#was this a book related easter egg? | Explore Tumblr posts and blogs

flowerandblood · 5 months ago

Text

The Lost Haven (2/16)

[ modern mafia • Aemond x niece • female ]

[ warnings: incest but they were unaware children, the angst, woman on the rape pill, suicidal thoughts, therapy ]

[ description: The vacation from eight years ago still haunts his memories and doesn't let him forget what happened between him and his niece, the daughter of his sister and Harwin Strong. Their paths separate and he immerses himself in his father's mafia world until the day she calls him for the first time since those events. Sexual tension, dark, dangerous, withdrawn, thirsty Aemond. ]

Author’s note: As promised, this is another, this time official modern version of The Fall from the Heavens. In this version, Daemon is not related to the family, but is simply Rhaenyra's husband and the leader of the second gang, Alys and Larys are also not related to each other, but Larys is Harwin's brother. I will partly refer to the original series, hiding some easter eggs, and some will be a completely new, fresh plot. As in every universe, only Aemond calls her Rhaenys and this is not her real name (she is unnamed character and the others also do not know that he calls her that). There will be a lot more brutality and angst in this version, so watch out. You can read this as a standalone story.

Series & Characters Moodboard Aemond & Rhaenys Moodboard

* English is not my first language. Please, do not repost. Enjoy! *

Next chapters: Masterlist

_____

The memory of that holiday haunted her for many years; a mixture of sadness, melancholy, regret and longing blended into one in her mind making her live in the past and present at the same time.

Although she had trouble remembering what she had been doing the day before, she remembered perfectly the expression on his face that day when Jace had taken his boxers from him – she saw the exact moment when he closed his eyes, heartbroken, and burst out sobbing like a small child.

Although he pretended to be an aloof boy who was unaffected by anything, in that moment his mask broke before her eyes showing how vulnerable he was.

The fact that he pushed her away after she helped him hurt her, but it didn't stop her from doing what she did next either.

"What is this? Are you still sleeping with the light on?" Jace asked, looking in her backpack for his book that he liked to read before bed.

She pressed her lips together, covering herself more tightly with the duvet.

"Yes." She muttered.

Jace snorted and shook his head.

"Only babies sleep with the light on. You need to get over your fear. You're already big." He said finally, unplugging her lamp, taking it with him.

"– n-no – I –" She whimpered, but her brother simply turned off the light and left her room.

"– you'll be fine –" He called out, and she hid under the duvet, panting heavily.

Her imagination always caused her clothes lying on the chair or various objects standing on the desk to remind her of disturbing, frightening shapes in the dark.

She was very afraid of them and of the fact that if she closed her eyes and just lay there, the monsters would slowly approach her until they devoured her.

She pulled the duvet slowly off her head and swallowed hard, seeing that the wardrobe was ajar, one of the long dresses spilling out of it like a glistening black ooze. She thought she heard a rustling sound and jumped when something hit the windowsill.

She thought she couldn't stand it – she burst out crying, pulled herself up and ran out of the room.

She didn't know where to go, afraid that if she complained to her mum about Jace he would later tease her even more or that worse, Rhaenyra would admit he was right.

That's why she stood in the corridor, terrified of being surrounded by darkness on all sides.

She walked to his door, knowing he would be furious, and opened it, breathing heavily – she heard him rise on his arms, his sleepy face with furrowed brows directed towards her.

"– Aemond? –" She mumbled, trying to calm her breathing. "– can I sleep with you? –"

"– you must be crazy –" He said impatiently.

"– they took away my little lamp – Jace said I'm already big and I can't sleep with the light on – but I'm so scared –" She confessed with shame, feeling like all those children who wet their bed in their sleep and had to wake their parents to change their sheets.

Her uncle looked at her for a long moment before giving in, agreeing reluctantly, threatening to kill her with his own hands if anyone found out. She climbed onto his bed with relief and, feeling the warmth of his body next to hers, slept peacefully that night and all the nights that followed.

Despite his initial frustration with her daily nightly visits, he eventually allowed her to read books with him or even cuddle with him.

She noticed that the fact that she didn't tease him like her brothers did made him calmer around her and therefore, in essence, nicer.

She liked the fact that he stopped avoiding her, taking her along on his expeditions – they searched in the sand for unique treasures: old coins, unusual stones or shells, cartridges and other objects of interest.

They invented their own missions and tasks, pretending they were great explorers of ancient temples hidden under the desert sands, and dug deep holes hoping to really find something.

Usually they discovered beer bottles, however, it was all about the whole process, not the result, pretending that traps, poisonous insects or great windstorms lurked everywhere to force them to turn back from their path.

She enjoyed the way he made her feel with him as if they were characters from a book or a film: as it usually happened, although typically the partners didn't like each other at first, later they became inseparable companions, and each new day was another episode of the series in which they played leading roles.

"Have you ever had a boyfriend?" He asked her one day, walking side by side with her by the sea shore – they were just returning from an expedition where she had found lots of beautiful, large shells in which she believed mermaids' songs were enchanted.

She wanted very much to be a mermaid and hoped they would help her succeed.

However, his question turned her thoughts away from the matter, making her heart beat harder in her chest.

"No. And you?" She asked, glancing at him out of the corner of her eye. Her uncle pressed his lips together, looking everywhere but at her.

"No."

They were silent for a long moment, embarrassed to be talking about such unusually adult matters.

She wondered if he wanted to ask her for advice on some amorous matter, to make her help him win the heart of the girl he secretly fancied, and she felt a twinge in her stomach at the thought.

"And would you like to have one? A boyfriend, I mean." He asked further, startling her. She blinked, looking at him with amusement.

What was he getting at with these questions?

"Well. It depends if I would like him." She said truthfully.

"Do you like me?" He muttered, and she giggled, feeling a pleasant, warm sensation spread through her heart.

"Yes."

"So?"

"What are you asking?"

She saw him press his lips together, clearly not wanting to appear a fool if there was a misunderstanding between them.

She thought she would take pity on him.

"I can be your girlfriend, but that will mean I get to hold your hand sometimes or give you a kiss." She said warmly.

Her uncle looked at her, his eyes shining in hope, embarrassment and disbelief. He hummed, pondering her words, terrified and excited at the same time.

"…but only when we're alone." He muttered.

"Alright."

Later that night he kissed her for the first time and did so repeatedly for many days afterwards.

His lips were pleasant to the touch, warm and moist, his hands touching her face full of delicacy and tenderness.

Years later, she realised that their kisses were a simple pressing of one lips against the other, without finesse or tongues, the way one would kiss an aunt or a mother on the cheek. There was nothing ambiguous about them – it was just that adults did it too, and it made them both feel more mature.

And then he came to her, pale, and although they had arranged another trip, neither of them had gone to the beach that day.

"– I'm breaking up with you –"

She shook her head, feeling her heart stop for a moment.

"– but –"

"– you're my niece – you can't be my girlfriend – sleep with your brother or your mum tonight –"

She blinked, looking at him in disbelief, feeling the cold sweat on her back, her throat squeezed tight while her eyes filled with burning tears of disappointment.

He had deceived her, used her, played with her to frustrate her brothers.

And then Luke hit him on the head with a bottle, and its shards smashed into his face. As Aemond and Alicent drove to the hospital, her grandfather, Viserys told her mother to return home.

"– it was an unfortunate accident, but it would be better if you left sooner – your presence will only make things worse, Alicent needs to cool off –" He said, her brother, Luke, as she did, sat on the couch and was shaking, whooping with tears.

Despite her desperate pleas and her attempt to escape, her parents locked her in the car saying it was better that way and drove off, without goodbye, without explanation, without compensation.

All the way home she cried, clutching in her hand a piece of paper with his phone number on it, which she found slipped under the door of her room that same morning.

She spent the next few weeks pretty much just crying and sleeping, refusing to eat or drink, feeling that her life was over before it really began.

The boy who broke her heart had been hurt by her family and she didn't know how she was ever going to look him in the face at the family table again.

It turned out that her mother had simply only been in contact with her grandfather from then on, saying that perhaps it would be better that way.

That maybe this would separate them from this world.

At the time, she didn't understand what she meant.

The first text message she sent him was when she overheard her brothers talking, saying that her uncle would now have an artificial eye like a terminator.

The sense of guilt and regret that he was left alone with this didn't give her peace that night, and although she hadn't slept with the light on for a long time, she liked to imagine with her eyes closed that he was lying next to her.

