#to start to build a character within!

[vaguely-concerned]

This might be due to the fact that on my first playthrough I ended up creating a Rook more emotionally guarded than any of the companions except Minrathous-route Lucanis and perhaps Neve, so I was primed to look for it, but I never got the sense that the companions don’t care for Rook (the thought never even occurred to me until I saw other people post about it) — to me it seems much more like it’s Rook who keeps the last bit of distance, Rook who pulls away when the companions try to extend their care or worry too directly, who keeps themselves slightly apart. (Rook who is so full of grief they cannot know as grief and thus process that there’s no room inside them to let anything else all the way in, perhaps.) They deflect and flinch back when someone gets too close or approaches them too overtly about their feelings — especially when it brushes up against the theme of grief. They can offer care to all the companions who are grieving, come along to any number of funerals as emotional support, but the moment someone turns that towards them they shut that shit down Immediately, like when Taash almost gives the whole game away with ‘Like you’d know? You act like you haven’t lost anyone!’ and Rook just blandly responds ‘We’re talking about you’ and doesn’t engage. But they can also admit that they struggle with accepting compliments, or knowing what to say, or having confidence in themselves without Varric’s help.

Despite all their determination and even in their most stoic no-nonsense incarnation, Rook is awkward, with the struggles that entails. Someone who is eager and happy to be the helper wherever they can, and helplessly unequipped to know how to be the helpee, as it were. It’s not that the companions don’t return Rook’s attachment to them, there’s MUCH more of a ‘okay so what are the ways you will allow me to be good to you??’ desperation of care vibe behind all their invitations to conversations and hangouts together, to my mind. They bring Rook to their favourite places and share the things they love with them, they ask to spend time together (many times just to have their company, not because they have a problem they need help with! Sometimes the problem arises anyway b/c video game quest narrative of course), they bring them out for some direly needed grass touching, they introduce them to their families. Everyone is clearly getting the sense that Rook does Not want to talk about Varric especially (this is in fact what Harding says in banter, if she’s still alive after the reveal :’( ), but they are absolutely SCRAMBLING to find ways to show that they’re there for them even so. AND from the companions’ perspective, with the situation as they have the means to understand it, accepting that Rook isn’t ready to have that conversation and backing off is also a kind thing to do. (tl;dr: To Me Rook is that weirdly socialized friend who is a great hang once they’re actually there but you have to directly invite them or they don’t quite know how to initiate the contact themselves lol) 

Just as a crushing sense of responsibility for their family is a trait that is built into Hawke no matter how you play them or how you make them respond to that, I feel like Rook — however helpful and earnest, warm, charming, jocular, stoic or straightforward they seem at a surface glance — is always someone who struggles deeply with connecting to themselves and other people. (Emotional Intimacy, the Final Frontier.) As, indeed, is the case with all of the Veilguard companions too! It’s clearly a deliberate theme. These are all lonely people struggling with their sense of identity and belonging in some sort of way. AND having, working on and eventually starting to overcome these difficulties also makes Rook a direct foil for Solas, who doesn’t learn that lesson unless you corner him at the end of the world to force feed him his medicine lmao. They don’t manage to break out of the regret prison under their own steam, it’s because even struggling and grieving they have managed to create mutual bonds with other people who show up for them in turn now — and with all the protective walls of denial around what happened to Varric crumbling and making them less of a stranger to themselves, Rook is finally able to let them. An outcome Solas seemingly didn’t even consider to guard against, because he’s become that deeply entrenched in his loneliness, the utter isolation of the self — he can no longer truly imagine an alternative. (It’s not that he can’t form these bonds, obviously, it’s that he resolutely refuses to value them. Whether it’s because he feels like he doesn’t deserve it or out of a need for control or the martyr complex where he must sacrifice everything he loves on the sacrificial pyre of fixing his mistakes, all of the above and more, the result is the same. Mind!Varric, who I think is mostly Solas speaking, even calls this out directly. So yet again a situation where he has some self awareness about it and it doesn’t help At All haha. Solas falls to the temptation of making people into tools again and again and again, no matter how many times it comes back to bite him in the ass and the eternal solitude it traps him in.) 

And that deep deep loneliness… There but for the grace of… well the theological state of thedas being what it is right now, let’s just go with the grace of Something, Presumably go you as well, Rook. The same capacity/tendency to pull away from connection clearly lives in them as well in some form (again, for whatever reason and with whatever motivations and instincts behind it for any individual Rook). Solas and Rook coming together to create a blood magic paper doll of the mind Varric in response to acute loss and loneliness is one of the most deep , deeply fucked up and invasive acts of intimacy I’ve ever contemplated. I don’t think that’s accidental, there’s something There’s Something Wrong With You (there’s something wrong with you that’s also wrong with me (derogatory)) here that resonates no matter how both parties would hate to hear it. (A fitting legacy for Varric and his wild ‘I made my best friend into a story because it’s the only way I know how to love with this desperation of sincerity’ brain to leave in the narrative, methinks. I feel he’d appreciate it on a craft level, if nothing else.)

