's putting on the coolmura facade. it's going to really confuse the viewer and see every single one of her actions from the entire series in a completely different light, INCLUDING stuff that happened in rebellion itself. like the genuine sadness homura felt, the way we saw into her soul and felt her pain, that genuinely made a lot of people i've seen think that it was ingenuine upon first inspection... they made homura turn "evil" out of her love for madoka, as if it's a bad thing to fall in love, and as if love for another girl was what corrupted her soul gem... i understand that gen urobuchi probably wanted to explore that kind of path where love leads to obsession or whatever, but homura was selfless to a fault, constantly trying to force herself away from the others in order to not get attached, and deeply afraid of seeming creepy and predatory and scaring(she said this herself), which is exactly what she ends up doing at the end, and i feel so awful that they did that to her... how is the viewer supposed to know what her true motives are at that point? it gets all scrambled up after they did that huge plot twist. i'm going to address another thing super quick before people jump in my ask box over this, i understand also that it would make sense for homura to be obsessed with madoka, but in the series, it was never shown in this light, and like i said, if they were going to do this, why'd they even have the purification scene at the end at all? the buildup is all wrong . it also just made me upset that this ending caused SO many people to start literally believing homura is evil because of her actions at the end, and it made people become even more vehement on their beliefs that homura is obsessive and ps*cho...

i was really confused when i watched it for the first time (and also sobbing hysterically, literally, my funniest rebellion story as someone who has genuinely watched the movie 40-ish times, i remember vividly the first time i watched it i started sobbing on my hands and knees on a yoga mat in my mom's room). also like, just to prove my point a teensy bit more, the ending was so ambiguous and out of nowhere that one of the first google results to "madoka magica rebellion" is "madoka magica rebellion ending explained" because it shocked people so much that that was the first thing they needed to google. also, the fact they left us on such a vague cliffhanger and then abandoned the movie series for a total of 8 whole years only to make a sudden comeback in god's holy year of 2021 was almost cruel. LIKE GUYS I JUST FINISHED UP MY DEVIL HOMURA HEADCANONS IT TOOK YOU LONG ENOUGH!!!

...anyways, um, i really have to address the sexualization. madoka magica, previously, was a series that avoided fanservice in the show, at least, but why did they make akumura's design look like that...? it shows an unsettling amount of skin and like, every three seconds in the end they're focusing intensely on her lips and her eyes and... it's almost like the writers forgot she was 14, but they never seemed to forget that in the series? what happened????? in the transformation scene, we get closeup views of homura's thighs and back and stuff and it's all open everywhere... they made her tights into thigh-highs... in the whole series, even when she went to school, she always wore tights, and she was wearing tights in her magical girl outfit too... they absolutely deliberately did that to sexualize her further so they could make official art with her thighs out. speaking of official art that unsettles me, why does so much of the official art make the whole outfit just glued to her body and you can see all the shading on her features... it's just. ugh. anyways.

i went off a LITTLE too much on this and i know this is probably gonna get me some weird glances in the fandom and i am open to hearing other people's opinions but i don't think i'll ever stop disliking the effect this plot twist had on the fandom's interpretation of homura and although i'm like UNDENIABLY incredibly hyper excited for the next movie, i'm kind of...nervous for what this is going to bring? i don't want this next movie to cause the same amount of discourse the ending of rebellion did and i legit just want to see homura happy. another one of my main issues with the ending is just that homura is SO unhappy when she literally deserves to be happy SOOOOOOO BAD and just take a break from all the loops ... i'm Praying to madokami out there that that's what happens.

i know this is all really funny coming from someone who draws devil homura on a regular basis and literally writes her, but like... i'm a lesbian i'm allowed to<3

ANYWAYS thanks for listening this was a fun ask!!!

[why-this-kolaveri-machi]

we are our family, even if we don’t want to be.

Titans 3.07

a bit over halfway through the season, and we still don’t have all of our main characters on the board! i love this show.

as always, typing this up as i watch. live reaction, baby! *shadowboxes*

SPOILERS AHEAD

1. i don’t think i’ve mentioned this before, but i kinda miss the old ‘dc universe’ intro. it was cool! the whole idea of it was wild and waaaaay over-ambitious, but also very very on-brand because of it.

2. this is... the third time we’ve seen dick sleeping this season? that’s a record! checking another thing off my s3 wishlist...

2.5. i guess i rag on titans all the time for its wafer-thin plotting and bad pacing, but i have to admit that this season has been a step-up from the last one in this regard. titans has very reactive rather than proactive protagonists, and a lot of the last season seemed to be: x happened, the team reacted badly, then y happened, they reacted badly, etc. this time around, it’s not a huge leap up by any means, but at least they’re doing something about it. 

i do appreciate the focus on character arcs over everything else. and when i say everything else, i mean it: arcs that started two seasons ago with no big cathartic moments, intermittent payoff and multiple relapses. big bads have ranged from interdimensional demons to superpowered assassins to whatever in the world scarecrow is, but trigon’s big weapon against the titans was to... use their worst fears against them. slade’s was to... use their fears to break them up. crane’s is to... use red hood to use their fears to break them up. even the threat of gotham’s citizens being in danger doesn’t feel real: gotham is mythologised into an entity of its own, infecting our heroes like a parasite. like. this is not to say that most other superhero media aren’t big character arcs intertwined with the main plot, but titans doesn’t even make pretend that it’s anything but.

anyway. that’s my entry #2345 to ‘give a grand unifying theory for titans’. thanks. i’ll be back with more.

3. “anger is just fear in a little black dress.” god I HATE HIM

(what’s he doing with barbara’s likeness? oh... oh god. a terrible thought just occurred to me. what if they introduce hush at the very last minute for plastic surgery shenanigans? would you put it past this show?)

3.5. jason, nooooooooo

3.75. i mean, they’re making it very clear here that scarecrow is the one in control--the one who’s always been in control--and is manipulating jason and literally poisoning him, but i hope it doesn’t end up erasing nuance or jason’s autonomy. if jason’s to reckon with the issues that brought him here, then the lines of responsibility will need to be set somewhere. 

(this applies to dick as well but more on that later, i guess.)

4. just--the phrase “40% loss of income” is so funny to me. like, gotham is full of these larger-than-life characters who are idiosyncratic beyond belief, colourful and dramatic and creating chaos just for the sake of chaos, and then there’s the regular criminals and their henchmen who just want to make a quick buck sitting down with pie charts and graphs, griping about the joker reducing their returns or debating high risk investments in, i don’t know, two-face’s next scheme.

“yyyyeeeeeaaah, my financial advisor is telling me that going all-in with a guy who literally makes decisions on the flip of a coin is probably not the greatest idea.”

4.5. god i hate smug!smarmy!scarecrow so much

4.85. as big plans to “control” gotham go, it’s pretty bog-standard. clearly scarecrow has some bigger plan in mind but it really feels like we’ve got no clear insight into him and he’s this generic creepy mystery-man who knows more than he lets on and springs a twist/cliffhanger every now and then. i liked the scenes with him and dick in 3.04 where it seemed like he was genuinely on the backfoot and things weren’t going as he predicted. for all of his faults, dick is at least familiar with scarecrow’s bullshit and knows not to give what he wants.

5. i mean... i see where dick is coming from with the “he’s not jason anymore; he’s red hood” because his immediate glaring concern is scarecrow’s drug and the damage it could potentially cause gotham? i do not doubt that it’s something batman drilled into him, too, but when you’re expected to take point on a situation where the lives of an entire city weigh down on your shoulders, it’s better to simplify things and prioritise. i’m not saying it’s great or healthy! gar is absolutely right to consider this facet of the situation. it’s just dick can’t.

6. hmmmmmmm. HMMMMMMMMMMM. 

i don’t know that i’m super fond of this iteration of oracle???? it looks like a cross between cerebro from x-men and jarvis from iron man. it’s giving me second-hand embarrassment. somebody help me.

(at least they remembered dick’s middle name is actually “john”. i like to think bruce printed D in that contract because for a while he genuinely thought richard “dick” grayson was his full name. duck duck goose, dick dick grayson, i don’t know alfred, the kid was in a circus, maybe they thought it was funny. or maybe it was a test in anger control, who knows.)

6.5 “maybe you two would like some time alone?” even AI can’t help hitting on dick grayson in this universe.

“oh mr grayson, if i only had another eye to see you better...”

6.8. on one hand, it’s a bit disconcerting that the title of ‘oracle’ has gone from barbara herself to this gigantic machine; from my impression of the comics-verse, barbara had an extensive computing and surveillance system, true, but she was very clearly the brains behind the operation. on the other hand, i’m kind of glad that the ethical boundaries that this kind of surveillance violates is a sticking point for barbara. (tho let’s be real, the nsa would kill to have this in their arsenal).

6.9. also it’s now obvious that scarecrow’s big plan is to take control of oracle itself. it’s why he had lady vic take that picture of her eyes, or why he’s meddling around with it on his computer.

6.95. if only i could ‘command sleep’ anybody overstepping their boundaries re: personal information...

7. “you can just sit back and watch as the titans destroy themselves.” i mean... he’s not wrong

8. “dick’s parents were killed by a criminal mob; he won’t work with them.” it’s wonderful that you have this insight into dick, kory, i just wish we could’ve watched some of these conversations actually happen on-screen.

8.5. i’m glad that kom’s being treated with such nuance and understanding, though it’s obvious that she definitely has a Plan of her own. (and did i entirely imagine her ability to mimic other people flawlessly at the end of s2? or is that going to come into play at some point?) i think her story has the potential to be genuinely poignant, and in a universe where being Different, either because of mental health or physical differences or whatever else, leads a straight line to Evil, it’s important to acknowledge and then emphasise that the mere fact of your existence as a Different Person doesn’t predispose you to evil. maybe your act of destroying a system that has destroyed you and not scrambling to “fit in” is only evil as defined by that system. 

8.8. “you’re trespassing, i should call the authorities, i feel unsafe.” now this is a villain lady who’s definitely aware of her privilege.

8.85. kom smirking knowingly at her sister is everything.

“oooh that’s the kory i remember”

9. conner and dick working together woo!

9.25. god i hate a villain who’s always just a step ahead, no matter what. so crane anticipated dick using oracle to track his personal communications and set him up? how did he know when exactly dick would get to do this? how long did he have that poor man tied up in that van?

(the “save me, grayson” is a nice touch, tho. send dick spiralling even further! because if there’s one thing dick will do, it’s take responsibility for every goddamn thing that goes wrong.)

9.5. ahem. i’m going to need a million gifs of conner yeeting dick across that yard, fandom, thankyouverymuch.

(i understand conner is invulnerable to explosions, but how do his clothes survive??)

9.8. oooh crane is already in oracle! i’m just sitting here laughing helplessly because they’re overpowering this goddamned guy so much. he can build a lab in arkham’s basement! he has access to lazarus puddles! he has minions working across gotham, including a fully functional chemical laboratory staffed by chemists who only answer to him! he has the crime families of gotham quailing in his very presence! he has assassins at his beck and call! he’s enough of a manipulative bastard to have red hood under his thumb! and now he has enough of a tech know-how to not only be aware of oracle, but know how to hack into it! i’m sick of exclamation marks! i’ll shut up now!

9.95. dick leaving behind that smouldering grave for a person he failed to save without taking a second to process how he feels about it and running towards his next plan to corner scarecrow: a microcosm of where his head’s at right now.

10. really hammering in the themes of this season, aren’t we. 

10.25. the interesting thing is the titans repeatedly call themselves a family this season (none more so than dick) and while that found family has helped encapsulate and put away their traumatic experiences with their ‘original’ families, it’s meant that they’ve not really dealt with those issues. and dick and gar and jason come from ‘found families’ of their own: they are twice removed, traumatised two times over. they still cling to this identity however, and because of it they’re losing each other. a family isn’t static. it’s an ever-evolving dynamic and you have to put in work constantly to keep it healthy.

10.5. anyway, that’s entry #2346. i’m here aaaalll night.

11. lookit gar the detective! half-transforming and using his powers to deduce things! what a hero! i’ve said this for a long time, but gar is the bedrock of this team, and an unsung one at that.

11.25. i’m confused about him calling this room jason’s though. it seems to me that this is dick’s room that jason later used, and one that dick’s using now. so the unmade bed isn’t really jason’s fault; dick was woken by barbara that morning, and in his hurry, he left without making his bed.

(it still confounds me that bruce didn’t find jason another bedroom in that gigantic mansion of his. you really didn’t give this kid a chance, did you?)

12. oh well. so much for the oracle.

13. ... sorry, wait. you didn’t think i wasn’t going to address the bit with dick right now, did you?

12.5. i honestly don’t think it’s very complicated: dick’s been reeling from one traumatic thing to the next, and just when it seemed like at the beginning of the season, he felt happy and secure with his team and his place in the world, bruce ups and leaves gotham to him, specifically naming him a successor and calling him a ‘better batman’. he’s lost garth and jericho and donna and jason and now hank and dawn. he’s not even sure where rachel is or what she’s doing. after being told that batman was a psychopath for moulding him into a weapon, he’s also been told that his failure to be a ‘better batman’ lead to further disaster. of course he’s going to get batman-goggles. of course he’s going to be a prick. 

12.8. i don’t know what to say. i feel his frustration acutely. i don’t think he should’ve said what he said to barbara (can people stop pushing her around this season????) but that pressure to step in where your parent fails? to clean up their messes and try to think like them? to fall into habits drilled into you when you developed them as coping mechanisms growing up? I FEEL THAT. 

every step he’s taking he’s putting 110% of himself in it and scarecrow’s still playing mindgames with all of them: i absolutely feel his desperation to take control of that game and turn it on scarecrow, no matter what it takes.

and he did apologise almost immediately, and finally--finally--actually works with barbara. 

12.9. again, not excusing him! but i get it. and i think that’s a sign of great character writing.

“did you know i just reminded emmram of all of her daddy issues? what the fuck????”

12.95. i love that dick&barbara, kory&kom, and gar are all approaching solving this mystery from different angles, each as valid as the other. also, conner is there as... emergency bomb defuser man?

13. it’s like all fancy rich people in fancy rich houses do is pour fancy rich alcohol into fancy rich glasses on pristine, untouched tabletops. i wonder what it’s like to live like that.

13.25. I KNEW IT! poor michael. it was nice knowing you.

13.5. man, kory is contending with a lot of issues that she’s successfully bottled up and compartmentalised until now. the cold reality that a child can seek out their parents as refuge and they can view the child as a piece to be moved in a greater game (never out of cruelty, though, never, and somehow that makes it worse), that truth of blackfire’s treatment on tamaran because she’s different, and her own culpability in what happened. she exchanged one family for another, after all, and left that family to die and her sister to suffer. like dick, like gar, kory’s being forced to reckon with what the titans are meant to be, the larger implications of creating their found family in their own space.

14. it’s probably because it’s one in the morning and i’ve had two glasses of wine but i did not follow that bit of exposition at all and victor freeze??? what? 

anyway. look at them solving things! together! go team!