It calmed her down.

She took her phone in her hand, chose his number in her contacts and began to text everything that was on her heart.

But he never wrote her back even though she sent him hundreds of messages: ones about her daily life, what she was doing, reading or listening to.

She send him Christmas and birthday wishes, asked about his health, how he was doing at school, but never got any response from him.

Many times she thought about calling him, but she still kept the card he had left her, which said under his number:

CALL ONLY IN A LIFE-THREATENING EMERGENCY.

She was afraid that if she called him saying that she simply missed him, she would anger him even more. Her parents no longer spent Christmas with his family, and after her father was shot dead, presumably for trying to escape the mafia life, she completely broke down.

Her mother decided to send her to therapy when she started high school.

She remembered clearly the smell of that clinic and the doctor who sat in front of her: a middle-aged man with round glasses on his nose, his voice calm and quiet, full of patience and understanding.

All around them were plants in pots and it made her feel a little cosier.

"Tell me about the friend you mentioned to me on your last visit." He started and she pressed her lips together, feeling cold sweat on her back and discomfort in her chest.

She was afraid to tell him what they had done, who he was.

She was afraid of his appraising gaze, of the fact that he would think she was disgusting.

"He was… my uncle."

The doctor corrected his glasses on his nose, intrigued and concerned at the same time.

"How old was he then?"

"He's two years older than me."

"Oh. I see." The man smiled, as if with a kind of relief that surprised her. She grunted quietly, twisting in her seat.

"He really is my uncle. My mother's brother from the second marriage."

"I understand, however, your age has surely made you treat each other more like cousins. Am I wrong?" He asked, and she shook her head.

"No."

"You said that when your brother took your lamp, he let you sleep in his bed. Something happened then?" He continued and she shook her head, horrified at what he might have implied.

"N-no. I… we just slept next to each other. Sometimes I'd cuddle up to his arm or his back when I was scared. It made him angry that I was coming to him, but he felt sorry for me."

The man nodded in understanding and smiled.

"You felt safe with him."

"Yes." She confessed with shame, looking down at her hands, feeling her heart in her throat.

"Are you two still friends? Are you two supportive of each other?"

She pressed her lips together, feeling tears burning under her eyelids, unable to get the words out for a moment.

She couldn't even look him in the eye.

"No."

"Why? What happened?"

"He lost his eye because of my brother."

"Does he blame you for that?"

"No…I mean. God." She muttered, burying her face in her hands, feeling like she was about to vomit or pass out.

This had been weighing on her heart for too long.

She needed to confide in someone.

"He, during that holiday… he asked if I would become his girlfriend. We kissed. Fuck! I didn't know about it, neither of us knew we shouldn't do it! That it was wrong, that we were too closely related." She exhaled with difficulty, finally bursting out crying, feeling hot, overpowering shame flowing in waves through her body.

The doctor raised his eyebrows in surprise.

"How long were you two together?" He asked.

She wiped her red cheeks with her palm, trying to calm and focus.

"A few days. Maybe a week."

"Why did you stop being together?"

"Because he broke up with me. He told me we couldn't be together." She mumbled, feeling like a complete idiot. "It wasn't until later that I realised what he'd found out, what incest was and what we'd done."

"There is a seeker nature in children. They watch adults and want to behave like them. Until their parents introduce them to the rules of the world it seems to them that the world doesn't have them. Even more so when it comes to social norms. Neither you nor your friend knew at the time that such relationships were not universally accepted. Up to that point you were family to each other, but also girlfriend and boyfriend. Looking at a child's decisions from an adult's perspective is ineffective."

He explained, making her, for some reason, feel better. She looked at him and shook her head.

"It's just… he was close to me. He was a good looking boy. He was kind to me. I felt safe with him. He didn't want to take advantage of me, I know that."

"So why are you creating a situation in your mind that what you did was the result of your premeditation when neither of you knew then what you know now?"

He asked, and she remained silent, not knowing what to answer him.

"It's just… ever since then I've felt a constant, heavy, overwhelming shame, crushing me like a stone." She muttered without strength, feeling that she had probably expressed the core of her feelings in this.

The man nodded at her words.

"It's natural. Shame accompanies us as a regulator of decency in our lives. I once read about a theory that God, when he banished Adam and Eve from paradise, did not make them bare: they were like that, they just realised their nakedness, and original sin made them feel shame for the first time. It is shame and fear of punishment that make us not walk naked in the street, that we guard our intimacy."

On the bus ride home, she reflected deeply on his words, feeling as if she had awoken, as if her senses had sharpened, allowing her to see the world again as it was.

She realised that all her life she had been punishing herself for feeling something for him and that it felt good, even though some part of her was telling her that she should be disgusted with herself.

She decided to forgive herself.

She felt much better and even started dating, trying to forget what had happened, to create a relationship that wasn't stigmatised.

Although she was smiling, she resented herself for looking at those boys, hearing the sound of the sea in the back of her head, his voice coming to her as if from afar.

I'm afraid of monsters too.

Everything changed when one day she received a message that made her heart stop.

She had no idea what she should be thinking: only a year after her father's death, her mother had begun dating Daemon, who had at first frightened her, and although Rhaenyra had said she wanted to end with the mafia half-world, the man she had married shortly afterwards had drawn them even deeper into it.

Daemon was an unpredictable and dangerous man, but loyal to his principles, his family and above all – her mother.

In some strange way, incomprehensible to her, they truly loved each other.

What she appreciated about his character was that he gave her and her brothers a choice: he said he did not intend to condemn them to sink into his world, but if they chose to go their own way, they were to devote themselves to study and education.

She and Luke chose to study, but Jace, to her and her mother's despair, wanted to be like him.

They eventually moved into his large house on the outskirts of the city together with his daughters from his first marriage – at first it was quite strange and awkward, even more so when they ate all together, but then Baela and Rhaena opened up to her, becoming, in her eyes, part of her family.

Daemon could sense when she was lying: he would then look at her with furrowed brows and say that he wanted to talk to her in private, which always made her heart pound like crazy with fear.

She was genuinely scared of him.

"I know you're hiding something inside. I can feel it and I don't like the fact that you're not being honest with me." He said coldly, taking a drag on his cigarette, standing with her in the garden.

She lowered her gaze, pale, not knowing what to answer him.

"I won't play your father, but I can see that you are lost. You isolate yourself, you rarely see your friends, you're still studying. You're trying to wait out your youth instead of living it and you'll regret it one day."

She couldn't describe how much his words hurt her.

They hurt her because he saw right through her and described her life in a few simple words.

You're trying to wait out your youth instead of living it.

It sounded better than the thought that she had no desire to live at all.

She felt that something had been missing inside her since that holiday, some part of her heart had been ripped out and thrown into the sea, and she felt defective, her interior filled with an emptiness.

Despite being surrounded by many people, she was lonely.

For a long time she wondered what to make of the message she had received: its tone made it seem as if there was something she and her siblings had not been told about her father's death.

She feared it was some sort of mafia hijacking, a trap for Daemon and one of her brothers – she decided she would tell Baela where she was going so that if she didn't return someone would start looking for her.

"Heavenly Beach? It's a dangerous place. I'll go with you." She said, concerned.

"No. I was supposed to come alone. It's just… if I'm not back by three o'clock wake up Daemon and tell him where I am."

"Do you have your pocket knife?"

"Yes."

She told Daemon and her mother that she was going to a friend's for a sleepover: the frustrated look on her stepfather's face told her that he didn't believe her, but apparently even he, knowing her nature, didn't suspect what she wanted to do.

Heavenly Beach belonged to his rival.

To her father's brother, Larys Strong.

She arrived by taxi, surprised at how large crowds stood waiting to enter the club. She wondered if she should wait in line with them, but after a while her phone vibrated and she got another message from an unknown number.

So she did, and the broad, bulky man told her to open her backpack and show him what she had inside.

She thanked God that she had hidden her pocket knife in her bra.

The man nodded for her to follow him and together they went down the stairs to the underground consisting of several large rooms in which music was booming, the flashing coloured lights around her made her feel as if she had gone blind. She swallowed hard, spotting her uncle in one of the VIP boxes.

Larys Strong had indeed greeted her with a bouquet of roses.

The thought that he was the one she would be talking to reassured her, and that was her mistake.

"I'm very glad you came. Sit down, please." He said softly, his smile warm and welcoming while his hand pointed to the other side of the couch, a safe distance away. She smiled too and sat down where he indicated to her, sighing in relief.