If you read through all of Rook’s potential backstories, one of the common threads through all of them, along with a certain maverick ‘I’ll do whatever it takes’ streak, is a sense of profound alienation. They did something or have some sort of quality that made it hard for them to fit in with the group they’re from, causing a conflict that cuts them off from parts of their identity as it’s been up until now. All of which also adds to how important Varric is to them — he was clearly able to break/see through some of that and be closer with them, even in the relatively short time they spent together. No matter what else goes to shit, they can trust that a) Varric sees them, b) he genuinely likes them and believes in them not despite who they are, but for it, and c) he’s got their back, we’re in this together kid. And then he is gone, and it takes them the whole game to be able to bring themselves to accept that and know themselves again, be able to let new relationships in fully. The very understandable ‘the last time I let someone in, they got stabbed before my eyes and the world ended’ flinch away, even if they’re not consciously aware that’s what it is. Anyway I love Rook. So much space to play around in here as to WHY they might feel or react like this, even when the framework is more defined.

[devilsskettle]

The X trilogy + "psycho-biddy" influences

[icewindandboringhorror]

Worried by signs of aging but not in a "freakish capitalist beauty standard 85 step skincare routine obsession with youth" way, more of a "any marker of the passage of time reminds me that sadly I am not an immortal vampire so I need to rush around constantly and learn to prioritize because I will unfortunately not have 1000+ years to explore every single hobby and academic subject on planet earth (even though in a fair world i WOULD be able to do so)" way

[fellhellion]

insert joke abt glutton for punishment etc etc but truly i am that dude who reaches the end of every wayhaven book like waow...detective/A have come so far 🥰....

[riiviir]

it doesn't matter how smart they are. show me a character and I'll be looking at them with a worried expression going "oh god, somebody help them, they're so stupid"

[bluetiefling]

interesting how often the ones claiming that galadriel's season 2 arc was perfect and everyone who doesn't think so is just too haladriel brainrotted or something are the same folks who openly say it's fine if she were to just... fade into the background in season 3 or disappear outright. sorry I actually do think it's sexist for galadriel to be introduced as the central protagonist only for her to be gradually phased out so that gil-galad and elendil or elrond or whichever legendarium dude can have more to do.

[taz-writes]

here's a hot take for today

the narrative function of sex is the same as the narrative function of fight scenes is the same as the narrative function of songs in a musical

no i will not explain

[white-weasel]

Before I started campaign 2 I was like “oh no :(( I’m gonna miss Bahumia so much :((“ and now that I’m finished with campaign 2 and ready to hop into campaign 3 and go back to Bahumia I’m like “oh no :(( I’m gonna miss Eldermourne so much :((“

The cycle continues

[persy-r-bozo]

Sitting here silently emotional about red guy again beacuse him in transport hit a little. Just a wittle

too close to my severe anxiety home.

[baronessofmischief]

Rebel Moon on Netflix is sooooooo soso bad guys 😂 like at least there’s space Charlie Hunnam with a Scottish accent and sometimes the main character has a flashback where she has a better haircut AND there’s a sibling duo who have the best costumes in the movie but the story? The script? The movie structure? Cohesiveness? Absolutely terrible. And there’s still 45 minutes left

[pekoeboo]

hhh i've had like. no drive to work on any art or writing projects. ;n; my heart is still so invested in the stories and characters I've created, but the motivation to take those feelings and put it into some form of content is next to nil. i don't know why it's been like that but it's kinda sad :c

don't get me wrong - i'm happy with most of the things i've created lately, but it's also been this strange game of doubt and comparison going on in my head when it comes to actually sharing what I make. there are a lot of pieces of art and writing that i just haven't posted because i feel like it's not in a place where it's good enough for anyone other than myself. the idea of editing and actually finishing some projects so that i can make sense of them online is overwhelming even tho i would love to just... get some of those ideas out for anyone who might be interested in hearing about them, you know?

anyway. probably just need to let myself take some kind of break?? idk what that would really entail at this point tho. it's just been a weird mental state that I need to work out i guess.

[mintjeru]

choose your fighter

[djevelbl]

Fortelling is such a nice writing app, except for the tiny and very inconvenient situation that keeps on cropping up of suddenly slowing down after like. 15 to 20 mins of having it open, regardless of whether I'm currently using it or not

[frailsituation]

Tips for writing plot twists

1. Start with a false sense of security

• The best plot twists work because the audience feels confident they know what’s coming.