“you made a deal with the mob?” oh the sense of betrayal on his face! fuck off, dick, your issues aren’t kory’s. 

15. conner is really sweet and a bit of an awestruck crush on kom is to be expected. especially after that power rangers-esque transformation (i say this as a former huge power rangers fangirl. i’ve seen every series until 2007 including the original japanese versions and written fanfic for all of them. so i love a cool costume transformation, is what i’m saying.)

also?

FUCK YEAH

16. i love the gotham crime families just chillin’ around eating ice cream. I LOVE THEM

16.5. that was a fun fight sequence, if marred slightly by that bit of awkward flirting between conner and kom. i wonder if she’s really planning to use him in a larger scheme to get kory back to tamaran, or maybe something else. 

16.75. so i’m assuming that scarecrow has jason either so paralysed by fear that he can barely move, or jason’s withdrawing from the drug that he’s been sucking in every few minutes. 

17. it’s nice to see them chill after a successful mission! and it can be awkward, but conner’s crush on kom and him striving to impress her is also, well, uh... cute.

17.5. i guess the dick/barbara scene was inevitable, especially given the... unresolved nature of their relationship in the flashbacks? and they’ve been through a rollercoaster together this episode, discovering and then destroying an incredible tool within a matter of hours, re-discovering just how well they work together as a team. dick’s swimming in the nostalgia. i don’t expect it to last as a long-term relationship, but i totally get why this is happening now. and hey, they’re cute!

i have a weeeirrrrd feeling that kory is going to leave to tamaran at the end of the season and that dick and kory will rekindle--or rather realise--their relationship just before that. it’s going to be devastating and beautiful and painful and i will be writing essays about it which would be me just wailing into the screen.

18. gar found molly!!!!!!! MOLLY’S BACK! \o/ gar is the BEST

19. that was a fun episode! i love this silly show, even if it does destroy me sometimes <3

[stealingpotatoes]

I am OBSESSED with your Desmond lives AU!! I want Shaun and Rebecca to be able to give Desmond all the hugs, I want Desmond to be able to choose to be an Assassin, to be able to help save the world again. Also, I am very curious about how you would resurrect Desmond, because I’ve had similar thoughts on such an AU, but I currently stick it near the end of Valhalla with the stuff that happens there. If you ever feel like expanding on it, I'd be super excited to see more!!!

first of all, AH THANK YOU!!! Yes those are ALL points that are very important to the Des Lives AU! Second of all, thank you so much for this ask in general!!! I was hoping someone would send an ask like this so I’d get an excuse to talk abt the AU more lmao XD!! I made this AU back in March last year, so there’s no Valhalla stuff in it, and it’s set right after/ during the Odyssey DLCs. 

The long story short for my Desmond Rez (rezmond, if you will) is “shroud of eden, abstergo, and some Isu bullshit”. The long story long, however, is uh- you know what? I’m going to use this opportunity to explain the vague story I worked out last year -- but dw, I WILL get to the full ressurection explanation I thought through. However... I’m gonna have to tell the story in smaller parts because I’m lazy and can’t be bothered to write the whole thing out right now. So rez comes later and not in this post. 

also uh-- before we start: I’m going to apologise for like… everything about the way I wrote this. It’s sort-of half fic, half that-way-your-friends-colloquially-tell-stories-that-you-can’t-keep-up-with. Mainly the latter. If you can make sense of this babbling, well done.

 Anyways, without further ado, welcome to:

POTES TRIES TO EXPLAIN HER DESMOND (SORTA) LIVES AU: PART ONE

On the 21st of December 2012, Desmond Miles dies. 

It’s not for nothing -- his sacrifice saves the entire world from a solar flare -- but he is dead. big ripz. The Assassins, his family, do not manage to recover his body. Abstergo gets it first. The Assassins hold a funeral as best they can. They mourn (all in their own ways), they keep fighting (for his memory), and they try to move on (they can’t). 

On the 21st of December 2012, Desmond Miles died -- so when he shows up in a city in October 2018, almost 6 years later, it’s a bit of a shock for everyone. What’s even more of a shock is the fact he’s glowing like an Isu and has some abilities he DEFINITELY didn’t have when he died.

So Desmond wakes up in the middle of some city in he doesn’t know where (yeah ok i just never really worked out where the secret lab would be), with 1. no idea of how he got there and 2. no idea why his arms are glowing like that. He doesn’t get much time to think about it because then there’re a load of Abstergo goons with guns surrounding him. Des may have no idea what’s happening, but he knows one thing: when u see an Abstergo, it’s on sight. So he’s fighting them -- which is admittedly not fun or easy when you’re in the middle of a road and only have your fists as weapons. It’s not going well and then someone definitely manages to shoot Desmond which is very bad -- but then Des feels some very weird (but not unfamiliar) feeling and when he looks up from the bullet wound, every one of the Abstergos are on the floor???? He doesn’t think to check if they’re dead, just legs it out of there lmao. 

//

Elsewhere, in an Assassin safehouse in an undisclosed location (can you tell I just didn’t think about the geography of anything), Mr Shaun Hastings is chilling on a balcony after a mission well done. Good for him. Then Rebecca Crane (queen ilu) yells “Shaun?” from inside. 

“Rebecca?” 

“Come inside. Now.”

Shaun immediately does so because he assumes it’s important or they’re under threat. “What happened? Have we been compromised?”

Rebecca doesn’t answer. 

“You look like you’ve seen a ghost,” Shaun says, mostly joking and with a little smirk -- though Becs looks spooked. 

“Desmond’s alive.”

Shaun’s not smirking anymore. “What?”

“Desmond’s... he’s alive.”

“What are you talking about? Are you high?” he’s totally about to look at her eyes to see if they’re all dilated and druggy. 

“No Shaun, I mean it!” Becs harshly shoves her tablet into his hands. 

Shaun doesn’t really know what he’s expecting to see when he looks down at the screen. What he’s not really expecting to see is Desmond Miles, who’s been dead for six years, fighting a load of Abstergo people -- while lined in Isu markings (also he’s not wearing a shirt forgot got to mention). ??? But wtf??!?! Desmond’s dead. That’s...

“It’s security camera footage from [the city]... About two hours ago.” Rebecca then swipes through more footage with shaky hands and explains that Des very violently burst out of an Abstergo facility in the city with glowing eyes and light leaking out of him (almost like an Apple of Eden). Then the glowing eyes and shining lights shuts off abruptly and Des is standing in the middle of the road looking very confused at his precursor-ass arms and chest. But Shaun is barely listening to what she’s saying and barely even looking at the screen. 

“Where did you get this?” Shaun asks with a hollow voice, not looking up. 

“The Initiates.” (bc who else)

Shaun looks at it again, then at Rebecca, and he’s mildly aware of the fact he’s slightly tearing up; “That’s fake. That can’t be him. He’s dead, Becs. We both saw the…” They both saw the autopsy footage the ac4 researcher got from Abstergo -- or at least, tried to watch it; they shut it off as soon as Shaun ran to the bathroom to throw up and Rebecca quickly joined him. They spent the rest of that night crying and drinking way too much. 

“He died.” Shaun concludes firmly. 

And so Becs is all like “yeah but what if he didn’t?? We need to find him. We need to investigate this.” There’s a determination in her eyes and Shaun knows he’s not going to be able to convince her to drop this -- not that he would. Desmond might be alive, and there is no way they’re going to leave him again. 

They’re both standing there in pure shock and confusion, not saying anything. 

Rebecca’s comm device lights up and starts buzzing, snapping them out of their general ????-ness. Becs goes to her desk to grab it, glances at the caller id and then shows it to Shaun. It’s William Miles. 

The two of them share a Look. They know what he’s calling about -- what else would it be? There’s a stilted moment of neither of them doing anything before Rebecca finally accepts the call. “William?” 

“How quickly can you and Shaun get to [city]?” William sounds shaken -- probably the same way Rebecca and Shaun are -- which is a very weird way to hear the Mentor of the Brotherhood sound. He’s seen the footage, hasn’t he? 

“In a few hours,” Rebecca replies. 

“Good. You need to get there as soon as possible.” 

Everyone’s silent for a few moments. 

“Is this about Desmond?” Rebecca asks. Dumb question. 

There’s a pause. “You’ll be briefed on the ground.” And then he hangs up before Shaun or Rebecca can yell at him.

This is all moving very fast. Shaun and Rebecca share another look. Guess they’re going to [city].  ???

// 

Fast forward several hours and Rebecca and Shaun are in The City [might just have to make the city london bc it’s the one city i actually know well -- however for plot reasons we’ll see later, a swiss city might be better… moving on!]. They get to an assassin base and meet up with Galina Voronina and 2 local assassins. Idk if you’ve read the comics, but to sum things up quickly, Galina and her team were investigating and then ended Project Phoenix -- so Galina now really wants to find out if the whole Desmond thing has anything to do with that. 

Galina also wants to help Shaun and Rebecca get their friend back. They’re her friends, but equally she just lost one of her teammates to Abstergo (while ending Phoenix like 2 months ago, in the comics) and is uh- idk how to say it but she wants to help Shaun & Becs who have a chance to get their lost teammate back.

What follows is cool gang-gang trying to track down any trace of Desmond. You’d think it wouldn’t be hard to find a person who literally glows, but Desmond’s had centuries of Assassin training and knows how to hide lol.. which is making the Assassins’ job harder lol. 

What’s making it even harder is the Assassins know they have to be quick because they know Abstergo is gonna be looking for Desmond too -- and they have way more resources and stuff. That being said, they’re also currently dealing with the fact one of their building and a decent amount of their guards just got absolutely mullered by weird-glowing-desmond. 

The third issue with their entire thing is that they have no idea what they’re going to find when they find Desmond -- or if he even is Desmond. Is he going to be the man they knew but with weird powers? an Abstergo isu-clone? evil? they don’t know, and so they know they’ve got to be wary with him. 

The Assassin gang spend some time (a couple of days at the very most) trying to track Desmond down. Rebecca is using all the tech she can get her hacker mitts on to find a trace of him and equally throw Abstergo off Des’ trail. 

Soon enough, they get a solid lead -- don’t ask for the specifics, i don’t know them. But they get a lead, and it winds them up in an abandoned apartment building or also abandoned building site or something (a building in the city where there aren’t any people, basically). 

Galina scans the place with Eagle Vision and she’s like “There is something very strange about this place.” (someone?) But she doesn’t see a person-shape anywhere. The 5 of them are hopeful but somewhat on edge. 

They go about searching for any sign of Desmond. Galina’s pretty sure her Eagle Vision is just… Messing Up A Lot lol. Like something’s trying to heck with it. So she’s not quite sure it’s working correctly when a load of red figures appear somewhere below them. 

She becomes a lot more sure when the red figures come into sight and START SHOOTING AT THEM! IT’S ABSTERGO!! CRAP! they found them!!

The assassins get down and a really cool fight scene w them vs the Abstergos in the building/ building site starts playing out. Woo Shaun and Rebecca electro-hidden-blade moments!! The fight splits the squad up and Shaun and Rebecca are away from Galina & the others -- but they dispatch the Abstergo guards near them.

They’re about to radio in that they’re all okay/ check if Galina & co are also good when they hear a slightly-too-loud footstep. They whip around to see an Abstergo guard aiming right at them, too far for either of them to get him before he shoots them. crap crap crap.

They would have been shot -- if someone hadn’t come up behind the Abstergo guard and snapped his neck (ouch). 

The Abstergo drops to the ground, revealing the person who saved them and… Shaun and Rebecca stare in shock. 

They’re both looking at Desmond Miles. 

Desmond Miles, who is very much alive (and wearing a hoodie that is 100% stolen). And… with a load of glowing yellow lines on his face. But it’s Desmond -- it’s Desmond for sure. Holy shit.  

Desmond doesn’t seem so shocked, only relieved to see them. Then his expression turns into serious confusion; 

“What the fuck is happening?”

///

ok sorry leaving it there for now! hope you enjoyed what is here will continue soon

[eldweena]