"Forgive me for only contacting you now, but this matter keeps me awake. I know you are the most cautious of your siblings, which is why I preferred not to take the risk and invite your brothers. I fear they would take it badly and it could lead to some…complications." He said, making her feel an unpleasant squeeze in her stomach.

"What do you mean?"

"I'll get to that in a moment. But first, let's order something to drink. Would you like a vodka and coke?" He asked, and she shook her head quickly.

"No, thank you, I don't want anything." She muttered.

Larys nodded at a man standing nearby, who approached him after a moment.

"Ned, get me a whisky and a glass of water for this young lady." He said calmly. The man nodded and disappeared after a moment, heading towards the large bar behind her.

"Back on topic: I am in a very difficult situation. Unfortunately, the person who was involved in his death is also a close associate of mine, which makes everything very complicated. However, I believe that my brother deserves for at least one of his children to know the truth." He said, getting serious suddenly, and she listened to him in suspense, horrified.

"Otto Hightower ordered his murder. Harwin was still snooping around, looking for hooks on them, even thinking of co-operating with the police."

She stared at him dully, feeling a complete void in her mind.

Otto Hightower had ordered his murder.

What?

As the man placed a glass of water in front of her and a whisky in front of her uncle her mind was in a state of complete panic. It made her forget what Daemon and her father had always told her.

Never drink anything that has not been poured into a glass in your presence.

"Easy. I know this is difficult for you. You have to be careful with these people, they are dangerous. Drink some water, it will help." He said, and for some reason she listened to him, grabbing the glass, taking a few deep sips from it, feeling that she was trembling all over from nerves.

Viserys's associate was her father's murderer.

"What am I supposed to do with this?" She muttered, closing her eyes for a moment, feeling strange, as if her head was spinning.

"You have to be careful. Anyone who enters this world once will never leave it again. Don't try to cooperate with the police." He replied with a smile, his tone slightly changed, as if what he saw before him and her reaction pleased him.

It seemed to her that the music around her had begun to quiet, as if it was coming from far away, she tried to focus her thoughts but was unable to.

The cold sweat of terror and fear ran down her neck as she realised what had happened.

What she had done.

"I'm sorry, I feel sick from what I heard. I'm going to go… to the toilet." She muttered, getting up from her seat with difficulty and walked ahead towards the sign she could see from afar.

She was dizzy as if she had drunk ten shots, the burning tears of despair making her barely see where she was going.

The light in the bathroom almost blinded her – she locked herself in one of the cabins and slumped to her knees, breathing heavily, pulling her phone out of her backpack, thinking with horror that if she called Daemon and Jace and they raised hell in here, they might shoot them.

She needed to call someone they wouldn't hurt and then it dawned on her.

Aemond.

Call only in a life-threatening emergency.

The screen of her phone seemed blurry to her as she struggled to type in her code and began searching for his number in her contacts. When she finally saw his name she clicked on it and put the phone to her ear, leaning her head against the wall, feeling the cold tiles under her buttocks, the female voices coming from behind the door seemed to her to be just a dream.

"– please – please, please, please –" She muttered, hearing that there was a signal, that he hadn't thrown or blocked that card.

She swallowed hard when the sound silenced and she heard a noise on the other side.

"– Aemond? –" She mumbled in a trembling voice feeling tears of terror, helplessness and fear run down her face, her body numb and heavy.

"– what is it? –" She heard his voice, cold and matter-of-fact, and although he sounded very different from when they were children, a wave of heat and a familiar, pleasant sensation she hadn't felt in years ran through her body.

"– G-God – they must have – they must have put something into my drink –" She cried out, bursting into sobs, thinking about the fact that she was about to lose consciousness and they would do whatever they wanted to her and her body.

Daemon warned her.

Never lie to me.

"– what? – fuck – where are you? –" She heard his voice as if in the distance.

She furrowed her brow, forgetting for a moment who she was talking to, where she was, and what she wanted to do.

"– Rhaenys – focus – fucking speak to me –"

"– I – mmm – I don't know – I think... – ...I think I'm in the toilet –" She muttered finally, looking around her thinking that indeed, this room looked like a toilet.

She felt that she was very tired and just wanted to sleep.

"– in what toilet? – in the club? –" He asked further, his voice sounding as if he was furious.

She closed her eyes, muttering something under her breath, feeling her mind drifting away and remembered that she had seen palm trees before entering this place.

"– yes – in the... – ...club – like... – ...one... – ...with palm trees –" She muttered, and then her mind enveloped in complete darkness.

She thought she felt the touch of someone's hand, heard someone's voice, but she wasn't sure if it was a dream or reality.

When she woke up, she was blinded by the light – she hissed and covered her face, only realising after a moment that she was lying in her bed, in Daemon's house. When she turned her face she saw her stepfather sitting in a chair, looking at her with eyes she knew well.

He was furious.

"I asked you. I thought you were a smarter girl, but you are clearly just a plain, naive idiot." He hissed, as usual saying exactly what he was thinking.

She pressed her lips together, feeling pain in her heart at his words, realising that she had a huge black hole in her memory.

"What happened?"

"You called Aemond. They could have raped you there, and instead of calling me you called the person who could have helped them." He scoffed, raising his voice, annoyed.

"He was here?"

"And how do you think you got here? That you were brought here by a fairy?" He sneered, and she swallowed hard, looking at him with wide eyes.

Even though she should have felt horror at what had happened to her, all she could think about was feeling his hand, hearing his voice.

And then she remembered.

His voice.

His words.

You don't even know how many real monsters lurk in its shadows.

353 notes · View notes

blueskittlesart · 6 months ago

Note

i kinda really wanna see a big ol vent/rant from you about genshin now lol. I would read an essay

I'm not sure you understand the insanity you just unlocked in me but ok

genshin impact is probably the clearest modern example i can think of of capitalism absolutely eviscerating a creative project. For context, I started playing genshin in 2021, just after the 1.4 update. it was venti's first rerun/the first windblume festival if that means something to you. and I really genuinely thought that it might have had something special. It was a gacha that didn't FEEL like a gacha, which was a huge feat to me.

it began with a very simple story pitch--you, the protagonist, are one of a set of twin siblings traveling through space. you come upon a seemingly unassuming world and your attempts to continue your journey are suddenly stopped by a mysterious, all-powerful figure. you are separated from your sibling and wake up alone on the shores of this planet you were attempting to leave together. throughout that opening cutscene and scattered through the world and your character's dialog there are implications that all is not as it seems, that your character is something unique to this world and that they possess powers and abilities that you've yet to unlock. You are told that you must travel the seven nations of this world in order to find your sibling, which is great--a simple, zelda-like objective which drives the player to explore the secondary narratives of the world. none of this is bad on the surface. in fact i'd argue it's pretty good. there's a ton that can be done with these story bones. even at launch the map and combat system were full of potential as well.

Note: for ease of reading, i'm going to label the different storylines of the game now. A-plot refers to the central objective of the entire game; the find-your-sibling plot and everything that encompasses, including the abyss order/dain, the heavenly principles, the fake sky, etc. B-plot refers to the secondary objective present in each new nation, usually meeting the archon and/or solving a problem for the archon. (A and B-plots will occasionally intersect.) C-plot refers to any story, location, or background information which remains in permanent gameplay but which isn't directly related to the A or B-plots, such as dragonspine, the chasm, enkanomiya, etc. D-plot refers to any story, location, or background information which is confined to limited-time events and does NOT remain in permanent gameplay, regardless of its connection or lack thereof to the A and B-plots, such as the golden apple archipelago, the infamous albedo/dragonspine event, the infamous kaeya/diluc event, etc. Lore as i will refer to it in this post refers to any information which is present in permanent gameplay but which is not directly told to the player within the A or B-plot story quests and objectives, including books, weapon, artifact, and item descriptions, world quest dialog and puzzles, etc.