• How? Lay down a trail of clues that mislead without outright lying. Create a sense of inevitability.

• Example: A detective follows all the evidence to one suspect, only for the real criminal to be someone they completely overlooked.

2. Plant the seeds early

• A plot twist is most satisfying when it feels inevitable in hindsight. Subtly sprinkle clues throughout the narrative.

• How? Use small, seemingly insignificant details that take on new meaning after the reveal.

• Example: A side character is always conveniently absent during key events—later revealed to be orchestrating everything.

3. Subvert expectations without betraying logic

• A twist should surprise readers, but it must feel plausible within the story’s framework.

• How? Flip assumptions in a way that feels earned. Avoid twists that rely on coincidences or break the rules of your world.

• Example: A character who appears harmless and incompetent is revealed as the mastermind, with subtle foreshadowing tying everything together.

4. Exploit emotional investment

• Twists land harder when they involve characters the audience deeply cares about. Use relationships and personal stakes to heighten the impact.

• How? Create twists that change how readers perceive the characters they thought they knew.

• Example: The protagonist’s mentor is revealed to be the antagonist, making the betrayal personal and devastating.

5. Use red herrings strategically

• Mislead readers by planting false clues that draw attention away from the real twist.

• How? Make the red herrings believable but not overly obvious. They should enhance, not distract from, the story.

• Example: A mysterious object everyone believes is cursed turns out to be completely irrelevant, shifting focus from the true danger.

6. Timing is everything

• Reveal the twist at the moment it has the most dramatic or emotional weight. Too early, and it loses impact. Too late, and it feels rushed.

• How? Build tension to a breaking point before the twist shatters expectations.

• Example: A twist that flips the climax—when the hero thinks they’ve won, they realize they’ve fallen into the villain’s trap.

7. Allow for multiple interpretations

• A great twist makes readers rethink the entire story, encouraging them to revisit earlier scenes with new understanding.

• How? Design the twist so that the story works both before and after the reveal.

• Example: A character’s cryptic dialogue is recontextualized after the twist, revealing their hidden motives.

8. Pair the twist with consequences

• A twist shouldn’t just shock—it should change the trajectory of the story. Make it matter.

• How? Show how the twist raises the stakes or deepens the conflict, forcing the characters to adapt.

• Example: After discovering the villain is their ally, the protagonist must choose between loyalty and justice.

9. Keep the reader guessing

• A single twist is good, but layered twists create an unforgettable story. Just don’t overdo it.

• How? Build twists that complement each other rather than competing for attention.

• Example: A twist reveals the villain’s plan, followed by a second twist that the hero anticipated it and set a counter-trap.

10. Test the twist

• Before finalizing your twist, ensure it holds up under scrutiny. Does it fit the story’s logic? Does it enhance the narrative?

• How? Ask yourself if the twist creates a moment of genuine surprise while respecting your audience’s intelligence.

• Example: A shocking but clever reveal that leaves readers satisfied rather than feeling tricked.

Follow for more!

[illdothehotvoice]

Played 1 single part of a TGAA episode last night I'll finish these games one day I swear

[cottonlemonade]

“Ok, a Hear Me Out is basically a fictional character or being or whatever, that would make people look at you funny. So like, I’ll start.”, Hoshiumi sat on the floor with his legs spread apart and leaning down on his forearms to stretch, “Nala from the Lion King.���

Ushijima frowned, pulling a knee to his chest. “But she is a lion.”

“Yeah, that’s the whole point. It has to be something that makes people scandalized.”

“I see.”, the ace said, “Mrs. Parr from the Incredibles.”

“No, that’s…”, Hoshiumi sighed.

“Why not?”, Kageyama asked, confused, as he reached for his toes.

“She is a married mother of three, I hope people would be scandalized if she would commit adultery.”, Ushijima reasoned as he switched legs.

Feeling a headache building in his temples from frustration, Hoshiumi insisted, “No. It has to be almost like a… like a taboo, you know?”

Kageyama looked around the gym for inspiration and his eyes landed on the coach’s bench where you and Hirugami were currently discussing the last game. You hugged the clipboard to your pudgy tummy as the captain gestured around, making you laugh. The setter watched, eyes full of yearning. Dating within the team was strictly forbidden, so he felt confident when he said, “Then my pick is Y/n.”

“A good one.”, Ushijima nodded in agreement.

Hoshiumi’s jaw dropped, then he shook his head, “That would be so freaking rude if either of you had any idea how this game works.”