Continuing on my very first binge of Buffy the Vampire Slayer: I have finished season 2! I liked season 1, but I loved season 2. Until the end. If you also haven’t watched this show, beware of spoilers below. This time I decided to write some thoughts about each episode of the season. It was quite the rollercoaster. S2E1 When She Was Bad Okay, but did she have to be mean? I really disliked Buffy in this episode. Yeah, okay, her sexydance was hot. But she was downright cruel to Xander. That was not okay. I thought, though, that it was a very smart move opening the season getting back to Buffy’s vampire-slaying roots. S2E2 Some Assembly Required I really enjoy the Frankenstein trope! (Not Frankenstein by Mary Shelley; that book bored me horribly! But it was a buddy read and I refused to DNF.) There was a serial killer in Dragon Age 2 that did the Frankenstein thing and it. was. horrifying!!! But also fascinating. I really dug the concept. And while I always liked Cordelia, she grew on me more and more with every episode this season. S2E3 School Hard FINALLY, Spike has made his appearance! I like him a lot. Not in a shippy way with Buffy, but as his own character. Drusilla, I hate. I like her madness but she’s obnoxiously whiny. I do not like the way she pouts like a baby to get her way about things. I also hate Principal Snyder A LOT. Buffy’s mom was super cool in this episode, though. I was shocked when she took an ax to Spike! S2E4 Inca Mummy Girl This episode was almost perfect! When I was a teenager I took 4 semesters of Spanish and loved it so much. I was very interested in the native peoples of South and Central America. The Maya were my favorite, but second were the Inca. I really liked the mummy princess who came back from the dead. Aside from having to drain the life from others to sustain herself, she was a really nice girl and easily made friends with everyone. And she wasn’t a fake friend or secretly evil; she seemed like a genuinely good person who didn’t want to do what she had to do to survive. So, to me, it seemed that Buffy was so remorseless in taking her out. It made me sad. S2E5 Reptile Boy I wasn’t the biggest fan of this episode. I really do not get the whole Illuminati thing and I didn’t like how rapey it all seemed, with the frat boys drugging girls. It gave me a yucky feeling. I could have lived without seeing this one. S2E6 Halloween Okay, this was absolutely my favorite episode up to this point. Willow really stood out to me. And the plot was so cool! Everyone turned into whatever they dressed up as for Halloween. That’s so fun! I liked finding out that Giles had a dark past, too. This episode was so cool. S2E7 Lie to Me I really enjoyed this one, too! I didn’t like Buffy’s friend but the reasons for what he did became apparent. I really, really love the trope of vampire-worshipping cults/vampire wannabes/groupies. I just do! S2E8 The Dark Age Again, nice to see Giles further developed as a character. It broke my heart that Jenny Calendar pushed him away, though. They were so cute together. The plot wasn’t my favorite and I’m not sure how I feel about the creep from Giles’s past. I have a feeling he’ll be back. S2E9&10 What’s My Line (1&2)? The only thing I really liked in this episode was Angel ending up in a cage and also burned to death by the sun. I just love that kind of danger-drama! I also loved that since Buffy was technically dead for like three minutes, another slayer was granted slaying powers. That was so cool! But I’m not sure I liked Kendra. She was just mean all the time... A bit two-dimensional. And that accent kept jumping back and forth between Jamaican and Irish. lol The actress was beautiful but the character was not my cup of tea. I did think, though, that she improved by the end of the episode and would have been interesting to see grow in future episodes, but...well...you know. Cordelia was hilarious in this episode. And I KNEW IT. I KNEW she and Xander were going to make out because of how much they’d been fighting. Hahahaha!! I love it. S2E11 Ted I gasped aloud with glee when I saw John Ritter! I adored John Ritter. Then I saw how evil he was and BLEH!! That Ted guy was the worst. lol Actually, I mostly hated Buffy’s mother in this episode. She literally walked in on Ted in her teenage daughter’s bedroom, actively choking her, and still blamed Buffy for “killing” him. I knew he was going to come back as something evil, but it still hurt to see Buffy so depressed, thinking she had murdered someone. Even if she had...he was in her bedroom, choking her! Ew, ew, ew! Kill him dead. lol I didn’t suspect he was going to be a robot, though. I really liked this episode! Sometimes I’m not sure Sarah Michelle Gellar is the best actress, but she was brilliant in this episode. S2E12 Bad Eggs Um...eggs hatched into mutants, which latched onto humans and turned them into drones to do their mother’s bidding. Sooo gross. They were so hard to look at. Also, again, I saw this exact scenario in a video game (Breather of Fire II, which I realize is so ancient that I have really dated myself), and they even looked exactly the same. lol Still, this was pretty entertaining. If hard to watch. *shudder* S2E13&14 Surprise/Innocence Interesting that Buffy is having some precognitive dreams. I liked the way they pieced together the Judge villain character and brought him to life. I am a hardcore Buffy/Angel shipper (at this point) so them sleeping together melted my heart! But THEN--! No, no, no! I mean, I’d read a spoiler at some point that Angel was going to revert to the evil vampire ego Angelus at some point, but this was the worst possible time! Okay, actually I enjoyed that drama. But I also cried literal tears because it just hurt so bad! Loved Buffy getting her hands on a mini rocket launcher at the end to take care of the Judge, and I appreciated her kicking Angelus in the balls for what he did to her. At this point I was starting to pity Spike while enjoying the way Angelus was stealing his thunder. Still want Dru dead, though. S2E15 Phases Okay, I admit I’m streaming a lot of these episodes while I’m at work, so I don’t necessarily have my eyes on the screen while I’m watching. But seriously, did I miss something? In this episode there’s a werewolf killing people. They discover Oz is a werewolf (which unfortunately I already knew was coming because I’m reading Kendare Blake’s new book, In Every Generation, and it’s loaded with spoilers), and everyone is just okay with that??? Was he or was he not murdering people? I know Angelus murdered one person, but not all of them, right? WHY DID BUFFY KILL THE CUTE INCAN MUMMY GIRL BUT NOT OZ THE MURDERING WEREWOLF? I do like Oz a lot, though. And I adore him with Willow. (Yes, I KNOW. But, for now, I like her with Oz.) S2E16 Bewitched, Bothered, and Bewildered I like Oxford commas. I loved this episode. Hilarious! Okay, it was creepy when the adult women were coming onto teenage Xander, but the way Cordelia stood up to her friends and openly admitted Xander is her boyfriend? UGH! SO GOOD!! I love them! S2E17 Passion I was really not okay after this episode. First I thought it was sweet Angelus sneaked into Buffy’s room in the middle of the night, sketched her sleeping portrait, and left it for her. But then he started doing it to her friends and it got creepy. And no, it wasn’t nice what he did to Willow’s fish, but...! That was a good kind of creepy. Who would think to do a thing like that?! What he did to Jenny was taking it too far, though. It absolutely broke my heart when he broke her neck. Poor Giles! Poor Jenny! I really loved her character. I was furious when it was revealed her family had a hand in Angel’s curse backfiring like it did and taking him away from Buffy, but her death left me shook. S2E18 Killed by Death I liked this one. It’s nice to see a decent monster-of-the-week episode that involves a classic horror monster like death (or IT, if you will), rather than a stupid egg-laying tentacle monster or rapist Illuminati frat boys. I liked learning something new about Buffy’s background, too. S2E19 I Only Have Eyes For You Sometimes...I’m a little bit into the student/teacher thing. In a fictional way, not in real life. I thought this story was well-done, and in the end, the way Buffy and Angel became possessed by the dead lovers and reenacted their final moments, and gave the ghosts closure? Oomph. Heartwrenching.

S2E20 Go Fish I loved this episode! I think in part because Xander really got a chance to shine, and Cordelia’s feelings for him were proven to run more than skin-deep. The skin-peeling thing was gross but cool, and I liked how the coach was administering DNA-altering drugs through the sauna. Just really interesting plotting! S2E21&22 Becoming 1&2 So this is why people love Spike. I liked him at first but he just let Angelus beat him down to a pitiful pulp that I lost interest. I loved him in the season finale, though I wonder why he showed a few shreds of humanity if he has no soul. Still don’t ship him with Buffy. lol But I hate Dru and am very disappointed she didn’t die by the end of this! Poor Giles getting tortured, but the way Dru impersonated Jenny Calendar to mess with his heart was too far! She’s gotta die. I am furious they killed Kendra off. She could have been an excellent character if she’d had time to grow and build bonds with the other members of the Scooby Gang. The ending to this serious absolutely killed me. Finally, it appears Willow is a witch! But after she returned Angel’s soul, Buffy sealed him away. I guess she was prepared for being without him, after all the angst this season, but...man. That just broke my heart for her. And for me. lol That was my favorite ship since the moment it began between them. I know he comes back (saw the poster for season 3, and I know he has his own show that I’ve been recommended to watch concurrently with season 4), but WHY COULDN’T THEY JUST BE HAPPY!

Thanks for your interest in my opinions if you actually read this. lol These are just my Buffy-noob thoughts at this point in the show. Please don’t spoil anything for me in the comments. I already know about some major events but I do not know everything and I don’t want to in advance!

[magnumdays]

Magnum PI 3.11 - The Lies We Tell review

So why does my babies playing tennis and arguing over who won just make me so happy! Like legit the first 2 minutes of this episode might be my favorite part of it. Higgy in her little dress and Magnum looking fine and them just being adorable and bantering! Just warms the heart after what feels like forever without any Miggy!

Also what is this thing Juliet does with her hand and why is it turning me on more than my last boyfriend?

We have the case of the week: Lady whose boyfriend she witnessed being killed but she failed to call the police because she’s married.

Magnum and Higgins are both a little shook by this. Don’t lie, Thomas, your first thought was “what the heck?” too.

But Magnum gets on the “save the woman in distress” bandwagon and we’re off to the races. Juliet is a little less happy about it and frankly, I gotta admit I agree with Higgy here.

“The right thing to do would have been not planning to cheat on her husband.”

I mean I see Magnum's point to and I feel kinda bad for the lady - she didn't sign up to witness a murder - but I am also a little confused by her actions.

Why not just buy a burner phone - the very same night she witnessed the murder - and call it in? Or just block her number and call the cops? Or a payphone?(do those still exist?) Why go to a PI? Two days later?

Whatever. I guess it's because else we'd have no morally ambiguous case for Magnum and Higgy to have tense different feelings about. The question is, did we need that this week?

Because of what we're getting with the Rick/ Icepick side plot I feel like maybe this week's case could have been a little bit lighter. Miggy could have spent the episode arguing about the tennis match or something much more trivial. Their case could have been one slightly more uplifting or just basic: maybe a missing designer handbag or stolen tablet or key card.

So on to the (very sad) side plot which almost is the main one this week. Rick is trying to see Icepick at the prison and finds out he’s sick(er) and in the hospital. Even though Icepick had caused not just Rick but the whole gang quite some trouble and isn’t exactly the best of guys, the whole plotline was really sad and heartbreaking.

(TC being there for Rick gives me life!)

I think we can all identify with having someone we love be sick and how hard that is to come to terms with. Especially when it’s someone we had mixed feelings for and wasn’t always fantastic or stand up but still were there for us and was important.

(At least I can, which is maybe why I had lots of not super good feels for this whole episode)

IDK. Icepick’s death and Rick’s reaction to the whole thing was really amazing. In a sad and sob-worthy way. TC being there and the whole gang toasting him at the end. That's the kind of wholesome content I'm here for. I'm still sad though.

And I think it has as much to do with the case this week as Icepick's death.

Because this case was really depressing: a woman’s lover got killed and she, not wanting to lose everything, didn’t call the police. Only as it turns out her dead lover was an evil blackmailer. And further making it worse one of his earlier blackmail victim's husband sent goons that accidentally killed him and he then turned around and is re-blackmailing all the women?

Come on!

I'm losing faith in humanity here!

This is Magnum PI. Where are the puppies and rainbows and happy endings?

I really didn't like anyone. Honestly, I didn't care at all if Lena and her husband figured things out or if he just divorced her at the end. Because what did it all matter after all the crazy that just went down?

I mean we did get Magnum telling Lena:

"Maybe you don't have to move on. Maybe you just have to move forward."

Which is what Higgy really has needed to hear all episode. So that's nice. I guess.

(But couldn't they have found a better way to have Juliet deal with her angsty Richard moving on feels? This episode wasn't what I wanted when I asked the universe for that!)

There is a soft Miggy moment I quite enjoyed at the end.

I mean I LOVE the whole "Richard would want you to be happy" moment. Because it's so great to have them just talk and be there for each other and her actually sharing with him why she's been so upset.

BUT this too also so freaking sad because she's all "I think I already have fallen (for Ethan)" and Magnum face is all "I'm happy for her, I'm happy for her, I'm happy for her (but why is my heart breaking at the same time?)"

So yeah. I guess this week's review is... this episode mostly made me sad.

Sure, it had its fun moments, the tennis bit was lovely, and the Icepick bit heart-wrenching in the best possible way.

Kind of a good episode but not one I will want to go back and really re-watch (even if I did for this review). Because as much as some seriousness is needed, this was just a little too much of it for me, personally. I needed something lighter to go with Icepick's death. Or something lighter to go with the dead-lover-blackmailer plot. The two were just too much together.

That's it.

(Point for the episode title though, it really freaking works because everyone's just lying both actual lying and feeling-lying to themselves.)

Next week's promo looks promising. Magnum and Higgins kick butt like they do, working a case of the week! Old trouble coming back to haunt TC? Also, there is going to be a doggo? I'm here for that!

[absynthe--minded]

The Consent discourse regarding the sex scenes?

oh boy this is gonna be a long one.

tl;dr up front: MDZS is a romance novel, and I’ve read a lot of romance novels, and I think it handles its consent issues way better than a solid 95% of the other books in this genre that I’ve bothered to go through cover to cover. that being said, nobody should ever have to feel like they need to defend or tolerate something that triggered them, or upset them, or hurt them in some way, and I am absolutely fully in favor of these issues being discussed and talked about in a way that warns people they’re there. I am fully in support of anybody who doesn’t like the book because of the presence of dubiously consensual sex. that’s a super legit reason to be uncomfortable or triggered or upset. I’m also not ever going to say that not liking dubcon in a story is a bad thing. my frustration with the consent discourse is basically that I feel like it’s a conversation being held by people who aren’t familiar with romance as a genre, or with the places where MDZS rises above other romance novels, as well as a conversation that ignores that romance uses sex as a narrative device and a metaphor and not just as an idealized portrayal of true love.

more below the cut - tw: discussions of rape, dubcon, and consent in fiction.

I’m not a scholar of romance novels the way I’m a scholar of Tolkien, so I can’t really trace the development of trends in the genre, but I do read a lot of romance, because I’m a lesbian and I like urban fantasy and historical fiction and stories about women having fun adventures and getting what they want, and romance novels are an easy way to get those things as fast as possible. most of my observations are in this kind of fannish capacity.

but. romance has a consent problem, and it’s had a consent problem as long as the genre has existed.

this isn’t the post for a long drawn-out exploration of things like “how many humans on average tend to have rape fantasies?” or “why is it a statistical average that most people are bottomy in their sexual fantasies, rape or otherwise?” but one of the things that I think is worth bringing up wrt MDZS and WangXian is that constrained consent or a lack of consent and how the characters react to that is often endemic to romance as a genre. and I’m not just talking about sex scenes, either (though we’ll get to the 80s bodice rippers, I promise)

you’ve got plots like “My shitbag father fucked over an angsty rich guy so he’s keeping me hostage in his mansion and I’m not allowed to leave” (Anne Stuart, Night of the Phantom) or “I was going to be executed for stealing food but the local lord took pity on me and brought me to his house explicitly to be his wife and I’ll be expected to sleep with him whether I like it or not” (Amanda Ashley, Beauty’s Beast) or “I’m the heir to a substantial percentage of England in terms of sheer amount of land and I’m an orphan and the King has to marry me off to someone who’s both popular with the common people and strong enough to fend off attempts to seize my assets” (Kinley Macgregor, A Dark Champion). you’ve also got the eternal urban fantasy plot of “I’m a normal human woman/human-seeming woman with Power I Didn’t Know About who saw something forbidden to mortal eyes/otherwise became a target of the bad guys, so now I’m being held against my will by a brooding angsty magical creature so he can Protect Me”. that one is actually worse than a lot of the others because the woman in the standard urban fantasy plot usually tries to escape or constantly talks about how she’s being kept hostage, and it’s intended to be a signpost to the audience that she’s not a weak and passive damsel in distress but that she has Backbone and Intelligence and all that.

all of these are, on some level, about the main character(s) being placed in situations they didn’t consent to, and how they cope with that. (a lot of the time there’s also really clumsily written Threats To The Heroine’s Virtue from a cartoonishly unrealistic would-be rapist, in addition to whatever else is going on. the amount of times that I’ve read a book where a hero all too happy to dubcon his way into the woman’s bed then turns around and saves her from Evil Snidely Whiplash Rapist as a way of proving he’s a good person underneath... sigh.) and a lot of other plots are that way too! the Consent Discourse about MDZS is tapping into a conversation that’s existed wrt romance as a whole for a long time.

here’s why I think MDZS is different from basically every other romance novel: it knows it’s about consent.

the vast majority of the stories I alluded to up there really don’t seem to know that they’re dealing with a plot that centers around the heroine (and sometimes hero) coping with a loss of autonomy. she winds up being totally happy to be held hostage, or married off to some stranger, or protected by a brooding angsty dark magic man, or bound up in destiny and fated to fall in love. the violation of her consent is the framework for getting her in the same environment as her love interest, and we-the-audience are supposed to accept it as - well, if not okay, then acceptable, because it’ll all work out in the end. (there’s a lot of sometimes-unintentional commentary here about how specifically AFAB people in Western societies are often expected to deal with/make the best of/find happiness in situations outside of their control, but that’s also for another post, perhaps.) MDZS doesn’t do that. MDZS addresses the fact that neither Wei Wuxian nor Lan Wangji have been taught how to effectively communicate with one another, and their failings have consequences.