So now we're in mid-2021, there are two nations' worth of B-plot story quests released in full, and we've run into our first problem, which is that the game isn't finished yet. I don't have any actual information about how the game was/is written, but based on what i've observed over the past few years, my best guess is that the A-plot has been fully written since the beginning, at least in some form. there were very early-game events and information pertaining to the A-plot that would take years to see any actual payoff in the main story quests (kaeya's origin story, the 1.3 scaramouche fake-sky drop, the flowers in lumine's hair, etc.) but those kinds of A-plot story easter eggs very quickly dropped off when the game absolutely EXPLODED during the pandemic.

this sudden burst in popularity was the true beginning of the end for genshin, i think, because suddenly they had a HUGE fanbase that desperately wanted more content faster than they could pump out new A-plot or even B-plot story quests. one of the most pervasive complaints about the game when I began playing in 2021 was that there was nothing to do between story quests. update 1.4 (which was the update I started playing at) was important in that it was the first time since genshin's release over a year before that players recieved any new A-plot, in the form of the archon quest We Will Be Reunited, also known as the quest with the most fucking misleading name of all time. you'll never guess what doesn't fucking happen during this quest. anyways. we were a year into gameplay, two nations out of seven released and a third on the not-so-distant horizon, and it seemed obvious that players were owed some sort of A-plot payoff. and that's very much what WWBR was advertised as, from the quest's name to the banners full of art of the twins staring wistfully at each other. The thing is, what i'm describing as A-plot payoff was actually. not really A-plot payoff at all. WWBR was the reveal that the protagonist's sibling was working with the abyss order, and that the abyss order was connected somehow to Khaenri'ah, which at this point casual players would only have known about from THAT QUEST and MAYBE kaeya's character descriptions if they were diligent enough to get him to friendship level 10 (which, btw there is no indication that you should do to get important context about the story of the game, because kaeya is a 4-star starter character and the only character in the entire game that actually has genuinely important story hidden in his character descriptions.) So what I'm calling A-plot payoff felt at the time a lot less like A-plot payoff than it did like an abyss sibling cameo in an attempt to satiate everyone who was begging for more story. We actually gained almost net 0 information. this is very quickly going to become a pattern.

As I've already alluded to, the motives behind this writing decision are transparently obvious. Genshin is a free gacha game which relies on a consistently active and engaged userbase to make its money. With fans getting restless about the lack of engaging story at the time and a new, very ambitious B-plot quest gearing up for release that would require major support from that fan base in order to remain profitable, the writers were backed into a corner. they HAD to throw the fans some sort of bone in order to keep them engaged with the A-plot, since it was originally pitched as the driving force for the story as a whole, but they were also clearly not at a stage of the writing process where it was prudent to give the player any REAL information about the A-plot. This is how we ended up with a 10-second abyss sibling cameo and an offhanded mention of Khaenri'ah, a nation whose plot-relevance was at that point still basically unknown.

The real problem is, WWBR worked. at least, it worked as intended at the time. It satiated story-focused fans in the interlude between B-plot nations, as hyv was gearing up to release inazuma, which required a lot of time in preparation. WWBR was followed almost immediately by the C-plot golden apple archipelago in 1.6, widely regarded as one of the better events of version 1. GAA was memorable especially because it was the first event that involved an entirely new, limited-time-only map, meaning the event had much more longevity than the standard events players were used to. This is, imo, most likely the update combination that led to the standard formula which hyv uses for its quests and events nowadays. the back-to-back release of WWBR and GAA satisfied both fans who wanted A-plot story AND silenced criticisms about the game lacking endgame playability, which at the time must have seemed like a goldmine to writers desperate for a solution to their content-to-fanbase ratio problem.

From here, genshin started following a standard method of release for their next three nations--inazuma, sumeru, and fontaine. the formula generally went as follows: one major version update (usually version x.0) containing a major map update which included all B-plot relevant locations in the new nation, and the first chapter of the B-plot story quest relevant to that nation. this would then be followed by 2-3 version updates which would each contain the next chapter in the nation's B-plot story quest, sequentially. After the nation's B-plot quest ended, during the downtime in which the next nation's story and map would be finalized, subsequent updates would be largely C-plot, and would contain minor expansions of the map to increase endgame playability via exploration and world quests. This is how we ended up with updates like the chasm, the several extra islands in inazuma, and the quite frankly ridiculously large sumeru map, as well as the offloaded maps like enkanomiya and the sea of bygone eras. with the possible exception of the chasm, none of these areas are A OR B-plot relevant. hyv has realized that artificially inflating the map makes their game technically more engaging during the downtime between nations. However, this comes at a price. While the scenery and set design of the game remains consistently beautiful, the actual, mechanical gameplay that populates that scenery very quickly became mind-numbingly boring if not borderline unplayable. While the 1.0 questlines were not perfect, there was at least an emphasis on the player actually DOING things. 1.0 B-plot quests would have you going to mini-dungeon temples and completing challenges which would acclimate you to the combat system while also serving narrative purpose. There were quests that required you to navigate open-world dungeons. Because your characters were lower-level, combat challenges that arose during these quests were CHALLENGES, rather than two-second buttonmashing segments. By the time we get to sumeru, though, both B-plot AND C-plot quests have become little more than moving your character from location to location and tapping through (usually unvoiced) dialog. there's no GAMEPLAY in the quests anymore, because gameplay isn't what makes money. What DOES make money is giving players 300 hidden chests to find in an open-world map segment, each of which gives them 1/80th of a gacha pull. And so the story suffers and the map gets bigger.

Along with the map expansions, downtime between nations usually also nets us one A-plot quest, usually involving the character dainslief, who was the driver of the initial WWBR quest. This is the second half of hyv's magical formula for keeping fans happy between major releases. the A-plot quests will, as a general rule, give players either very little new information or no new information at all, but will dress up the delivery in such a way that it ALMOST feels as though the protagonist has moved forward somehow. the most recent example of this writing style, the 4.7 quest bedtime story, amounts to about an hour and a half of gameplay and, while it DOES contain a segment in which the protagonist finally actually has a conversation with their sibling, that conversation literally begins with the line "I have so many questions, but for some reason I don't want to ask them right now," ensuring that the sibling will not actually be required to give away any plot-relevant information whatsoever, and the quest ends with the protagonist FORGETTING THAT THE CONVERSATION EVER HAPPENED IN THE FIRST PLACE.

As I think I mentioned before, the cardinal problem of genshin impact's writing is that fans want answers faster than the writers are prepared to give them. I don't doubt that there's a game bible or relevant equivalent somewhere within hyv which contains the explanations we are currently lacking in regards to the A-plot. the game is consistent enough in its storytelling for me to believe that this isn't all just being made up as we go along. But I'm also certain that a lot of the late-game A and B-plot that is planned (especially if the Khaenri'ah is truly planned to be the 8th nation of the game) hinges on the player knowing very little about the A-plot. this would be fine if genshin was a standard single-release video game that players could work through at their own pace, but it isn't. it's unfinished, and each nation in the game releases months to years after the last, leaving the writers to scramble to fill in the gameplay gaps and players struggling to remember plot-relevant information when it's brought up literal years after they last heard it mentioned. Not only does the time between updates leave players frustrated about the lack of A-plot, it makes the A-plot harder to understand when it is brought up, because the writers are required to throw in so much dense C and D-plot just to keep engagement high enough to make the game profitable in its downtime. we joke about the insane convolution of genshin's lore, but that is first and foremost a byproduct of its financial model. the game requires engaement to be profitable, and adding lore for players to look into drives up engagement. The fact that having so much story with so little plot relevance muddies the waters and makes the A and B-plot stories considerably harder to understand doesn't matter as long as money is being made.

I want to take a quick detour here to talk about the release of sumeru specifically, because this is when I really began to clock the fact that genshin was declining. on paper, racial sensitivity issues aside (Not that they're not important, but i'm doing this deep dive from a storytelling and game design point of view, nothing else. that's a whole can of worms i don't have time to get into here) sumeru was a really promising addition to the game. The new B-plot quest which was set to drop in 3.0 was highly anticipated for several reasons. Two fan-favorite characters (kaeya and scaramouche) were expected to play major roles, because of earlier C and B-plot quests, and much of the nation's scenery that was teased in trailers and promotional content appeared to tie into the A-plot. the most exciting draw about sumeru and version 3.0, though, was the major update to the combat system.

Arguably genshin impact's most interesting feature upon release was its combat system. The map was basically a botw clone at that point, and the story quests, while decently engaging, were rough around the edges to say the least. What genshin DID have going for it was a unique real-time combat system that rewarded strategy and quick thinking.