Lan Wangji ambushes WWX and kisses him while he’s blindfolded. This is done without permission, and without WWX even knowing who it is that’s put him in this position. He then goes on to treat it like one of his most egregious moral failings, and lose confidence in his ability to be honorable when it comes to dealing with WWX, and this matters to the story. LWJ viewing what he did as more or less unforgivable means he doesn’t open up to WWX about his feelings, which means WWX has no clue LWJ loves him. And as one of the many consequences to this, they spend the majority of the book married but one party has no idea it’s actually happened! They blunder around, and refuse to acknowledge how they feel, and need alcohol for any semblance of honesty because it breaks down their inhibitions. They almost completely fail at being a couple because when it comes down to brass tacks they cannot spit it out.

this lack of openness and lack of communication manifests in their lives further when it comes to the various dubiously consensual moments of intimacy that they have. their sexual incompatibility is a direct consequence of their failure to talk. they do have problems, and when those problems come to light, they’re meaningful and impactful. there is dubious consent in the first time they have sex, in their making out, in their near misses and their brief meetings. this is the point. they’re not supposed to be a healthy, functional relationship yet. they have sex for the first time and then have to deal with the fact that it happened under false pretenses and due to miscommunication. the theme of the book is learning how to come together and work together. they have to learn to communicate before their dysfunction is fixed.

and they do! the climax of the book is WWX admitting his feelings for LWJ, and LWJ realizing the depth of their miscommunication, and both of them coming together finally. the theme of this book is made manifest in their healing and joining. and only then can they have a true healthy marriage. and I like that? I like that the problems and the issues matter, and that both parties have to resolve it? I also like that just because WWX liked being kissed doesn’t mean his consent wasn’t violated and that this transgression doesn’t matter, because that’s in stark contrast to the 1980s bodice rippers where the heroine can be basically sexually assaulted or raped but it’s totally fine, she secretly enjoyed it so it doesn’t matter. (there’s yet another post I could make here about how this is a direct response to sexual mores harshly applied to women, where the only way they could feel safe admitting their desires was in situations where resistance was impossible, but that’s not for here)

I’m just one person, and this is a lot of text about consent, but ultimately? I like that MDZS deals with these issues realistically. I like that violation and miscommunication and unintentional deception are all weighty and meaningful.

this is one of the most realistic-feeling romance novels I’ve ever read, and its flawed characters that are supposed to be flawed are part of that.

[paragonrobits]

A friend asked me to give a stab at a Tierlist Maker for Video Games Not Yet In the Video Game Hall of Fame Tier List Maker, so here's my list for it!

This is based primarily on what I considered to be overall value to gaming history as a whole, with games with greater influence or impact ranking higher than those that had less impact on those to follow, or on culture. All the entries are those that have been nominated to the Hall of Fame, but not actually inducted as of this post's writing. Games that I personally like are generally rated higher, though mostly because I'm more familiar with them and thus can judge their impact from a personal POV.

(Tier List explainations, below!)

SHOULD BE IN ALREADY

Final Fantasy: I mean seriously. How is this one not already in yet?? It is not, as my research suggests, the first true RPG; that likely goes to games like Ultima. It is certainly an incredibly influential one; FF is a name closely associated with JRPGs in general, and its diverse class system is one of the strongest things to do with it, as noted by challenges like beating the game with a party of Black Belts. FF is THE name of RPGs in general and I'm startled it hasn't made it in, though I suppose that's owing to more notable entries (Hard as that is to imagine). It doesn't hurt that the majority of my favorite FF titles are those most similar to this one, such as FF6 and FF9, in terms of approaching the general world setting and class systems. Most significantly is that this game popularized RPGs and made them accessible, in ways that previous games such as Dragon Warrior/Dragon Quest did not; the field of gaming would be VERY different without it; RPGs became VERY popular, to the extent of RPG elements being almost universal among other games in the modern day. (I am also pleased and amused to see 8-Bit Theater mentioned on the actual Wikipedia page. Now THAT'S notability!)

Sid Meir's Civilization: HEY NOW HALL OF FAME JUDGES, DON'T YOU BE MOCKING CIV, ALRIGHT. CIV IS FUCKING AWESOME. Okay, jokes aside, I'm genuinely astonished as the Civ series is considered the first true main game of the 4x series, and it shows; the entire genre centers around expansion, resource usage and diplomacying or conquering your enemies, and considering the impact of this game and its sheer popularity, to the extent of the meme of the game getting people to play for Just One More Turn, I'm a bit disappointed that it's not already in the hall of fame. I also note that I am personally more familiar with the spin off Alpha Centauri, a sci fi variant, which is still one of my all time favorite games.

Half-Life: Given this game's popularity, to the point of its release alone consigning the likes of Vampire the Masquerade Bloodlines to cult classic status and its engine spawning a whole THING with GMod and the usage of physics mechanics in FPS games, one thing of note is its use of scripted sequences; at the time, an unknown in most games of the time. There may be something to be said for how the entire game is spent as Gordon Freeman, behind his eyes, possibly engendering a lack of separation between self and character that would be later emphasized in games like Bioshock. It's influence on games cannot be denied, with publications using it as a bookend between eras of gaming. One consistent element of what seems to make this game so distinctive is its approach to storytelling, without simply imitating film techniques which don't always work well with gameplay.

Candy Crush: This is an example of something I don't personally play myself, or even like very much, but I'd be remiss to dismiss it out of hand. There's no denial that phone games are one of, if not THE biggest market of games in the here in now; if now in scale, certainly in quantity. You might call it the TF2 Hat Economy theory; people aren't spending BIG bucks, but they are spending a LOT of little bucks all the time. It proves that highly accessible games that are generally free to play, with optional purchases, are a legitimate means of game business, and this certainly revolutionized how games were seen by the money-makers.

Super Smash Bros Melee: I loved this game as a kid, but truth be told i have a bit of a love-hate relationship; i REALLY dislike the competitive community that has fixated hard on this game, so any thoughts on it will have a slight element of pause beforehand. Even so, I can't forget the thrilled delight I felt watching the trailer for this game in supermarkets for the first time as a kid. at a time when getting any new games at all was a HUGE deal in my family. So, there is a lot of feeling behind this one! Ultimately, I have to concede that while i have complicated feelings about this game, its worth noting that the vast majority of things that made Smash iconic, and influenced the competitive scene AND the games inspired by Smash AND shaped the course of the series going forwards, largely owe themselves to Melee in particular. 64 was far more slow paced, while Melee began the trend towards much more fast paced action (and while I doubt it's SPECIFIC to melee as a whole, it may have been a trend for the genre from then). Melee is STILL widely played, especially on the competitive scene, and this sort of longevity always bears evidence of notability.

Goldeneye 007: I have to admit that despite being a kid in the 90s, despite someone who put most of their time into gaming, and despite being someone whose favorite system at the time was the Nintendo 64, I mostly missed out on the trend of history by honestly not being that much into this game. I have to say that I DID play it, however; I just never managed to get past the first level or so. I have strong memories of triyng and failing to sneak around a snowy lair of some description; it wouldn't be until the mid-2000s, playing Deus Ex Human Revolution, that I got the hang of stealth. All the same, personal indifference really doesn't matter much because HOLY SHIT THIS GAME HAS SOME STAYING POWER. IT HAS INFLUENCE, FRIENDORITOS. Perhaps chiefly, at the time it was made, consoles were not considered viable platforms for first person shooters; Goldeneye revised that notion, and created a whole revolution in multiplayer and shooter games. We would later see the ultimate consequence of this in games like Halo, which further revolutionized the whole genre. Ironically, the stealth attributes I was so bad at were part of what made the game so unique! It's one of those games that may not have aged well, by modern standards, but its import to gaming as a whole goes a long, long way.

Guitar Hero: I expect this one might be a bit hard to justify, but on its own, this game is INCREDIBLY innovative, though its not entirely the first of its kind, having mechanics based on earlier games. The very first entry has a respectable library of 30 songs, which is impressive considered at the time it was made, its not likely people expected it to get as far as it did; bear in mind that the massive libraries of later games were the result of years of this game series being a massive steamroller of a franchise! At the time, this one was an unknown. It has an interesting history as being a successor of sorts to an arcade exclusive, and inspiring a genre of imitators and spiritual successors on its own; of great note is the sheer impact this game had. With so many of those successors, the increased value of liscened soundtracks, and the way the game's concept became so influential, its astounding this one isn't already on the hall of fame. (It's also very fun, but fun alone doesn't make for memorability, sad to say.)

DESERVES IT AT SOME POINT

Myst - an iconic and incredibly atmospheric puzzle game, I'm genuinely surprised that I haven't heard talk about this one in some respect; it bears note as a rare game with absolutely no conflict whatsoever. I actually rank this one on par with the 7th Guest in terms of atmospheric games, though their tones could not be more different. So why do I think this game deserves it at some point? It was an incredibly immersive and beautiful game, lacking in genuine danger or threat, encouraging the player to explore and tackle the puzzles of the game. This sort of open-ended lack of peril makes it an interesting precursor towards certain flavors of sandbox games around now. It's worth noting that it was a tremendous achievement, given technical limitations of things such as the CD-Rom it was stored on, maintaining a consistent experience, as well as tying narrative reasons into those very constraints. It has been compared to an art film; if so, it certainly is the sort that invited imitators and proved to be a great technical achievement.

Portal: PORTAL! What can I honestly say that hasn't already been said by other people? The amazing integration of a physics engine into innovative puzzle solving, combined with a slow burn sort of minimalist plot reveal concerning the AI proving itself to be a kind of reverse HAL 9000? This game got a HUGE number of memes back in the day, and I expect anyone reading this can probably reference a few. The cake thing, certainly, and its relevance to matters of deception. There is much discussion over the game's utility in academic circles, which is certainly quite notable, and for my part, I'm interested by the point that at first the game gives you a lot of hints towards what you're supposed to do, gradually making it less obvious for the player you're on your own entirely, using your experience with the game to get past the puzzles from there, and its excellent game design. Ultimately though, I place this below Half Life in hall of fame urgency, because while I probably like this one more, it doesn't have the same impact on other games, per say. (That's a lot of awards for it, though. Wowza.)

Resident Evil: Is it fair to call this one the major survival horror game of its era? No, because it's apparently the FIRST, or at least the first to be called such. It's certainly up there with shaping the genre as a whole, both its immediate predecessors and modern games. The flavor of a survival horror can even be judged about whether its close to Resident Evil's style of defending yourself with limited resources vs controlled helplessness. It's also worth pointing out that I quite like the restricted, cramped setting of the mansion, rather than an expansive city; Biohazard was a real return to form, even if its something I mostly watched through funny lets plays because OH NO ITS TOO SCARY I CANT WATCH.

Asteroids: It's called the first major hit of the golden age of the arcade. I'm forced to say... yeah, it absolutely deserves it. The actual implementation and hardware of the game makes for interesting reading, and so its innovative nature ought to be noted: it lacked a soundchip at all, making use of handmade circuits wired to the board. It's reception was great, beating out Space Invaders and needing larger boxes just to hold all the money people spent on it. It also invented the notion of tracking initials on the top ten score, which has implications for arcade challenges.

Ms. Pac Man: This one consistently ranks HIGH in gaming records of its time, though there is admittedly some confusion to whether it or Donkey Kong was a better seller. Interestingly it appears to shape most of the gameplay mechanics people remember most for Pac-Man, such as the improved AI of the ghosts. It's more highly regarded than the original game, and on a personal note, I remember being a kid and seeing this arcade machine at ALL the laundry places my family usually wound up going to.

Frogger: It's placing on this list is not solely because CUTE FROG. The accessibility and wide appeal of the game bears a great deal of consideration, the flexibility of its formula, and just how many dang times it's been ported in one form or another. (And also, cute frog.) It also gets points for the creator being inspired for the game when he saw a frog trying to cross a road, hampered by the vehicles in the way, and he got out of his car and carried the frog across the street. The game is also evident of broad appeal, and some money-makers resisting it, goes back a long way; it was apparently dismissed as a kid's game by some, which just goes to show that some problems are older than quite a lot of gamers alive today.

Uncharted 2: this is one of those games where I cannot honestly say I have personal experience to draw from. Of the playstation's big games, I remember the Jak and Daxter series; I remember Kingdom Hearts, and I remember Ratchet and Clank, and I remember Infamous, but the Uncharted series remains

something of a 'I don't go here?' obscurity in my personal playbook. It does look memorable and charming from what I've seen, and one consistent element I've seen in comments about it is the cinematic nature of the game; it feels very much like a fun heist movie, based on what I have seen of it, and the notable thing is how the game FEELS cinematic.. in a literal way. As in, it combined elements of cinematography with game design, and that's no mean feat: what works for movies are unlikely to translate well to the interactive side, and it shows how that can be done for other games. The extensive praise does the game a LOT of credit!

WORTH NOMINATION AT LEAST

Angry Birds: As noted before, I'm not the biggest fan of most phone games, given that i prefer a more passive experience than most provide. As such, Angry Birds isn't something I've played as of this writing, but I have to appreciate the straightforward and simple gameplay; it reminds me a bit of the Burrito Bison game series, which I HAVE played, and I'm going to go out on a limb and assume it's because Angry Birds is probably the innovation that coined that particular style of gameplay. It's an example of what made phone games profitable and worth the time of developers to work at them; its easy for casual players to get into, and there's a fun sort of impact involved. Given the popularity of phone games, this one has a LOT of influence in getting that rolling, similar to candy crush, if not as much.

FIFA International Soccer: Simulation games are a tricky business; it can be really difficult to get them right, and this game provides an example of it being done in a way that a lot of people REALLY loved, set up an entire game series, and revived the 3DO system after a very bad year. Of note, apparently it was commented that it was more of a simulator than a console game, and this is rather funny considering how simulator is its own genre nowadays! Such do things change. It seems to have been a revolutionary game and simulation; setting the shape for modern sport games of its type, and tending more towards realism (accounting for acceptable breaks in reality) than was typical of the time. This one's position is thus picked for its impact as a whole; while it may not necessarily be a household name now, the series continues on, and is popular enough that even after 20 years, it's still been going.

Elite: I nominate this game in this position for being a startlingly early entry into what we would now consider open-ended games, even with an element of exploration and trading; if one stretches definitions a bit, a precursor towards gameplay of the like scene in 4X players who strive to avoid conflict, if possible. Its technical breakthroughs are some very interesting reading and make for good game history; a vast and complex game (not just by the standards of the era, either), and opening the door for persistent world games such as World of Warcraft.