Genshin's combat system is elemental, and on release there were 6 elemental affiliations: anemo (wind), cryo (ice), pyro (fire), hydro (water), geo (rock), and electro (electricity.) in a sort of pokemon-like system, certain elements were weak to other ones, but more importantly, certain combinations of elements could drastically boost combat stats. Players got to construct four-slot teams of characters, each with an elemental affiliation and certain "skills" which would match their element, and you were encouraged to use the interactions of these elements to build teams. very quickly, a huge community formed dedicated to optimizing teams and tiering characters. People would even make a game out of building teams specifically to do high-level damage with "bad" characters or characters who weren't designed to be damage drivers (my 100k jean burst was an incredible moment fr.) this was, of course, also a picture-perfect driver for the gacha aspect of the game, which was how players obtained new characters.

Pre-3.0, combat was... well i won't say it was balanced, but there was no elemental reaction that had any MAJOR advantage over the others. when you actually ran the numbers, i believe vaporize was the best reaction in terms of damage output, with the best team being raiden national with kazuha for EM buffs. but a well-built freeze or melt team could do similar numbers, or even better numbers depending on your artifact rolls. (ayaka permafreeze you will always be my #1.) Despite a steady stream of new characters with each update, characters from the earliest version of the game like xingqiu and xiangling were still topping the charts in terms of usefulness and versatility in teambuilding. However, as early as 1.0, players had been teased that a major update to the combat system was planned. There was a seventh element, dendro (plants) which pre-3.0 only existed as an elemental affiliation for menial enemies. there were no playable dendro characters, and the only elemental reaction that existed relating to it was very low-level and not particularly useful in combat.

Originally, dendro was projected to be added to the combat system somewhere in version 2, but its release was delayed substantially, meaning it came out along with its affiliated nation, sumeru. And as soon as it came out, it basically broke the combat system. I assume that the scaling they ended up going with may have been out of fear that players would be hesitant to integrate a new element into their pre-established team builds, and thus they may have been worried about sales on their dendro character banners, and i assume that the fact that 3 elements are required to get the highest-level reaction was an attempt to make the meta more balanced in the face of that scaling, but, well... it didn't work. At this point, the genshin impact combat meta is basically "if you're not using hyperbloom what the fuck are you doing." there's basically no reaction in the game that comes close to it in terms of both damage and ease of use. you are not going to beat a hyperbloom team with anything other than a better-built hyperbloom team. combat is now very heavily skewed in the direction of dendro, meaning that if you DON'T want to use a dendro team, you're going to be doing significantly lower numbers. And since enemies are added with each update, post-3.0 combat becomes difficult and annoying if you don't have a hyperbloom team on-hand.

The major gripe i have with dendro isn't even the scaling, though. I mentioned offhand earlier that the 1.0 B-plot questline had a section which taught you the basics of the combat system via mini-dungeons. These mini-dungeons, of course, taught you the version of the system that existed pre-3.0, so there's no tutorial for dendro reactions. Rather than integrating the tutorial into the story and world like they did in their early quests, upon playing 3.0 for the first time players were given a popup that explained, very wordily, how dendro reactions worked. there was no opportunity to test these reactions in an environment without consequences--if you wanted to try them you'd have to remember the relevant information, build yourself a team, find an enemy to try them on, and just hope you got it right. This lack of integration is something i began to notice more and more with genshin as it progressed, especially in sumeru. where in mondstadt and liyue open-world puzzles would be explained to you by an npc or via environmental context clues, in sumeru you'd be stopped while exploring every two seconds by a popup explaining some puzzle or another which, of course, you wouldn't read, because you didn't want to do the puzzle right that minute anyway, and then by the time you DID want to do that puzzle you'd have no in-game way of figuring out how to do it. The puzzle popups may seem like a small thing, but it's one of the clearest examples in the game to me of the fact that the player experience is so clearly not being prioritized here. the game doesn't even TRY to be immersive anymore. they have no qualms about pulling you out of the story to read a paragraph about how the puzzle works. they don't care how your character, in-universe, is supposed to have acquired that information. they don't care why your character, in-universe, is doing the puzzle in the first place. because they know the reason YOU are doing the puzzle, which is to unlock a hidden chest that gives you 1/80th of a gacha pull.

That was not "a quick detour" was it lmfao. ok anyways. back to the story. Now i want to talk about D-plot, meaning limited event stories, and lore as i defined it earlier, meaning contextual details not present in quests or playable story. This is where i think genshin's story becomes completely inaccessible.

Already, we've covered the fact that in order to consume the very basic story, players have to be willing to wait years between A and B-plot quest releases, punctuated by irrelevant map expansions and interlude quests. I mentioned before that genshin's incompleteness is one of the major problems of its story. the fact that players have to wait years, remembering plot-relevant information that they have no way of knowing will even BE plot-relevant, for the payoff of these narratives is frustrating at best and actively malicious at worst. But in theory, there should be an obvious way to circumvent this. One could just wait until the game IS completely finished to play the whole thing. Sort of like buying a game in early access but waiting until it's actually finished to play it all the way through. that's theoretically possible. but, as i have been hammering home this whole time, genshin is a free game, and therefore genshin relies entirely on a consistently engaging fanbase in order to remain profitable. if genshin does not have a base of players who are willing to log in every day, or at the very least once every update, the game's financial model collapses on itself. therefore, genshin puts on limited-time events. this is a standard in gacha games, as a way to keep the fans consistently engaging. What is not standard, however, is the way that genshin uses these events as vessels for its story. about 19 out of 20 limited events in genshin impact will be useless menial bullshit with no effect on the story or really even the player aside from maybe making you fucking angry. 1 out of those 20, though, will be innocuously named, with nothing in the banner or event description to indicate that it's special in any way, but it will contain serious A or B-plot relevant information that exists nowhere else in the game. My personal favorite example is the infamous 1.3 scaramouche appearance, in which he showed up, told the protagonist that the sky was fake, and then immediately fucked off again. Scaramouche did not show up again until at least 2.0, and the fake sky wasn't so much as MENTIONED again until 3.2, almost TWO YEARS LATER. but there are others, such as the (almost equally infamous) albedo doppelganger event in which a major character's loyalties are called into question, or the event where major biographical information is revealed about kaeya, the only playable character with major known connections to the A-plot and Khaenri'ah. With all of these events, once the event period ends, the information contained within them vanishes from the game completely. there's no way to replay old events that you've missed, even sans rewards, so if you miss a plot-relevant event the ONLY way to catch up on that story is through word of mouth. again, this is a transparent way to keep genshin's userbase engaged during downtime between B-plot quests; if you don't log in and play every event, how will you know if you've missed something important? You might not be able to fully understand the future story if you miss out on the D-plot now!

The D-plot problem is something that I think could, in theory, be circumvented by dedicated record-keeping. if the wiki had anything resembling an easily accessible event database that marked story-relevant events and contained summaries or gameplay videos, at the very least you wouldn't have to fear being completely lost on the off chance that a random throwaway line in an event from fucking 1.3 becomes plot-relevant. but hyv obviously doesn't want that, because it undermines their financial model, and the sheer number of events and the amount of rerunning of irrelevant events they do makes the task of recording and categorizing them all daunting if not impossible.

Then, of course, there's lore. this is arguably what genshin is infamous for in certain circles of the internet. You know that unraveled video where bdg reads every book in skyrim? if you tried to do that with genshin the video would probably be about 10 hours long. and it's not just books; genshin hides (potentially) plot-relevant information in weapon and artifact descriptions, in random hidden world quests, in character bios... the list goes on. and 9 times out of 10, the information is essentially written in code. Plot-relevant characters will have multiple names, or the relevant information will refer to them as vaguely as possible, presumably to further the "mystery" and encourage theorizing among fans. but the sheer amount of information like this that exists within the game makes it all but impossible to determine what is plot-relevant and what isn't. For a topical example, the most recent A-plot quest bedtime story mentions the name Rhinedottir in connection with events in Khaenri'ah, suddenly making that name A-plot relevant. Rhinedottir is an alternate name for the character Gold, whose existence you would only have known of before this point if you'd unlocked and read the character Albedo's character bios. (Albedo is a limited-run character who hasn't been available since november 2022, btw.) the only other information about Rhinedottir permanently available in the game comes from the description of the weapon Festering Desire, which was only obtainable from a limited event back in 2020, anyway. So basically, if you wanted ANY context for that remark, you'd have to have been playing the game since AT LEAST 2022, AND you'd have to have taken the time to go over your weapon and character descriptions with a fine-toothed comb. keep in mind that as of right now (june 2024) there are 85 playable characters in this game, each with 10 unique unlockable character bio sections, and over 150 weapons, each with their own unique descriptions, not to mention over 50 artifact sets, each with 5 unique artifacts, which all have their own unique descriptions as well. there are also 51 different collections of books which contain written lore as well. the idea that any player could keep up with all this, or that anyone could even sift through it all to pick out the important things that they NEED to keep up with, is insane, especially when the game makes a point of withholding crucial plot information from its players within the A and B-plot quests. this amount of written lore only exists, again, to drive up engagement in the hopes of subsequently driving up profit. Even if the average player isn't reading and absorbing all this information, the fact that it's there coupled with the fact that the writers consistently refuse to reveal anything beyond surface-level A-plot information means that there's basically ENDLESS theory fodder. and THAT means that people will be posting their theories and talking with each other and getting into arguments. it means "genshin impact" trends on twitter. it means engagement, and engagement means money.

basically what it comes back to is that everything is so transparently money over player experience with this game. I think what we're witnessing with genshin is what i would call an end-stage gacha game--a gacha game that's gone on a little too long and gotten a little too popular, and so the veil has started to slip a little more than usual. Gachas work primarily because they operate by toeing the line between what is fun to play and what is a predatory mechanic. As long as the actual gameplay remains engaging and rewarding, players can ignore the unsavory business practices underneath. At this point, genshin has swerved too hard into the money-hungriness and is still hoping that they can use their old tried-and-true engagement farming methods to remain popular regardless. currently, it seems like those methods are still working, unfortunately. Like I said in the post that prompted this, i really can't wait for the hyv writer NDAs to expire 10 or so years down the line, because I can only imagine what an insane shitshow writing for this game must be. I want to see the tell-all articles. I want carnage.

That being said, I played genshin impact religiously from 2020 to 2023. I loved the game. Despite myself, I am still really, REALLY interested in the A-plot. I want to know what's going on with the protagonist and their sibling; where they came from, what happened to them, what the heavenly principles are, what role celestia plays in all of this. I want to know Kaeya's full backstory, what role Khaenri'ah plays in the overarching story, and what happened to it in the past. but I don't really have any faith that I ever will, because I know that as long as keeping their fans in the dark and stringing them along remains profitable, that's what hyv will continue to do.

Do I think genshin impact is unsalvagable? in its current state, yes. If I was given the ability to turn back time and convince a bunch of executives of the profitability of this venture, I would change almost nothing about the story of genshin and completely rework the mechanics of its release. I would make it a series of single-release self-contained games rather than a constantly-updating gacha. Each game would be one B-plot quest, or one nation, eight games in all, preferably released once every year. Removing the gacha mechanic, players would be given access to a certain pool of characters to build teams at the start of each game, and then periodically unlock new characters as the story progressed. for example, if you were playing the inazuma game, you'd start out with only your protag, and after progressing to a certain point in the story you'd get a pool of inazuma 4-stars to teambuild with freely. Then, as the story progressed and you met plot-relevant inazuman 5-stars you'd add them to your pool. I'd change basically nothing about the combat system except for a properly integrated introduction of dendro when it makes its appearance in sumeru. Once you completed the story in that nation, you could move onto the next game in the series if it was out, or if it wasn't, you could continue to explore the open world while waiting for the next release. Would this be as profitable as the gacha model? probably not, but what it WOULD do is allow for much more consistent pacing and writing, with the added bonus of not making your userbase feel like you'd shoot them in the head for their pocket change.

#jesus christ. hi everyone #asks

279 notes · View notes

bitethedevil · 2 months ago

Note

I swear, I’m minutes away from pulling out a giant bulletin board and covering it in pieces of string that connect Rafael to every single event in the game. I feel like a crazy person, but I know that he basically spiderwebbed most of the plot together.

Goddamn it, anon (said lovingly). Now I feel like making my own too. Because I swear, he pops up all over the place, even just for stuff that’s not even plot relevant.

Spot the Devil: Raphael's Involvement in the plot

I’ll start out with letters and books I’ve found that made me go “hmmmm”.

Letter in the Harpy Nest (Maybe)

When you’ve saved Mirkon he mentions something about a nest nearby. If you get to it there is a ring, a journal, and a letter. The letter is what made me go “hmm”. You can read the full thing here. Basically, a guy named Edmund tells wife/girlfriend that she doesn’t have to worry about someone named Maggie Two-Fingers anymore, because he has settled a debt. To pay off said debt, he makes a deal with a cambion and becomes a warlock:

”[…] I took the deal the cambion offered. I'm not going to say I had no choice, because that would be a lie. But I don't regret it. I'm a new man. I feel strong for the first time in my life. Aside from being awoken in the middle of the night by the smell of sulphur (he likes to drop by to 'see how everything is going') I have no complaints […]”

Now, there was a journal too, but I don’t believe the two things were related, even though the journal talks about a devil too. From what I can see, the journal is an easter egg for a campaign called ‘Tomb of Annihilation’. Besides, Edmund is going to Icewind Dale and the campaign takes place in Chult.

It just makes sense to me if its Raphael. We know he hangs out near the grove because we get jumpscared by him before going to this area. It could be our boy and with how much he pops up constantly it wouldn’t surprise me.

A Pleasurable Deal (Maybe)

You can pry this theory from my cold dead hands: Raphael was involved in making this play. It stinks of him.

So, A Pleasurable Deal is an erotic play. The plot isn’t completely written out, but a cambion, who is named Carlisle in the play, is involved.

“Carlisle: Weep not, young man, though free your wife has fled,

And comfort found in comrade's arms and bed.

She licks her lips and cries his name, oh my!

And now you seek to be the apple of her eye?”

Carlisle basically helps a man named Robert get a bigger dick, or…something along those lines. The ”apple of her eye” line is just so Raphael. The whole thing is, to be honest. In the A Pleasurable Deal: The Shocking Truth, it’s revealed that the author sold her soul to make it:

“Interviewer: So .. what was your deal?

Harp: I beg your pardon?

Interviewer: In fact, this was your directorial debut, wasn't it? You couldn't even get published in the tabloid 'Baldur's Bash' before this play came out. Did you honestly trade your soul for an erotic play?

Harp: I- all right, we're done here.”

I mean, come on. This is so him. It’s right up his alley.

Devil Don’t Rhyme

This is a book you can find in the Devil’s Den. Devil Don’t Rhyme is definitely about him:

“[This is a heroic fantasy in verse form, told in the first person by a bold poet who challenges a devil (clearly modelled on Raphael) to an improvised poetry contest to win back the soul of his lover. The following couplet has been circled in red ink.]

'If the line doesn’t scan,' the devil sneers, 'you forfeit your soul and end in tears.' / 'Ha! I’ll keep my time and make my rhyme, with vim and snap and no "down came the claw" crap.'”

Which is just so fucking funny to me. He has been seething and underlining the parts that prove it’s about him.

Alright, onto actual events: Netheril

Raphael was there when Netheril fell. He told us in the Devil’s Den. He has been searching for the Crown of Karsus ever since. He saw the entirety of Karsus’s fuck-up, but didn’t manage to snatch up the Crown of Karsus itself. We do know, however, that he has other Netherese artifacts (the Archivist says so). The Regalia of Karsus were three objects and Raphael has at least one, meaning that if Raph gets the crown, he has a much bigger chance at actually controlling it and using it like it's supposed to be used. This might also be why Mephistopheles hasn't used it: he doesn't have the other artifacts to properly harness its powers.

There are also theories that he has been skulking about and trying to find it after. There’s a really well written theory by @firlionemoontav that connects him to Lenore from the Arcane Tower in the Underdark. He has left no stone unturned.

Orpheus and Vlaakith

I learned about this from an amazing theory post made by @certifieddilfenjoyer

When you go to the Astral Plane, near Orpheus, there is this Githyanki slate that you can find. It depicts Vlaakith making a deal with a Devil, “his face twisted with wry charm”, for the Astral prism. Yeah, Orpheus’ imprisonment? Raphael helped with that. He even taunts Orpheus while he waits for us to approach him and says something about him looking good in chains or something along those lines (kinky old man yaoi).

And honestly, it makes perfect sense as to why he has the hammer then. The hammer has multiple purposes, but in About Creation of the Orphic Hammer he mentions it as “insurance policy”:

“The Hammer is not a weapon, it is an insurance policy. Its function is specific, but its utility is boundless. No chains forged by infernal hand can withstand its power, for its core is a metalifferous compound combining the purest of essence of all Nine hells. If I should ever need to liberate the prisoners held in the Iron City of Dis, to shatter the vaults of Nargus, or even to free the child of Gith, my hammer will be equal to the task.”