Wii Sports: A significant game, and much as how other titles mentioned above were famed for gateway entries into gaming for an unfamiliar audience, or those that would want o play on a more casual basis. It seems notable to me for being most suited as a family game, or a more casual experience of multiplayer than usually associated with games like this; this has greatly influenced Nintendo's design philosophy, and one can see elements of this all the way through the Wii U onwards. It's essentially a fliparound from Mario Party; less competitiveness, but definitely meant as a group thing. Controversy is evident, because like with Mario Party, injuries did result from it.

Call of Duty: I place this one here because, while it DOES hold a very significant role in gaming history, with countless imitators, spiritual successors, being a game-changer in ways that its modern reputation might surprise you with, ultimately it is less so than other games such as Goldeneye, Halo or Half-Life. It's development in AI pathfinding and tactics is incredibly noteworthy from a mechanical perpsective, and the sheer level of awards it won is notable. In the end this game's popularity and continuing influence means that it shouldn't be overlooked.

Metroid: You can't spell 'Metroidvania' without this game! A relatively open ended exploration-based game with further options opening as new tools were found give it an interesting vibe, and the oppressive atmosphere distinctive to the game says great things about its sound and level designs. It wasn't the first open world game, or explorer, or even the first to open new aereas based on equipment, but it had ALL of these elements in a very memorable package. (Samus Aran as a female protagonist is something I'm a bit reluctant to give it credit for, as her identity was obfuscated for most of the game, and only revealed in a fanservicey way in a secret ending. All the same, credit where it is due, I suppose!) It's music seems to endure as a mood setter, too!

Pole Position: Perhaps not the FIRST racing game, but still considered one of the most important from the golden age of gaming, and the one to codify many of the firm rules of the game series. It's three dimensional gameplay is incredibly innovative for its time, and having played it and games like it in the past, I'm struck by how smooth the whole thing feels. No wonder it was popular! It is notable for having been designed specifically as a 3d Experience, meant to execute techniques like real drivers might attempt, which makes it a different sort of beast in that it tried to do more realistic actions; in some ways, a precursor to modern trends of realism in many games, for ill or best. Ultimately I think this one is worth a nomination because of its influence towards racing games (a popular and long lived genre, to say the least) as a whole.

OUTSIDE CHANCE

Nurburgring 1: On the one hand, I feel a bit guilty putting this one so low; it is recognized as likely being the earliest racing game in history, and given that I just finished noting Pole Position's influence, it feels a bit mean to rate this one as relatively insignificant all the same. However, in terms of notability, I never even heard of this one, and it was tricky finding information about it. Accordingly, that may say something about its influence, though this position DOES make it noteworthy as the first of its kind, albeit with Pole Position refining and introducing elements that shaped the genre.

Dance Dance Revolution: It feels a bit strange, putting this one fairly low. This thing was a MONSTER back in the day; entire arcades were built around the dancing control peripherals it required, rhythm based games or mechanics specifically invoked it by name, and it was an absolute cultural touchstone for years and years. So, why place it low? Partly, its because I can't just shove EVERYTHING into the 'deserves a nomination' folder; I do think it's fairly reasonable for this one to at some point get a nomination in the future, though ultimately there's games more noteworthy on the whole. It's specific rhythm qualities continue outside of its genre, and are quite influential to gaming as a whole, though unfortunately the series seems to have lost something in notability over time; popularity is a factor, but so is the impact on other games.

NBA 2K and NBA Jam: I put these two together because they touch on similar touchstones for me, and they really did popularize basketball games back in the day. Jam in particular seems to be invoking the Big Head mode that were a big thing in games at the time, at least going from the screenshot. They were very popular and highly beloved games back in the day, though I don't know if they have much influence on later games. I note that interestingly, they take opposite approaches; 2k focuses on AI and realistic experiences, while Jam was deliberately less realistic and more actiony in its over the top gameplay.

Nokia Snake: This one really impresses me for the sheer number of releases, in various forms, it's had! Interestingly, there seems to be little consensus on the name of this game; most just call it Snake or something on that theme. I went with Nokia Snake because... mostly, it sounds funny, and that's how its done on the list. This one is fairly low, but I Have to give it credit for having hundreds of releases!

Farmville: My mom liked Facebook games, a lot. And I am certain this one was one of her main ones! I rate it fairly low, and no doubt her spirit is yelling imprecations at me across the void of time, space, and abandoned socks; all the same, this one is ranked low because of the sheer number of displeasure aimed this one's way. (And to be fair, she complained about it. A LOT.) It is thus notable for unusually negative reasons; an example of exploitation, pressuring players to pester their friends to play it in an equivalent to electronic chain mail, and microtranscations.

Tron: I'm inclined to give any game that takes place in a computer land and uses programming or mechanical terminology a free pass! Interestingly, this has some association with the Snake game, as they have similar gameplay and Snake games are sometimes called Light Cylce games, after this one. It has an interesting history; the graphical system was chosen largely because it was believed it was more likely to be achieved before the deadline.

NO BUSINESS IN THE HALL OF FAME

Mattel Football: I do feel a little mean putting anything in this category; firstly because I don't want to make actual fans of something sad, and secondly because I believe you can probably find notability anywhere you look, if you are inclined. And here is the chief difficulty with this one: I could not find any real information in this one. It has no Wikipedia page, a google search only led to undescriptive links of SALES for the game, but not any information on the game itself. Notability is my main resource for sorting these entries, and honestly? If google has nothing on you, that's a pretty poor sign. Sorry, Mattel Football, but you look like a poor man's Game And Watch. You're no Portal, Myst or Pole Position.

[goneseriesanalysis]

Drake Merwin

I am soo sorry, this is super late but I got incredibly distracted with reading and forgot that literally anything else existed. Drake was a really hard character for me to analyse because his characterisation was just so disappointing to me - but luckily my intrinsic desire to have everyone hear my opinions prevailed, and so here it is. I hope you enjoy!!

Spoiler Warning: Major spoilers for Gone, Minor spoilers for the rest of the series and the monster trilogy 

Old Opinion: I had a sort of morbid obsession with Drake and thought he was a top-tier villain

New Opinion: So far Drake is tied with Astrid for most-changed opinion. His character has almost no-depth and could be placed in almost any story without changing a single thing about him - and it would make sense. I found myself desperately trying to make him more interesting than he is in an attempt to justify younger me’s obsession - but alas I was unsuccessful. He had a lot of potential, but instead he ended up as a copy-paste villain with no realistic motivations and no real intrigue. 

1.) DRAKE’S APPEARANCE:

Drake is, I think, the character who is best (as in most thoroughly) described in the first book. Not only do we get an idea of his actual appearance beyond the vaguest possible descriptions (sorry to Sam, Caine, Diana and every minor character) but we also get some idea as to the effect his appearance has on other people.  

In Chapter 14, when we are first introduced to the Coates kids, Drake is described as, “a smiling, playful, mean-eyed kid with shaggy, sandy-coloured hair.” I actually really like this description. Contrasting “smiling” and “playful” with “mean” really brilliantly sets Drake up to be a complex villain – the kind of villain we all love to hate, who cracks a joke while slitting your throat. It has the implication of a layered personality but sadly, this is not the villain we get. In fact his character in the first chapter compared to the character we get as the book continues is so drastically different that it almost seems like mg did a complete 180 on his character. An original description is supposed to give us some indication as to what a character is like – their personality and role in the story, and we know that mg can do this really well. (Sam’s non-descript description setting him up to be the underdog, Quinn’s mismatched attire hinting at his inability to fit in, Astrid’s colour scheme reflecting her innocence and religiosity), and so it seems particularly odd, not to mention disappointing, that Drake’s description gives us…nothing. No real indication as to who he is or his purpose other than to hint to him being an antagonist (which we already guessed from his affiliation with Caine.) I could go on and on about what a waste Drake’s character was, but I’ll save it for a later paragraph.

We will then skip ahead to Chapter 37 where both Howard and Lana describe a similarity between Drake and Pack Leader:

“The one time she had seen Drake Merwin. He had made her think of Pack Leader: strong, hyper alert, dangerous. Now, the lean physique looked gaunt, the shark’s grin was a tight grimace, his eyes were red-rimmed. His stare, once languidly menacing, was now intense, burning hot. He looked like someone who had been tortured beyond endurance.”

“The two of them, two of a kind, it seemed to Howard, stared holes into each other.”

This is a much better example of mg using descriptions to establish the purpose of a character. By drawing a comparison between these two, mg sets up Drake’s later role in the books, where he replaces Pack Leader as the gaiphage’s right-hand man. This almost leads me to believe that mg had decided very early on that Drake was going to desert Caine and this is possibly why he seems so out of place and underdeveloped as Caine’s underling in the first two books. Mg had already moved on from this side of his character…and it shows. Lana’s description of Drake also works as a basis for showing the reader how he has changed since losing his arm (before gaining his whip) and acts as an insight into his current mental state – which is important as we don’t get much introspection during Drake’s POV’s. But, I still have a few issues with this. First of all, his “lean physique”. Now this isn’t really a problem all by itself, but unless I have forgotten what 14 year olds looks like (which is a possibility though I doubt it) I don’t think that they should be muscly with minimal body fat. And Drake is not the only character he does this with. Quinn gets extremely muscly later on in the books (I’ll admit that there is a plausible reason behind this so this example isn’t terrible but it’s mentioned like every 5 sentences) and in Fear Caine is described as having wash-board abs. Why are we sexualising children?? Children should be pudgy and awkward and still growing into their bodies, not lean and muscly!! The attractive, damaged man who hates women for no reason at all is also a really really really common trope and tbh I’m just so bored of it. It’s not relatable (at least it shouldn’t be) and it’s just really unimaginative – although it does help us to understand Drake’s character as we’ve seen him before so many times in all types of media. My second issue with this description is the way it really really highlights how much of a waste of character Drake was. The potential of a high-school bully with a skewed world-view due to the death of his father and the later abuse of his mother at the hands of his replacement father figure trying hard to impress the charming “leader” with unimaginable power (that he so desperately wants) only to be undermined at every turn by a girl who teases him by pointing out his flaws and insecurities taking his anger out on everyone around him (especially women) as a way to cope with his childhood traumas then turning into a heartless monster who not only enjoys others pain but lives for it after being “tortured beyond endurance”, was astronomical. But we don’t get that. Instead we get a cheesy, one-dimensional cartoon villain. The change that his body and mind go through after his maiming should have been pivotal to his character, but that just doesn’t come across in the writing. :/ But more on this later.

And last but not least, the whip-hand, which is very important to Drake’s character. It turns his actual body into a weapon and his excitement over this is indicative of his sadistic nature. Again, I think this is an example of a wasted opportunity. I would have liked mg to have gone in to depth about how Drake’s body undergoing this change affected his psyche (and I’m not counting his one-off line in the monster trilogy). I think it could be argued that Drake’s “change” is a metaphor for him going through puberty. Him gaining the whip that ultimately turned him into his very own weapon shows his transition from a child [a little messed up but still just a kid] into a monster, someone who is capable of committing atrocities without a second thought. It would have been particularly interesting for Drake and Orc’s final battle to put some focus on the fact that they both suffer through monstrous physical changes that can be used to represent their shift from children to young adults but whereas one relishes in this, one is completely disgusted. The whip-hand is described as being an “impossible blood-red snake” and then that “It was stretched. Like it had been turned into dark, blood-red taffy. It wrapped twice around his body.” – Both of these occurring in Chapter 39. I don’t have much to comment about this – other than that I think red is great colour choice for Drake, thematically at least.

I know this point was mostly about what Drake could have been as opposed to an actual analysis of his appearance, but I’m just so tired of the attractive misogynistic villain that seems to appear in every single piece of media. His characterisation really bummed me out and put me into a slump so instead of analysing his appearance I decided to roast him instead. But, onto actual analysis now (I am going to further expand on some of the points I made here I promise).

2.) DRAKE’S PERSONALITY AND CHARACTER

I mentioned in the previous point that a lot of Drake’s characterisation seems like an afterthought at best and one of the things that made me think this, is the inconsistencies with his character and the most obvious example of this is the discrepancies with his birthday. In chapter 20, Diana says that his birthday is “April twelfth, just one minute after midnight.” But, in Chapter 33 we get the line “Sooner would be better,’ Drake drawled, ‘what with me having a month.” This is a really small nit-pick, I know, but it just really bugs me that mg overlooked something as simple as a birthday – especially when birthdays are such an important plot point in this book. But anyway, moving on. I promise this whole review isn’t going to be negative.

Backtracking now to Chapter 14. Drake’s character here seems to differ quite drastically from his later characterisation. He seems here to be an example of the laughably evil trope, he has a kind of dry sarcastic humour that is quite fun and seems to lighten the tone of the story a little bit. Rather than showing us the boringly disgusting misogynistic villain that Drake turns out to be, we instead see a funny, charismatic character who seems to prefer picking on those who already have power – as is seen here:

“Drake paused halfway, turned back, and spoke for the first time. In an amused voice he said, ‘Oh, um, Captain Orc? Have your people – the ones who aren’t injured- line up outside. We’ll work out your… um, duties.’                                  With a grin that was almost a snarl, Drake added a cheerful, ‘Later’.” – Chapter 33

Now I understand that the reason we don’t see the real Drake here is because Sam is obviously not yet aware of his true personality – my issue lies in the fact that based on just this small excerpt here, I expected so much more from his character. We get hints of his sadistic nature here, with him joking about Cookie’s horrific injury and clearly taking joy in exerting power over Orc, but it is evenly balanced by the fact that he’s kind of amusing and we don’t really like Orc at this point anyway. Can we see that something isn’t quite right with him?? Yes. But do we kind of like him anyway?? Well I did. At this point. I would have really loved it if mg had carried on this idea of Drake abusing those who already have power – him enjoying to take down bully after bully so he can be King bully, instead of him picking on people who he perceives as weak and vulnerable. Mg relying on misogyny as a motivator is just really disappointing to me because there is no depth to it, and it’s pretty lazy. He hates Diana because she is a woman and he sees women as beneath him?? Weak. Over-used. Dull. He hates Diana because she has  power over Caine in a way that he never can, which makes him feel insecure in himself and the fragile sense of stability and power that he has struggled to cultivate within his damaged psyche?? Yes pls. Not only would this have made Drake a much more engaging character, but it would also have made his desertion of Caine in hunger much more impactful. And while I think there are aspects of this within his character, which I will go into later, I wish there had been more of it. Again, I’m sorry that this has become more of a “what could have been” rather than an analysis but there really is just so little to analyse without just pointing out obvious facts and statements. There’s no spice here :/

Moving on now to Chapter 16, where we as an audience, as well as the characters within the book, begin to realise what Drake truly is – an unhinged madman. We are told by Sam that Drake has been abusing his power as Sheriff – which particularly stands out as, so far at least, Drake is the only member of Coates who has shown this kind of behaviour (Caine is actually a pretty sound leader until he loses his shit and attacks Sam). And this is the first major distinction that we get between Caine and Drake and their capacity as villains in the story. Caine is a bad person who will do bad things to achieve his goals, he is power-hungry and ambitious but he is not needlessly violent. Everything he does he (in his own mind) is able to justify as it helps him to achieve his vision. Drake, on the other hand, doesn’t really seem to have an end goal. He is violent for the sake of being violent – he is a sadist who enjoys the suffering of other people as we see here, “Drake was more than a little scary. Kids who defied Drake or any of his so-called sheriff’s had been slapped, punched, pushed, knocked down or, in one case, dragged into a bathroom and given a swirlie. Fear of Drake was replacing fear of the unknown.” Now, we still don’t get to see the full extent of Drake’s madness here. Most of the crimes listed are pretty mundane bully things – they’re still wrong, but they aren’t life-threatening. He hasn’t bashed anyone’s head in with a baseball bat. While Caine is playing with politics, Drake seems unable to move past his role of high school bully. If he had played it right, the role of Sheriff would have been perfect for him. I mean, how many actual police officers get away with literal murder in the name of “upholding the law”?? But he is unable of seeing the bigger picture, unable to grow and fit the new world order as Caine does so naturally, and so, instead of properly taking on the role of Sheriff and building up his own authority in this way, he turns back to his tried and tested method – hurt them and they’ll fall in line.