Makes good sense because what he has done with the Astral Prism is a pretty big deal and hard to undo otherwise.

Moonrise Towers, the Gauntlet of Shar and Astarion

So, Raphael makes a deal with the architect of Moonrise Towers, who you also see wandering around the House of Hope. The architect gives up his soul in exchange for Raphael ending Ketheric’s army.

To do that, he sends Yurgir who is tasked with killing every last justiciar. Raphael then makes a deal with one of the justiciars who he then turns into a bunch of rats so that Yurgir can’t fulfill his contract.

We then help Yurgir or kill him, and Raphael helps us with Astarion’s scars. (This is just me theorizing from here) I find it kind of interesting that Raphael seems to know so much about Astarion. You get the feeling that he has obviously done his research on all of the companions, but with Astarion he makes that nasty “you’ve kept your clothes on this entire time? How unlike you” comment. Astarion would be such an easy target to go after, which makes me believe that Raph definitely knew beforehand about Astarion AND Mephistopheles’ deal with Cazador, but he hasn’t been able to pettily do something about it before the things that happen in BG3. But he has kept an eye on it. He can’t be seen defying his father like that directly, after all. I just find it hard to believe that Raph wouldn't jump at the business opportunity of 7000 desperate vampires hiding in Baldur's Gate. Like he definitely knows.

Gortash

Raphael bought Gortash from his parents when he was a kid, and Gortash eventually got out. It’s quite possible that Gortash only knew about the Crown of Karsus because of Raphael. He even went through Raphael’s house to steal the crown (and probably took a portal from there to Cania).

Might also be the only reason that he would ever make a deal with Zariel. He knows the Hells and how they work. In a way its even more of a “fuck you” that he goes to Zariel because she is far above Raphael as she is the Archdevil of Avernus (and thus she is sort of Raph’s boss). We also don't know what Gortash gets in return for handing Karlach to Zariel. It's speculated that it has something to do with the construction of the Steel Watch, but it wouldn't surprise me if peace from Raphael was a part of it too.

A world without Raphael

So, basically: had Raphael not been there, Orpheus would be free and a whole people would have had very different lives under someone else than the Vlaakiths, because Orpheus would have rebelled and told everyone what she did to Gith (his mother). We wouldn’t have had the Astral Prism to protect us, but on the other hand, we might not even have had the whole tadpole business to deal with anyway if Gortash didn’t know where the Crown of Karsus was. The whole thing could literally have been avoided.

(Thank you for the ask <3)

#raphael bg3 #raphael the cambion #bg3 raphael #bg3 #baldur's gate 3

108 notes · View notes

cycat4077 · 1 month ago

Text

"Ghosts" openings + Easter eggs

Season 1:

Painting/photo = Elias/Hetty Viking helmet = Thor (his death) Alcohol bottle = Alberta (poisoned) Feather = Sass (story telling) Daisy = Flower (coffee company) Handbook = Pete Spyglass = Isaac Money clip = Trevor (given to Pinkus) Bonus: Tea cup (Hetty), Trevor is moving it.

Season 2:

Tree painting = Sass (crush on Shiki) Teddy bear = Flower (dumb death) Microphone = Alberta (podcast) Laundry detergent = Hetty x Washing machine Donut holes = Pete (fight with his wife) Dagger = Thor (meets his son) Carriage = Isaac (backstory) Fishing rod = Trevor (body found in lake)

Season 3:

Painting = Hetty (backstory, comely ankles) Basketball = Pete + Flower (bonding) Owl = Thor (Flower reincarnated) Woodstone Rewards plaque = Trevor (his brother) Butterscotch candy = Pete (Carol) Poltergeist book = Alberta (+ Saul) Butterfly = Flower (followed into well) Dino plush = Isaac (dinosaur fascination)

Season 4: Updated

Landscape (fjord?) painting = ? Playbill = Musical, Alberta (4x05) Clover pillow = ? Snow globe = ? French fries = ? Cherry pie = ? Space rock (?)/ gold = ? Snail = ? Plastic vampire teeth = ? (Bonus: there are now 9 items instead of the previous 3 seasons' 8 items...likely due to the addition of Patience!)

Edit!

I'm going out on a limb to say that the vampire teeth may relate to Patience. It's already been mentioned that she died from bloodletting. Both end in getting blood sucked out of you 🧛

#ghosts cbs #I love how they leave these clues #cbs ghosts #you all probably have already seen these but hey I'll keep it for my own reference too :)

122 notes · View notes

cilil · 18 days ago

Note

Hi, do you have any advices for budding writers on AO3 or here?

Hey! :)

I've given this some thought and compiled what I hope might be some helpful pointers, but if there's anything else or anything specific you want to hear more about, feel free to ask again. Also I'm assuming this is about the amazing craft of fanfic and not, uh, building a platform or whatever (I wouldn't be very helpful with that, I'm a nobody x)).

Share what you feel comfortable sharing.

So since you're asking about budding writers on AO3 and Tumblr, I take it you're at a point where you feel comfortable sharing your writing online, which is amazing. Nevertheless, I feel the need to once again mention (just for anyone who may be in the same or a similar situation) that it's completely alright not to be comfortable with it (yet) or not to share everything you write. I share almost everything simply because I'm annoying and it makes me feel accomplished and since I've grown pretty comfortable with it, I might as well; but not everyone feels that way and feelings also change. It's completely alright to write just for yourself or a small circle of friends.

Don't worry too much about "being good".

I will be the first to admit that I deeply relate to struggling with perfectionism when it comes to writing (and other creative pursuits). However, as someone who's been reading fic for many years, tends to be into quite niche and obscure things sometimes and is rarely spoiled by big fandoms' abundance of food, I want all writers, especially new ones, to know that you don't have to write the most amazing, perfect, publishing-ready pieces. What matters is your passion and creativity, which will show in your writing regardless of skill level. Not to mention that fic is free and in fact a tool for many to experiment.

That's not to say you can't strive to improve or be good - by all means, I find it admirable if you want to hone your craft and make progress as you continue to write. Just don't let perfectionism ruin your fun and stifle your creativity.

How to get better without trying overly hard.

Aside from just writing, writing and writing (that is the most important part though), how do you improve without making it a point to do so? Well, if it works for you to read/watch guides or you enjoy specific writing exercises, that's great, but one thing that I find gets overlooked a lot in writing spaces is simply: Reading. Just reading for fun.

I find that I often discover little things in other people's writing that I really like and then I think to myself "wow, that's really neat how they did that, maybe I could take a page out of their book" (pun intended) and make it a point to pay attention to these things when I write. Essentially, it's like creating a nice patchwork blanket which is your style, made up of your own voice and preferences as a writer and cool stuff you picked up on the road.

Let me just name some examples, which, yes, are also an excuse to shamelessly blow some writer friends of mine a well-deserved kiss of appreciation. @sauron-kraut writes incredibly polished short stories with beautiful wording and atmosphere that have a lot of little hidden things to discover and dissect, and I want to steal her ability to set the stage and hide those easter eggs. @a-world-of-whimsy-5 is an absolute legend when it comes to writing medieval and medieval-adjacent stuff, and I learned so much from her fics. @i-did-not-mean-to has a way of writing with such esprit and wit that I always end up in a good mood after, a style of narrative voice I've adored for over a decade, and I've greatly improved my humorous writing in particular thanks to her. @crackinthecup has the marvelous ability to craft extremely emotionally evocative scenes, which have encouraged me to be more courageous and experimental in my sentence melody and structure. @tragedybunny has a way of writing that reminds me of coming home to a warm and comfy place, and I will find out how she did it and how I can do it as well.

So as you can see, it can be super helpful to compare notes with your fellow writers. Never be discouraged by someone else's ability; instead learn and expand your own.

Feedback, criticism and community.

Let me just get one thing out of the way: You don't have to take criticism from everyone. Or at all. As far as I understand, the fanfic community has come to to agree that we're doing this for fun and don't give criticism unprompted/when we aren't sure it's wanted or welcome. As a general rule: Take criticism from those you would also seek advice from. Ask for feedback if you feel comfortable, and if not, that's a valid boundary to have and I will gently smack anyone who presumes to pick apart writing that was made for fun and generously shared with the community for free.