I particularly enjoy this as I think it explains, a little bit more, why he hates Diana and Astrid so much. Now I know the bottom line is simply that he is a violent misogynist – but that doesn’t explain why he hates Diana and Astrid specifically. Is it because they’re both attractive women and he is unable to distinguish sex and violence in his head?? Partly yes, but then Taylor is also described as attractive (and most people find her annoying) and yet he doesn’t seem to hate her to this extent. I think the real reason he hates these two specifically, more than anyone else, is because he simply cannot understand them – and that scares him (although he is unwilling to admit it). Drake only knows how to gain power through violence – he sees this work at home, he used it on Holden, he used it to gain his reputation at Coates and, although he has the ability to gain authority in other ways, he continues to use this method even now in the FAYZ. Diana and Astrid cannot do this, they are not fit to fight, they are not able to use violence to assert their status – and yet they both have more power in the FAYZ than he does. They make him question his whole world view and, as he cannot or will not adapt to the new hierarchy of the FAYZ, he resorts to trying to destroy them, in order to return the world to what it was before. His hatred of others gaining power through (what he sees as) unconventional means is then further established with his dislike of actual powers and the people who have them:

“I’m sick of all this powers crap. You saw what we did to freaks at Coates?? Who do you think it was that took care of that?? All these kids with their stupid so-called powers. Starting fires and moving stuff around and reading your mind and all?? Who do you think it was grabbed them one by one in their sleep and beat them down and when they woke up their hands were setting in a block of cement??

[…]

That’s right. And I didn’t even have a gun then. It’s not about who’s got powers, morons. It’s about who’s not afraid. And who’s going to do what has to be done.”

We get told by Diana that it was Drake’s idea to cement the kids in the first place (and a bad one at that) and I really think that is all the evidence you need to see that Drake’s hatred and fear all stem from his complete inability to adapt. He is trapped in a cycle of abuse that started with his father, a police officer who teaches him how to shoot people (however unwillingly) and is then continued by his step-father (an actual abuser) rendering him incapable of recognising any kind of authority if it is not gained from violent means. And so of course he hates the powers – none of the kids gained their powers through suffering or through causing suffering. They didn’t earn their authority in any valid way, according to him. (This is also another reason why I think Drake was so ecstatic at gaining his whip-hand. He suffered for it and therefore, in his twisted mind, he earned it. It is physical proof of his supposed power over these kids.) It’s tragic really – but mg then goes on to make him so disgustingly unsympathetic that his story loses its meaning. I love mg’s writing but Drake’s character truly was butchered for shock value and plot convenience and it makes me so sad.

Ok back to Chapter 16. Here, not only do we hear about some of the things that Drake is capable of, but we see them as well. His beat-down of Orc is the first indicator we get that Drake is someone we should really be afraid of. Heads up, this is a long quote:

“Nobody move,’ Drake said.                                                                                    Orc pushed Edilio off and jumped to his feet. He started kicking Edilio, landing size-eleven Nike blows into Edilio’s defensive arms. Sam jumped in to help his friend, but Drake was quicker. He stepped behind Orc, grabbed him by the hair, yanked his head back, and smashed his elbow into Orc’s face. Blood poured from Orc’s nose, and he howled in rage. Drake hit him again and released Orc to fall to the concrete.                                                                                                ‘Which part of “nobody move” did you not understand, Orc?’ Drake demanded. Orc rose to his knees and went for Drake like a linebacker, Drake stepped aside, nimble as a matador. He stuck his hand out and said to Chaz, ‘Give me that.’    Chaz handed him the bat.                                                                                        Drake hit Orc in the ribs with a short, sharp forwards thrust of the bat. Then again in the kidneys and again in the side of the head. Each blow was measured, accurate, effective. Orc rolled over on to his back, helpless, exposed. Drake pushed the thick end of the bat against Orc’s throat.                                  ‘Dude. You really need to learn to listen when I talk.’                                              Then Drake laughed, stepped back, twirled the bat in the air, caught it and rested it on his shoulder. He grinned at Sam.”

“Sam had gone up against bullies before. But he’d never seen anything like Drake Merwin. Orc outweighed Drake by at least fifty pounds, but Drake had handled him like a little toy action figure.”

Orc has already been established as the top bully in Perdido beach – we’ve already seen that our main character is afraid of him – and for good reason. And so for Orc to be defeated so casually and so easily is shocking. It lets us know that the old world order has collapsed and old fears are fading away with it, with new, much more threatening adversaries taking their place. I actually think that this scene was exceptionally clever of mg. Drake is attacking someone who has already been set up as an antagonist, at the same time rescuing Edilio, who the reader has been conditioned to like. But, through context clues, we know that this is not a good thing. It sets up the villainous nature of the Coates kids, Orc’s redemption, Drake and Orc’s rivalry and Sam’s fear of Drake. And it feels natural, even after re-reading the book multiple times. It’s scenes like these that really remind me how great of a writer mg is.

Another thing I really wanted to talk about here IS Drake and Orc’s rivalry because, yet again, I think mg missed a huge opportunity with this. Drake and Orc are very similar before, and in the early days of the FAYZ. Both have abusive fathers (a step-father in Drake’s case but still), both enjoy asserting their power over people through violent means and both are put in positions of power that they are unable to fully take advantage of – Sheriff and Sheriff Deputy. And even as the books continue, similarities can still be found. They both suffer mutations that turn their bodies into grotesque weapons, dehumanising them and alienating them from their peers and That Scene in Plague tells us that Orc and Drake sometimes have similar “desires”. Their stories are constantly intertwined, with them being played off of each other from the start and Orc becoming Drake’s jailor later on (and in turn Drake sort of becoming his). Their differences come from their reactions to the horrific acts of violence they have committed – and of course why they do them. I’m going to make a whole separate post on this because it’s long enough to be a standalone, but my I just wish mg had played up both their similarities and differences more. It would have made Drake so much more interesting.

We also get more hints at his sadism in this scene. He is later unbothered that Betty has been hurt and it seems that the only reason he attacked Orc was because it gave him an opportunity to assert his dominance over him. All in all, this is one of my personal favourite scenes in the book as it establishes characters, themes and relationships very well. I just wish some of these had been developed further – but mg dropping certain aspects of the story does seem to be a common problem.

The final thing I wanted to talk about in regards to Drake’s personality and character is this line we get in Chapter 23, “It was small, just two bedrooms, very neat, very organised, the way Drake liked things.” This was another thing that irked me slightly. It’s such a small aspect of his characterisation but it reinforced the idea that drake is just another cookie-cutter villain with no real personality, nothing that makes him stand out in the sea of white male psychopaths with a hatred for women. His whole character could be replaced with any other misogynistic psychopath at no detriment to the story. My immediate though when reading this was that even the smallest aspects of his character can be seen in other, more developed villains – this line in particular is hugely reminiscent of Patrick Bateman. Nothing seems to be his own. No aspect of his character is even remotely unique. (I think this may also be why some young fans develop an obsession with him. His character is comfortable because we’ve seen it so many times before.) He is so entirely replaceable and replicable - only reason he isn’t completely forgettable is because you are constantly plagued by the horrific things he has done. Mg sacrificed depth and development for shock value and it’s so disappointing

3.) DRAKE’S PAST

Onto Drake’s life before the FAYZ. Not only does Drake receive some of the longest and most POV time in this book, he is also the character whose life before the FAYZ we learn the most about (with the possible exception of Sam). This is especially shocking to think about seen as Drake is arguably one of the most underdeveloped characters in the whole book, but anyway. There are two scenes I’m going to talk about here, both occurring in Chapter 23, with the first being his dad teaching him how to shoot. I apologise in advance for the long quote:

“His father had taught him how to shoot, using his service pistol. Drake still remembered the first time.

[…]

He remembered the way his father had taught him to grip the butt firmly but not too tight. To rest his right hand in the palm of his left and sight carefully, to turn his body sideways to present a smaller target if someone was shooting back. His father had had to yell because they were both wearing ear protection.                  ‘If you’re target shooting, you centre the front sight in the notch of the rear sights. Raise it till your sights are sitting right under your target. Let your breath out slowly and squeeze.’                                                                                          That first bang, the recoil, the way the gun jumped six inches, the smell of the powder – it was all as clear in Drake’s mind as any memory he had.                                                                                                                                                   […]

‘What if I’m not shooting if I’m not shooting at a target?’ He’d asked his father. ‘What if I’m shooting at a person?’                                                                          ‘Don’t shoot a person,’ his father had said. But then he relented, relieved no doubt to find something he could share with his disturbing son. ‘Different people will tell you different techniques. But if it’s me, say I’m doing a traffic stop and I think I see he citizen reaching for a weapon, and I’m thinking I may have to take a quick shot? I just point. Point like the barrel is a sixth finger. You point and if you have to fire, you shoot half the clip, bang, bang, bang, bang.’                    ‘Why do you shoot so many times?’                                                                    ��Because if you have to shoot, you shoot to kill. Situation like that, you’re not aiming carefully for his head or his heart, you’re pointing at the centre of mass and you’re hoping you get a lucky shot., but if you don’t, if all you’re hitting is shoulder or belly, the sheer velocity of the rounds will knock him down.”

Ok so the first thing I want to analyse here, is how important this memory clearly is to Drake. He remembers it fondly, in immense detail and seems to call back on it when he needs to clear his head (notice how this memory is placed while Drake is trying to figure out what to do, not while he is doing it.) It seems that rather than just using this memory as a source of useful information, it is also a source of comfort to him. Now there are some things that I really wish mg had told us that would help to analyse this scene better, like: How old was Drake when this memory took place?? How old was Drake when his father died?? How did his father die?? But alas, we don’t know these things (at least not that I’m aware of, and not within this book) so I’m going to try and do the best I can with the information that we have. Now, in Light, Drake makes it seem like his step-fathers behaviour has been significant in forming his worldview – which makes sense, trauma does that. But he spends half of his time away at Coates, which says to me that for this behaviour to have had such a profound effect on him, his step-father must have been around for a while. Right?? I’m gonna take a guess at 3-4 years at the least. Give Drake’s mother about a year to meet and start dating this man after the passing of her husband – this means that Drake would have been around 9/10 at the latest when this scene took place. That’s pretty young. Like, this is a formative memory and from the way it’s written, it seems like this may be some of the only bonding that Drake and his father ever did together. No wonder Drake has such an unhealthy obsession with guns as is seen with these quotes:

“He started from Astrid’s house, which was already beginning to smoke. He worked his way methodically, a hunter, looking for any movement. Each time he spotted someone walking or running or biking, he would take a look at them through the rifle scope, line them up in the crosshairs.                                        He felt like God. All he had to do was squeeze the trigger.” – Chapter 23

“Drake kept all three guns loaded all the time. They were set out on the dining room table, a display, something to be gazed at lovingly.” – Chapter 23

“Drake could not leave the gun alone. He kept thumbing the safety on and off. He rolled down the window and aimed it at stop signs as they passed, but did not fire.” – Chapter 31

Drake shooting Sam and his gleeful reaction – Chapter 34

For him, guns are the ultimate symbol of power and authority. He was introduced to these weapons of incredible power at such a young age – of course he loves them. That being said, it seems that Drake has always been “disturbed” so I suppose we can’t fully blame his father and step-father for his mind-set – and I have to say I don’t really like this. Drake’s issue as a character is that he is completely de-humanised by all the horrific things he does. By having it seem like Drake was irredeemable from the off-set, it just adds to this idea and again removes any possible depth or character development. Imo it would have been much better to present Drake as becoming the way he is AFTER his father’s death. It would bring a sense of tragedy to his character – the way he uses his father’s advice to hunt down Astrid would seem less like a by-product of his sadism and more like a misguided attempt to feel connected to his deceased father.

However, flawed though it is, this scene does give us some insight as to why Drake is the way he is – through the characterisation of his father. Admittedly we don’t get much, but one line really stood out to me, “Because if you have to shoot, you shoot to kill.” Ummm..sir?? I don’t think that’s how police officers work. Isn’t your goal to incapacitate – not to just kill on sight?? The fact that he not only stands by this rule himself, but also gives this advice to his CHILD is disconcerting. Drake is not only receiving this harmful rhetoric from his father figure but also a police officer. Someone who is meant to uphold the law. I think this links back to my earlier point on how Drake only recognises authority if it is gained by violent means. While we get no indication that his real father was ever violent to Drake or his mother, he openly tells Drake that when he is upholding the law (in this hypothetical situation) he does it by using force. That is a dangerous thing to tell a child, especially a child who you already think is disturbed. This twisted-take on a father-son relationship nicely sets the precedent for Drake’s warped perceptions, I just wish it had been developed further. And this leads us nicely into the next scene – the shooting of Holden:

“He remembered with vivid, slow-motion detail the time he had shot Holden, the neighbour’s kid who liked to come over and annoy him. That had been a bullet to the thigh, with a low-level calibre gun, and still the kid had nearly died. That ‘accident’ had landed Drake at Coates.”

Again, first and foremost I just wish we had a little bit more information. It is not clear whether this situation occurred before or after his father’s death – which seems like a pretty important detail to me. Although, we don’t actually find out that Drake’s father is dead within this book, and this omission again makes me feel like mg adding that detail was little more than an after-thought. It feels like in Light he wanted to quickly try and make Drake more of a sympathetic character and so he added in an abusive step-dad to try and tone down or at least explain Drake’s violence and misogyny. It seems like Drake is a plot-point first and a character second and the lack of detail here really highlights that for me. What purpose did these scenes really have in the story?? They did very little to flesh out his character, they introduced no new themes or relationships. It seems like mg just wanted to let us know – “Hey! Drake knows how to use a gun. That’s gonna be important later.” That being said, there are a couple of other things I would like to quickly mention. Firstly, I think the fact that Drake did not aim to kill Holden, even though he could have, is meant to be indicative of his change between then and now. It’s done to tell us that Drake wasn’t always this bad – there was at one point some hope. For this to have the desired effect though, I really think mg should have waited until after Drake lost his arm to straight up try and murder Astrid and Little Pete. Like, you can’t tell us that Drake was a little messed up but still redeemable before his maiming and then go and have him try to kill a random girl and her five year old brother. Because that’s more than a little messed up (and that’s not even mentioning the cementing). And it also contrasts the idea that Drake has always been disturbed. An idea that was introduced to us not even a page ago!! The other thing I wanted to pick up on, which I actually quite liked, is the ambiguous “who liked to come over and annoy him.” Because this is Drake’s point of view – so “annoy” could mean anything. Was Holden actually just an annoying kid?? Was he just trying to be Drake’s friend?? Or was he actually a bully and Drake doesn’t want to admit it?? I guess we’ll never know.

4.) DRAK’ES MOTIVATIONS

For this point, I wanted to focus on three particular motivators: Caine, Diana and Astrid. These are the three people, I believe, who provide, either consciously or unconsciously, the motivation for his actions within the FAYZ. I’ll start first with Astrid and Diana, the two people who Drake hates the most. Throughout this book it is clear that Drake has no real goals – he has no desire to be in control like Caine, no desire to re-invent the world like Albert. All he wants is to cause pain, with his preferred targets being these two. And, as I’ve said before, I think this is partly because he hates the authority that they have within the FAYZ – which stems from manipulation and intelligence rather than violence.

In Chapter 20, Drake explains his hatred for Diana, “Drake had made the time to check out Diana’s psych file the day after the FAYZ came. But her file had been missing by then. In its place she had left Drake’s file lying open on the doc’s desk and drawn a little smiley face beside the word ‘sadist’.                                Drake had already hated her. But after that, hating Diana had become a full-time occupation.” What I take from this scene, is that Drake’s loathing stems from Diana’s ability to get under his skin, to make him feel inferior – to annoy him. (Perhaps Holden had a similar talent). I’m going to assume that his prior hatred of her can be boiled down to his misogyny and his disgust at Caine’s weakness for her, both of which have been explicitly stated in the text. His hatred after this though, comes from a pretty mundane incident. I mean all she did was get there quicker, and do exactly what he was going to do to her. And so I think this loathing is less about what she did and more about his own personal reaction to it. Diana was able to weaponise Drake’s own anger against him – to make him feel inferior and powerless. She challenges Drake’s fragile perception of authority and takes a diagnosis that he seems to not only be ok with, but is actually proud of, and makes him feel embarrassed. His whole perception of power is rooted in the idea that his ability to inflict pain on others with no guilt or remorse is what makes him better, it is what gives him his power. But she takes this idea and belittles him for it and so his initial reaction is to attack. This is an idea that is again seen with Astrid. Astrid intentionally tries to make Drake feel inferior by bringing up his biggest insecurity, Diana’s treatment of him “Doesn’t it bother you that Diana treats you like some wild animal she keeps on a leash?” And she does escape him – twice. Her and her autistic brother (and we already know how Drake feels about autistic people). She also proves herself to be more intelligent than him, in their little argument over the r-slur. Drake only gets violent after he realises that, in an intellectual sense, she has more power than him. It seems to be his defence mechanism just as much as his pleasure – and therefore Astrid and Diana’s power over him motivates him to use it.

Now onto Caine. Caine and Drake’s relationship is, for me, one of the most interesting aspects of Drake’s character and while I’ll only be mentioning it in its capacity as a motivator here, I have a whole post planed out for it. Drake seems to simultaneously hate Caine and admire him. He is constantly looking to impress him and the only time we ever see Drake think about betraying him in this book is when Caine gives his attention to Diana rather than Drake. And, because of this, I can kind of understand why people ship them (although I personally dislike the idea of Drake being gay). A lot of the time this motivation is completely unprompted by Caine himself, like in these quotes:

“Drake cursed and, again, for just a moment, felt the almost desperate fear of failing Caine. He wasn’t worried about what Caine would do to him – after all, Caine needed him – but he knew if he failed to carry out Caine’s orders, Diana would laugh.” – Chapter 23

“I got him’ Drake announced. ‘I got them all.’                                                    ‘Yes, you did,’ Caine said. ‘Good work, Drake.” – Chapter 34

In Chapter 23, it seems that both Drake’s need to impress Caine and his need to prove to himself that he is better than Diana are his main motivators for his extreme attack on Astrid. I think it’s important to note that he only planned on trying to catch her, until Caine told him to kill her. His sadistic nature is brought out in full because he needs to prove himself to Caine. But why does he?? If he is planning on taking over from Caine in the end, why does he have a “desperate fear of failing Caine”?? Sure, part of it is his desire to prove himself to be better than Diana. But even this has roots in his absolute need for Caine to take notice of him. Drake is drawn to Caine because of his power and authority over people. Caine seems to be the closest thing that Drake can get to an equal, someone who shares the same motivations, ambitions and worldview (of course Caine and Drake do not share these things, but Drake doesn’t realise this…yet.) He seeks validation from Caine because he wants to have these things in common with someone – yet another motivation for his hatred of Diana as she constantly gets in the way of this.

We also know that Caine is, at least, partly aware of his effect on Drake. He is paranoid that Drake will turn on him (because Caine sees being equal to someone as relinquishing power) and he is able to manipulate Drake’s misguided feelings when he wants to – most notably in Chapter 36:

“It’s not Diana or Chunk or even me,’ Caine said. ‘It’s none of us, Drake. It’s Sam. It’s Sam who did this to you, Drake. You want him to get away with it? Or do you want to live long enough to make him suffer?”

This is such a clever moments as it sets up Drake’s whole character in Hunger, and it’s false. Because yes, Sam is the one who burned Drake’s arm and Drake has every right and reason to hate him. But it was Caine who abandoned him to save himself. And it was Caine who refused to let Drake die, even though he was begging for it (and let’s face it, he didn’t refuse to kill him out of any affection – it was a selfish decision.) But Drake is so desperate for that equal, for that validation that his worldview is correct and is shared by another person, that he just idk forgets?? He never brings up this conversation again and just accepts Caine’s word as gospel. I have so much more to say about their relationship but, as I said, I’ll save it for a later post.

5.) DRAKE’S MENTAL STATE

And finally, we have Drake’s mental state. Now I’m not going to try and give him an official diagnosis or anything, but I wanted to make a small point specifically about his mental state after his maiming. I think we can all agree that what Drake went through was pretty horrific, and while I personally struggle to feel any amount of sympathy for him due his own list of horrific crimes, the change he goes through after this is extremely significant, or at least it’s supposed to be. I think mg wants us to believe that Drake’s descent into madness was directly cause by the loss of his arm, and that before that he did have the chance to be redeemed. I think whether you buy into this depends on how forgiving you are, but I want to focus more on the actual proof of change that we see.

I’ve already talked about the physical changes he goes through, and the implications of this so I’m going to focus solely on his mental state during and partly after the whole ordeal. I think the first and most important thing to talk about is the fact that Drake didn’t actually want to survive:

“Don’t cut off my arm,’ Drake cried. ‘Let me die. Just let me die. Shoot me.” – Chapter 36

He would rather die than lose his arm (his gun arm to be specific). Now, while I don’t doubt that the burning was indescribably painful, I’m still not sure that the majority of people would beg for death. Especially when an alternative (in this case losing his arm) is presented. Not to mention, he doesn’t actually talk about the pain when begging for his death – what he talks about is the loss of his arm. Of course it could be argued that the reason he didn’t want his arm to be cut off is because he knew it would mean more pain, but I don’t think that this is the case. Rather, I think that Drake is so scared of losing the power that he has, that he would genuinely rather die. This 14 year old boy is so messed up that his own death is preferable to the idea of no longer being able to hurt people. And so when he gets his power back, he doubles down. He has realised by this point what he truly wants, that he would rather die than be rendered powerless, so he begins committing more heinous acts (like attacking the prees). Pair this with the amount of pain that he went through, which most definitely will have had an effect on his already damaged brain, and you can see how a high-school bully became what he did. The groundwork for an interesting and though-provoking character was right here. I think yet again the problem with his character is the execution. Interesting aspects of his personality are dropped in favour of plot convenience and shock value and it cheapens his character as a whole until all the intended nuances are lost and over-shadowed.

I’m really sorry if this is a bit all over the place and not quite as polished as my other posts. I found Drake so difficult to write about and so my thoughts kept going haywire. Thank you so much for reading (and being patient with my brain). I hope you enjoy!!

[common-blackbird]

Started!

This is my Inquisitor (so overjoyed you can be a qunari), her name is the default Herah and I decided I’m going to approach this game by staying true to a character and not looking to do everything and be on everyone’s good side u_u

I want to make a good background for her so i’m not telling anything. Yet. I’ll just say she’s a qunari mercenary and prefers using two-handed weapons.

Highlights from today:

Studying history does pay off! This was a reference to the famous book in environmental history - Guns, Germs and Steel by Jared Diamond. So proud i recognised it x)

Also i don’t have a good shot of solas but he cracks me up so much.. The guy has a posture of the typical retired grandpa (the only thing missing is to have him walk with his hands on his back). And there’s a scene where the party sees the rift and there’s the inquisitor facing it, cassandra bracing herself and solas... just standing like an old man

On a side note, Cassandra is so gorgeous and good and i already love her, i just keep taking shots of her TAT

As for varric, it’s so different than from da2, this is so much more “official” and you can see he’s the same as ever, but you’re not hawke, hawke’s not here, the gang’s not here and there’s nothing casual about the whole situation T-T

And lastly, my inquisitor has a horse now, i didn’t know that was possible in the game ;__;

played some more...

Let  me start with.... The advisors! (+ cassandra... or is she also an advisor too?)

What a bunch. I love Cassandra’s and Leliana’s faith having a crisis bc they believe that Inquisitor is the Herald of Andraste and the way they deal with it. It’s really interesting. Leliana is completely opposite than what she was in origins and i’m surprised it doesn’t bother me at all! I love seeing this whole darker side that was only hinted at in origins, though it’s also sad when i think how she used to be. I wonder how she’s gonna overcome her doubting of faith. 

Josephine is a delight. I keep using her for almost every war table mission for now. She radiates capability. She reminds me of those bureaucrats that are super nice and helpful and chill and even if you’re doing everything wrong she’ll just smile and say “it’s ok, we can fix it” and then goes and fixes everything herself (and you feel this insane amount of gratitude you send a whole separate email to thank her for her patience and help )

As for Cullen... It’s interesting... I got impression from what i saw in the fandom that he’s supposed to have had his allegiance changed and him rejecting the templars should have been him ultimately siding with the mages (or at least being anti-templar(?)), and that turning point that could have been a great way to show his character development during the game. Which i agree, only... i did not get that impression from the game so far at all. I mean, so far everything that i can remember him saying is totally smth he’d say in da2... He didn’t leave kirkwall bc of his disappointment with the templar order, he doesn’t seem to have any issues with the templars except those who go full war mode instead of trying to balance the situation. And it’s a really chaotic situtation, i love how they did it.

This line was amazing, i wish there was a special cutscene for that.

I’m loving the way they made this huge religious organisation in crisis have a complete collapse with the death of a key figure. I love the concept of inquisition and problems that it poses. I love you can see everyone’s reasoning and doubts reflect their background, but also see why inquisition can be understood as another power-grasping organisation trying to topple the templars, the mages and the chantry. Everything is divided. We got templars leaving the chantry, seekers leaving the chantry(?), rebel mages, loyal mages, rebel mages gone rouge, templars gone rouge, and suddenly there’s another organisation forming that you can totally believe is just another powerhungry force trying to get the piece of the cake by taking advantage of the power vacuum left by the sudden lack of the religious authority. (and only we know we’re The Good Guys). I love that we have characters who need to believe in the greater plan, characters who question the greater plan, and characters who want to utilise the power of belief and characters who don’t care for divine plans. The chaos is real and it feels real. I love that the centre figure of the whole holy business is a heretic of another culture. For the chantry this is the lose-lose situation (unless the inquisitor becomes religious by the end of the game). Which is why this line works so well. 

Ok, now shorter updates:

Red Jenny! I know it’s not her actual name but it is in my head. Where’s that box i delivered ages ago >_> Anyways, she makes my brain work on 150% capacity. I can understand what she means only after i go over it for 5 times.

Forgive me but oh my god, i can’t believe that i can recognise one voice actor and now i have another mental image whenever he speaks. Like, he’s really good at bringing out a new character, but when he gets more casual he sounds like kanan jarrus from star wars rebels and i’m just “what are you doing here, space dad” ;__; Hopefully it’ll get old and i’ll be enjoying more iron bull. he seems nice...

Vivienne on the other hand is like a reverse Josephine(?) She seems insanely capable but hates customer service, however somehow she likes you very much and will do everything you need for reasons you can’t fathom. Have a screenshot. So classy. I already feel humbled.

and lastly, BREAKING NEWS: aveline finally hired carver ;__;

Tbh Kirkwall is still a mystery and i have so many questions but i don’t think i’ll get any answers... If a powervacuum of the divine cause this much chaos, how’s kirkwall faring without a new viscount? Like, yeah, aveline can keep in check, but umm it’s in a very vulnerable state which makes it a good target for any invasion... didn’t sebastian promise bloodshed?

That’s all for now, bc otherwise i’ll start writing an essay on cassandra.

We befriended a bear in the hinterlands!

lets start with this cool shot

so, i have been to the mages and to the templars and... i sided with the templars.... First i was all for mages since they offered negotiations while the seeker just walked away, but then it turned out that was a trap, there’s also tevinter mages there (which is a red flag for my inquisitor) and then there’s some time magic involved (which is a big no for me), and i just walked out. Felt bad for the mages but my inquisitor comes from a culture where mages have their tongues cut so...

Also this guy deserves a medal for putting up with corrupted superiors and annoying nobles.

And i met cole ;__; Where are Rhys and Evangeline ;___;

the templar mission was ok i guess... I was surprised that red lyrium was apparently circulating around for some time, not sure if that means since meredith or even before. I love the stories of corruption tho and to imagine what it’s like to be trapped in this organisation that just keeps breaking everything it stands for

As for the important mages, i’ve Dorian twice since i bailed out on him in Redcliffe :I I love the guy, he seems arrogant yet so kind (like, no one would have carried that annoying priest and yet he did, after he ran from his own people to warn us after i ditched him in Redcliffe? man ;A;) Every time i go with “ok the inquisitor fears tevinter and distrusts this rando who just popped in” i am marinating in guilt.

and then we fight some mages and die several times but we succeed and we meet the bad guy...