The community aspect, however, should be taken into account on other fronts. While I won't tell anyone they have to interact and believe that, in an ideal world, everyone's writing would just speak for itself, it is helpful to engage with the community. Things you can do (both on Tumblr and AO3 if also applicable/possible) include: Respond to people interacting with your works, interacting with other people's works (for example while you're doing your reading sessions and looking at other writers' styles) and just overall being present, being talkative, going with the flow.

Again, this is not a must. But I will say that pretty much all of us want positive responses and interactions on their work and that just won't work if you expect everyone to show up for you all the time and never show up for anyone else. Engagement, passion and community are our "currency" in the absence of money and reciprocity is an important element of that. A lot of friction and complaints in the fanfic community regarding lack of interaction or entitlement are rooted in misunderstandings of this fundamental principle.

But don't take this in a cynical manner. Seek out what you enjoy, share the joy and passion and you'll make friends just accidentally - which is the part that I find makes fandom on AO3 and Tumblr so much fun! (I don't even want to be a "traditional" author anymore, I want this instead😁)

Find your groove and groove along.

Lastly, make sure your writing is fun for you or else it'll become a chore and eventually get ruined for you as a hobby. This is unfortunately a continuous task as your needs and interests shift - for example you might be in the mood to do an entire drabble challenge one month and during another month you feel so drained that you couldn't do another one. Or you might want to write something different for a change. Or whatever it may be.

Either way, one recent lesson I've learned is that I got too tied up in obligations and it left no space for spontaneous inspiration, so I never got to write what I wanted to write in the moment and it pushed me quite close to burnout. Do yourself a favor and always hold that space for yourself. In practice, this could for example mean that you do one event and on the side write this cool new idea you had, instead of doing three events - which is fun and games until it starts getting too much and you don't have time for your passion projects.

Finding your groove also includes the whole technical aspect, such as which writing programs you use, which device (or none at all), where you write, how to make yourself comfortable, how to get in the right headspace for things. I would also like to encourage all of you to be a bit crazy and whimsical about this: For example I've gone to the perfume store, picked out a scent for a specific character in a specific scene and sniffed it while writing the description several times now. Do what it takes. And say goodbye to your squeaky clean search history - you will research some weird stuff just to get that one line right.

So yeah, these are just my random thoughts on fic writing and what has been helpful in order for me to have lots of fun with this hobby. Happy writing!

#on writing #writing advice #fanfic #fanfic community #fandom

60 notes · View notes

david-talks-sw · 8 months ago

Text

I got a good feeling about "The Acolyte"

Not even kidding. Like, I've spoken before about why I'm wary of it.

George Lucas' Star Wars is something that intentionally has black and white morality, rather than shades of gray. Those movies are meant for kids and projecting a "gray" morality onto them then proclaiming it was George's vision all along is doing so in bad faith.

The narrative of the Prequels doesn't frame the Prequel Jedi in as negative a light as Leslye Headland, Dave Filoni, etc etc do.

See here for more details, but bottom line: yeah, a show that has a darksider as the underdog is bound to demonize the Jedi (who are the actual underdogs in the Prequels), and obviously that rubs me the wrong way.

BUT.

The trailer looks fucking cool. It really really does.

youtube

And more importantly? I've done some research... and Leslye Headland is ticking a lot of good boxes, in my book.

1. The Acolyte won't be a 10-hour movie.

I've criticized Disney Plus shows before, explaining that a big source for most of their issues is that these series are being structured as "long movies" rather than, y'know, actual shows.

But in this interview with Collider, Headland addresses that: it'll be a series. Not a long movie that you need to watch across four weeks.

Thank God. You have no idea how much that comforts me. Finally a showrunner who's, y'know, actually running a show.

And this goes hand in hand with what she told IGN, here, about how she's going about building suspense.

Yes! Exactly! That's how it's supposed to be!

Like, compare this to Baylan Skoll's storyline in Ahsoka.

In no possible way was that emotionally-fulfilling. For 8 episodes we had no idea what he was after, and the season ended where we still don't know. What does he want? What is he after? Your guess is as good as mine, it's something Mortis-related.

So yeah. Maybe getting the Emmy-nominated trained screenwriter on board to run this was a good idea.

2. Maybe the Jedi will not be as demonized as I originally thought.

Don't get me wrong. 80% of what she says about the Jedi makes me cringe. It's the typical fan's interpretation and y'all know I disagree with that interpretation.

It's painful to see her refer to the Jedi as an institution (not how the Prequels' narrative frames them) and to see her frame "Balance" in the "oh there's so many of them and just two Sith, that means the Force is out of balance" meaning... but at least she acknowledges the Jedi are a benevolent institution.

They're not an "elitist force hiding in their ivory tower" as others have described the Jedi.

Moreover, there'll be a variety of Jedi POVs, many personalities.

Yord Fandar, is described as a strictly by-the-book Jedi Knight and guardian from the Jedi Temple, is an overachiever and a rule follower.

The question now becomes: will the narrative frame him as "your typical Jedi" or is it just this one guy? I'm hoping it's the latter.

I also like how her reasoning goes re: Jedi drawing their lightsabers.

Which explains the hand-to-hand combat seen in the trailer.

This teenager is coming at Carrie-Ann Moss with a dagger, of course the Jedi won't draw her saber.

3. She's a fan of Star Wars... but a screenwriter first.

You can tell in the interviews she's a fan. She's using words like "BBY" and "EU" casually. In the above-linked interviews she's bringing up the Nightsisters, Timothy Zahn, The Clone Wars, she mentions she has a tattoo of Ralph McQuarrie's concept art of Leia, the High Republic books, etc.

She's done her homework. She's a fan.

But the vibe I'm getting from these interviews is that she's weaving in these various lore-elements in a more organic way, rather than in the "fan-servicey" way Dave Filoni has been doing in his shows.

The references and Easter Eggs will be there, but the narrative won't bend over itself just so you can get it. Crafting a good story comes first, and Andor is a beautiful illustration of why this is true.

Which is why I was never bothered about one of the writers never having watched Star Wars before getting the job. You need those fresh eyes when you're tackling something of this scale.

That makes sense to me. Maybe it's because of my own screenwriting experience, but yeah. That out-of-the box perspective is precious.

And like, obviously, that writer watched the films eventually, but for some reason everyone who bitched about Headland omitted that detail and opted for a more bad faith interpretation.

Hm. Wonder why.

Maybe it's the same reason that months ago this clipped audio circulated socials without context, in which she debates whether Star Wars only came from George Lucas and only Lucas is the key.

The FULL context of that interview reveals that she's actually:

debating the "autheur director" myth and positing that it was achieved by a collective of excellent filmmakers and craftspeople that George was skilled and smart enough to recruit...

the studios now think it's a simple as hiring one guy and throwing money at him, because they have no idea what the fuck they're talking about. See Napoleon (2023) for example.

Yes, she also does a jab to the Prequels, which speaks to the generation of fans she's a part of... but overall she's giving Lucas props whilst also stating an ideological difference, that's it!

George is a proponent of the "autheur" theory, Leslye isn't.

However, guess what, in like half the talks George gave post-selling Star Wars? He's giving shoutouts to everyone who helped make the first film, even remembering their names.

So I'm not even sure he'd vehemently disagree with Leslye, in fact they'd prolly have a conversation about it and immediately bitch about how stupid studio executives are :D

But that's not as incendiary, is it? Again, the more I do the research, the more it feels like the reason most of these influencers are hating on her is purely sexist.

I mean, on IGN she's even acknowledging that she does plan on taking stock of fan reactions for Season 2.

It's not a guarantee that she'll incorporate the feedback, but at least that's more consideration than, say, JJ Abrams or Rian Johnson gave the fandom.

She's even bringing the moral ambiguity that the Gray Jedi-loving edge-lords love so much.

"No, she's a woke feminist! Anything she does is evil! Eww, girls!"

🙄

Needless to say... I'm gonna give it a shot.

I think it's gonna be a good show, I think it's gonna be a solid story.

I'm crossing my fingers that they won't as biased against the Jedi as it seems they'll be. Even if they are... if it's still an enjoyable experience, I'll gloss over it.

As @gffa states in this post:

Worst case? It's not a story from George. I can dismiss it from my headcanon without a moment's hesitation :D

#the acolyte #jedi order #star wars #leslye headland #george lucas #Youtube #discussion

155 notes · View notes