Is it an unpopular opinion to say that i like him as a villain so far? i saw so many jokes on his incompetency. Idk, i like that part where he said that he reached the fade in someone’s name, it makes me think he’s not just power-hungry person(?) who’s just evil,but was originally serving someone, and he said that the gods were either gone or corrupted and he spent hundreds of years thinking what to do with whatever happened so he seems like he knows what he’s doing and maybe(!just maybe) he is trying to fix things that are wrong but we can’t see that? And of course he hates the inquisitor, he has to redo his stuff all over again, i’d hate the inquisitor too. im probably looking too much into it. My wish is that, if he’s evil, he became so gradually, but originally had good intentions? Or there’s more to things going on that we just don’t know and he does... Maybe this was his tragic attempt to fix things but he would ultimately fail and be branded as a villain etc etc. I’m getting carried away

If it turns out he’s just evil for the sake of being evil then feel free to tell me so now so i don’t embarrass myself further with plotting myself lol.

A side note, is he the Architect? Or the same? In DA2 he says he’s a tevinter magister, right? and he ceased to be a human. Also in DA2 it seemed like he was the boss, and here he said he reached in the name of someone (probably more important than him). But what is the Architect then?

And with that we reach the skyhold.

in skyhold

I didn’t know you meet hawke so soon ;__; i thought that was like, somewere more to the end of the game, since the big decision and all. But the mission is already opened and i am going to procrastinate on it until i finish every side mission :<

Also he is so sad ;__; i understand, but at the same time... all that humour now bitter sarcasm :’(

(also, very shallow remark, but i really really prefer his looks in da2 than here... it’s like they softened him. He’s more...oh god idk bearish(???) than hawkish(????) you know what i mean? the nose isn’t as sharp anymore, the beard is... what is it with the beard... anyways i get the game has its limits so it’s fine. it’s fine! fine.)

then there was the fight that i remember since twitter >:D

It’s what made me want to play dragon age and i finally reached it T-T so good! I love how you can see the both sides and everything they say is true but they’re so angry at themselves they’re taking it out on each other TAT

Cassandra later says Hawke probably wouldn’t have joined the inquisition even if she found him, and i wonder now if that’s true... At first i thought, nah, Hawke has too much of a hero complex, he would feel too responsible to just say no. Besides, he’s with the inquisition now (tho i can’t find him anywhere anymore!). But at the same time, the way da2 ends was such an iconic walking away from everything, and not taking into account the hocus-pocus rift stuff, i can imagine him refusing, especially seeing how bitter he is now. It’s also a question of how much would have cassandra told him i guess. idk, what do you think? Would he lead or nah?

another person i want to find but can’t in skyhold are the templars with ser barris. i can use them on war table missions but otherwise they’re non-existant? i forgot to talk to him back in haven but now i wonder if it was even possible and if he was even available there, since he isn’t here. I spent hours just running around skyhold looking for the guy :(

and then everything becomes unimportant bc aaaaa!! she! is the arcanist! Dagna! im so happy and proud(?) she went and reached her goals x)

anyways that’s all for now, laters

some random updates:

so i did the halamshiral and gave up to my “stick to the character” mode, and nothing went my way, but that’s life. Met morrigan! i almost forgot she appears lol. And, despite also jumping on the wagon of give-morrigan-better-clothes train, i have to admit seeing her in her old clothes was a relief after that dress at the ball. It’s not the way the dressed looked, but the way she moved in it... god im shallow

i also initially didn’t like morrigan being at orlais court of all places, but after the conversation that’s supposed to explain why she’s there i’m kinda ok with it. I mean, i still need some more info. Wouldn’t Tevinter be better? she’d practically become a magister overnight if she got this good in the game so fast. It’s also unconvincing how everyone knows everything in orlais but somehow nobody connected that the random kid that has no bakcground whatsoever with morrigan who keeps checking on him? But at skyhold she’s just “hey i have a kid, he’s no trouble, right?”  but hey, it’s morrigan. She can do anything. I’ll just have another story idea in my head.

Then there was news of the new divine that could be either cassandra or leliana and i don’t honestly know whom to choose. I’d prefer leliana over cassandra simply bc cassandra is more of a military mind, while the position of the divine would be more political. But lately every mission with leliana was spy spy, kill kill... Do we really want that for a religious leader? On the other hand, it would nicely round up her story from origins to inquisition... But cassandra is more of a public figure than leliana is...

when cassandra said:

“I want to respect the tradition, but not fear change. I want to right the past wrongs, but not avenge them. And I have no idea if wanting any of them makes them right.”

great moment. She’s usually so convinced and rash, i forget she’s more doubtful and open minded than what she looks like. Everything about cassandra is different from the impression she gives ;__; I love her so so so so much. (when she says she considers the inquisitor her friend i melted, next time varric pulls up the “seeker has no friends” joke, my heart will no longer be breaking).

I did a bunch of personal missions. Some were cool, some were ????. Also there were war table missions with zevran, that was cool. Also i love the codex entries in skyhold. The archery competition with varric banned? Dancing lessons failing bc lace harding is on the move all the time? Perfect.

And i met chargers, i like them, and aaah that staff-bow from the trailer is such a cool idea ;A;

What i don’t get with bull’s chargers is - they’re a mercenary group right? But isn’t swordselling seen as the complete misunderstanding of the qun? I get only bull is qunari, but he’s the leader of them? How is that not frowned upon?

And lastly, i don’t think i’ve said this, but i love that they added codex entries in the loading screens. love it.

update

After months of procrastination, i have faced my fears and have met alistair. it was very anticlimatic beating 11 level monsters when i was level 21...

but.. ALISTAIR TAT He’s changed... but not changed... but changed! Like, his personality is the same, but he’s more serious, doesn’t run from responsibilities, isn’t as bitter as hawke (also, why do i get impression that i am supposed to get the impression that they’re friends? they’ve met like, once, and talked for less than a minute.. whatevs. let’s pretend they’ve met again when on the run), i really love the inquisition alistair ;;__;;

Also, i managed to get that awkward demon baby family reunion :D

 know that morrigan says the vaguest generic thing “i told him his father was a good man” bc of various world states, but i also think she’s come a long way not to mock alistair, and then when he notices that she didn’t use the opportunity he mentions that the kid changed her and she’s like “pfft, yea right, you wish”....

... when she was the one who said that in the first place ;;__;;

Awwww :> I love that they bicker but softly. Kids have grown up :’) Anyways, when will alistair start paying alimony

The only weird one is Leliana bc when morrigan was introduced she was like “danger danger” (smth i’d sooner think alistair would do), and when alistair is (supposedly) in skyhold, Leli doesn’t even mention him, only hawke.  bruh, what were they to you, you almost died together ;;__;;

oh i also slayed a dragon.  I didn’t even want to fight that dragon. It was a hillarious feat of inquisitor, solas, cole and blackwall, all on level 21, having to chug all the health potions right at the beginning while fighting a dragon that was... level 13, after which i just let go of controls and suddenly everyone was hella good at fighting and slayed it (only cole needed revival several times).  

And, befitting the wild-dream feel that it had, when i got back to skyhold and visited companions, suddenly i was drinking pelin with iron bull, and he’s reminiscing on that fight with the dragon and i’m like

it was awful and you weren’t even there.

i forgot to update

but last time i was playing i finished the hawke/alistair sacrifice and all the torture i went through with deciding whom to sacrifice vanished bc frankly, at one moment, i wanted to sacrifice both of them, but in the end it was much more easier to sacrifice hawke bc inquisition hawke just didn’t feel like hawke to me, while alistair improved since the origins!

and now i remembered why i didn’t update, in the same day cassandra rejected me so i was sad and didn’t continue playing since then (i think last time i played it was around easter?)

new update

BLACKWALL!! or should i say Thom Rainier? Wow, what an arc! It was also so fun bc i was all strict mode, picking the third option, telling him his life is in inquisitor’s hands and all that, but in the end i set him free. He’s so good, a true knight T-T

Also i romanced sera. we’ll see how that goes.

Also, fave point in the game so far, i wanted, for so long, to sit at that val roeayoux (can’t spell) cafe and finally did it with cole’s personal mission. THANK YOU COLE YOU TRULY CAN READ PEOPLE’S MINDS.

another interesting thing was that after specialising as a reaver, cassandra said that drinking dragon blood makes you grow scales and become mad. Iron Bull said that inquisitor smells better bc dragon blood and that qunari generally smell better than humans. So i’m guessing qunari have fractions of dragon in them? ok...

and now i started that mission with morrigan and the puzzles are killing me lol, i am this 👌 close to just go chase calpernia and give up on a well of sorrows.

[scottymcgeesterwrites]

Final Fantasy VI Review

Year: 1994

Original Platform: Super Nintendo (originally released as Final Fantasy III in the West)

Also available on: Playstation One (Final Fantasy Anthology), Game Boy Advance, Android, iOS, Steam

Version I Played: Game Boy Advance

Synopsis:

Terra is a slave used by the Gestahl Empire because of her magic powers. The Gestahl Empire seeks to hunt down espers (summons) and harness their powers too, effectively killing them. Terra escapes their clutches and falls into the hands of the Returners – a small band of rebels hoping to return freedom to the world.

Gameplay:

Final Fantasy VI doesn’t exactly add anything super-new to the gameplay unlike its predecessors. That doesn’t mean there’s anything wrong or boring with it. It has an ATB system and each character, like in Final Fantasy IV, specialize in certain jobs. Therefore, each character has a special unique ability that no other character can perform.

I find the style of the game unique for its time because you can easily split the game into two parts. There's a pivotal point in the story that changes everything. The first half is a typical story-driven RPG. The second half is actually more open world. With a huge cast of characters, you are not actually required to end the game with all of them. The second half of the game offers a unique style where you can take on the final boss with what you’ve got, or hunt down the rest of the cast members and then take on the final boss.  

 Graphics:

This is the SNES in its prime. Character sprites are much bigger, and the world looks so much more detailed and vibrant. Shadow looked weird though. Sometimes you had to squint to discern what his face actually looked like. Other than that, the game looks great! It’s notable for utilizing more graphics power from the SNES in some cutscenes, and also when you fly an airship.

The PlayStation One version again has a FMV sequence that hasn’t aged well at all. Okay, maybe it’s a tad bit better, but that’s not saying much.

Story:

One of the biggest debates in recent Final Fantasy fandom is asking whether Final Fantasy VI or Final Fantasy VII is better. While I won’t get into Final Fantasy VII much now, it was always the most popular game in the series. It seems that in recent years, gamers have retroactively judged Final Fantasy VI as the best Final Fantasy game of all time.

I wish I had appreciated more when I was a kid. When I first played it then, I actually despised it. I was much more critical about stories back then. For whatever reason, I didn't think the world building was coherent. I also wasn’t used to Final Fantasy games by then.

I finished Final Fantasy VI about four years ago, and that time I was taken by it. I became enlightened and completely changed my opinion of it from sour to sweet. I wish I could erase my memory on playing it only so that I could experience it for the first time and appreciate it for the first time. I had already known most about what happened in the story, so I really wish I could experience the shock and awe of it brand new. Final Fantasy VI does things with its story that no other Final Fantasy game has done. It has drama, it has brevity, it has an amazing cast of heroes and villains. To date, it has the most playable characters in a Final Fantasy game.

The plot even incorporates a little opera that you sit through.

 At first glance, Final Fantasy VI seems derivative. There is once again an evil empire seeking to control the world, and there is once again a rebellion. People often make the parallel to Star Wars, much like Final Fantasy II. The name “Returners” doesn’t quite stick with me personally as the name of an epic rebellion. Final Fantasy VI also created the recurring characters Biggs and Wedge, a further nod to Star Wars.

But you have to look past the simple setup of a ragtag rebellion fighting an evil empire. First of all, the steampunk setting is one of the most original in a Final Fantasy game to date, and hasn’t really been revisited. The world dabbles in late 19th century architecture, with fine arts and opera. The empire is only beginning to realize the ancient power of magic, and combines it with technology to make “Magitek”, starting a sort of “industrial revolution”. The opening scene to this game is one of the most memorable. Terra, under the empire’s mind control device, in her magitek armor with Biggs and Wedge, trudging through the snow as the opening credits roll by, comes off as a real live-action movie.

 While the official creators say that there isn’t a main character, I still say it’s Terra. If not, she’s at least the most important. She propels the plot forward. She’s one of those rare great female protagonists in a video game RPG. She’s more than just “a strong female character”. She has depth as she tries to find her place in the world, and other characters, such as the thief Locke, try to help her.

 Also, just like Final Fantasy V, Final Fantasy VI has its own villainous goofball - Ultros.

He’s not quite as charming as Gilgamesh, but he acts in the same manner regardless.

 Each character has their own story – no matter how small or big. They’ve all lost loved ones, or suffered hardships, and the central theme about the entire game is really about grief and dealing with it even in the face of nihilism.

 Nihilism comes in the form of Kefka - Emperor Gestahl's court mage. Kefka did the whole nihilistic evil clown thing before Heath Ledger's Joker in The Dark Knight. Kefka retroactively rose to popularity, rivaling longtime favorite villain Sepiroth from Final Fantasy VII as the best Final Fantasy villain.

 Final Fantasy VI deals with heavy topics. I was shocked that it even dared to show a scene of attempted suicide. Things get dark. Really dark. But Final Fantasy VI deals the darkness with such elegance. I admire its ability to treat such heavy plots for basically children.

The ending to this game is probably the most epic out of any Final Fantasy game. I can gush with details but this is meant to be a spoiler - free review. I just have to say – E P I C. But the most admirable thing I just have to say is that it treats Terra’s journey with the utmost respect and tact. It doesn’t try to define her by having some hokey romantic subplot.

Music:

Another legendary score. Given the tone and atmosphere of the story, the score reflects something darker. Right away, the opening titles before you begin is accompanied by foreboding music. With the exception of battle themes, the story demanded that Uematsu put away most of his drumming and rock undertones for a more conventional, instrumental score with pathos. It sounds most like the score to an actual fantasy movie, very operatic and Wagner-like.

Shadow’s theme sounds inspired by typical Western movie fare, being that he is a drifter. In fact, Final Fantasy VI’s score is diverse in tones with its character themes, which is obvious once you think about where all the characters come from. Cyan’s theme has Asian influences. The theme for the Veldt, a stretch of wilderness, has a jungle beat. Then of course there’s the opera music. Many Final Fantasy concerts, such as Distant Worlds, play the opera about the fictional characters Draco and Maria. Kekfa, the villain, has a jovial but sinister theme scattered throughout. Terra’s theme is practically the main theme of the game, and it too is referenced throughout.

The end credits song is a whopping 21 minutes and 36 seconds. It goes through every single character’s theme and more. The entire soundtrack is 3 hours long. I don’t think any other game at the time had a soundtrack that long.

 Notable Theme:

 “Dancing Mad”

To me, Dancing Mad is Nobuo Uematsu's magnum opus. It is a sprawling 8-minute epic for the final battle.

Verdict:

A must-play. Any RPG fan will love this game. Any RPG fan SHOULD play this game. There’s nothing obnoxious or vainglorious here. Every subsequent Final Fantasy game tried to live up to its drama and scope, but with all of them falling short ever so slightly.

Direct Sequel?

No. Thank God.