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spotsupstuff · 8 days ago

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I'm still working on getting the gardening ending for myself, but I've been collecting some ponderings I'd like to write down. So:

A congregate of thoughts on Watcher lore (as of now):

• I really like that this DLC is right now three kids in a spiritual trenchcoat. None of them is normal. I bet they'd all be friends if they met.

• I really like the color coding of these 3, as for what I've assumed regarding to colors' symbolism in this world: - Black stands for Nirvāṇa, the Void, being outside of the reincarnation cycle - Gold/yellow stands for holiness, ascension - Blue/purple stands for damnation/stagnation - White stands for Saṃsāra, the cycle of reincarnation, the physical world (the Watcher lingers in the physical world, unwilling to leave it)

On the account of blue and yellow being on opposing sides on the color wheel, I'd also gander a guess that the Rot and the Void don't entirely agree with each other/may be on opposing sides.

• Therefore, I don't think the gardening ending was exactly what the Rot Prince wanted to achieve, supported by his last two dialogues with the Watcher:

[Greeting lines]. As with all great deeds, my work is not without great challenge. It has taken eons and the light fades. The paths close and change. I can almost feel... a will... at odds with my own.

[Greeting lines]. Forgive me if I go on! You have done so much for me, I will not burden you with my troubles. Please, rest here as long as you wish. You are always safe here, my dear friend. You, who were there for me.

My guess is that the content that hasn't dropped yet will introduce either a new character/s in a sort of godly roles, or will explain the powers playing behind the wheel flowers and the Cycle.

• A light at the end of the tunnel (or something white/bright with a way to it?) is mentioned by both Spinning Top (at her ending) and the Prince (both as a flowerbud and in that first paragraph I copied up there).

I don't know what to do with this yet, I just found it interesting. Something something the white light within the Void Sea in the original game?

• ,,Outer Rim...?"

The Buddhist cosmology says the world is made out of 9 mountains (Mount Sumeru [the axis mundi], 7 golden mountain ranges and 1 outermost iron mountain range [maybe the withered buildings here are made of rusted iron, buried in stardust]) and 8 seas (7 freshwater and 1 saltwater), with 4 continents within the salt sea who's inhabitants each have a little something extra (except the South I guess, that's where *we* are. well apparently all Buddhas appear here actually, so you know. that's a something).

For an interesting example, the north continent called Uttarakuru is said to house the wealthy, owning no private property, where their food grows by itself and they live in the skies (Iterator cities, nudge nudge).

The name of this region could point to the Buddhist cosmological map being a physical fact for this world. I'd like to think that the dimension hopping aspect to the Watcher's worming through the space-time is at least limited to 4 continents(/realities?).

Also a fan fact: in Chinese mythology it is said the waters flow and stars fall slowly, because a water god with a bad tamper, Gònggōng, broke one of the pillars supporting the sky. Combining this fun nugget with the established lore in a pearl that everything is once eaten away by the Void down below, I'd say it is safe to assume on 89% that the dust mentioned in that pearl comes from the heaven itself and creates a sort of a cycle of the physical matter.

Suppose stardust is what creates everything, powers everything (just as is said in science). Suppose the Starcatchers are superstructures made for conversion of it into desired forms, these ones perhaps in the West of the world specifically, because of their circular shape.

(Meaning Signal Spires are perhaps of the South, while original game- aka Pebbles and Moon- are in the North of this world.)

• I find it fascinating and validating that Spinning Top needed some sort of an Embrace from one of the Five Urges/Hindrances (the third one, companionship) to be able to pass on.

It points to my idea of what the religion is Really supposed to be about: the Five Urges are what they are- urges- and they cannot run rampant. The point isn't to absolutely *eradicate* violence, pleasure, companionship, hunger and desire to live from oneself. The point is to be able to control these things and not cling on to them.

Because if one clings on to something, they stagnate, they cannot progress, they rot and they *fear* losing the something more than they can truly enjoy it or they get far too lost in it to feel it right anymore. To cling on to life means being afraid of taking risks, trying something new and really Living.

But now that doesn't mean going for the opposite is the correct way to go about it- that still creates a desire, a clinging- an urge for death is just as good as urge for life. It binds. It's extremism without careful consideration for what is really the best to do, feel and think in any given situation.

(This goes for love, too, it is GOOD to love, but going too far becomes unhealthy obsession instead of love. Going the other way results in hatred, another utterly useless and harmful thing to harbor. Same as indifference - that is stagnation again, that isn't picking up something, working with it to move forward. Love is a forward motion that is required, but cannot be overdone because as so it would be bastardized into something else, possessive and caging.)

Spinning Top could move on only when she knew that the flipside of the Third Urge- a sickening loneliness- wasn't something to fear anymore.

• Yeah, I don't think we can count on backgrounds too much when it comes to size calculating on the basis that they are probably shaped around gameplay. Specifically thinking about how the spinning top toy changes sizes between it's in-game model and the art. When it comes to Ancients, I'd say the best one can do is do what feels right.

• The Rot Prince is some sort of a boosted up Preta, I swear to heavens. Hungry guy. Maybe the Rot as a whole is a Preta stand in, just way more physical.

• Can't believe my ,,Respawning is real" headcanon has been officially given the thumbs down... The *Strand* Theory is real. (Even though DP is separate from the Watcher, this at least explains why Artificer didn't just go back to the last shelter she slept in when her cubs were still with her. They went to a different strand, where a different Artificer managed the situation better and we are stuck in this reality without them.) (We see them in her Void ending either because they are the one thing her heart wishes for [the Void gives comfort to those who are passing, as far as I am concerned], or because the Void is where all the reality strands and times coincide into one another.)

• On that note, no Fucking wonder the Ancients wanna bail - we don't really know to what extend they were aware of reality's unwounding nature, but assuming it is Pretty Thorough, I too wouldn't wanna live with the knowledge that in one reality I might've died on my loved ones, leaving them broken, while in the other everything is just fine and dandy.

The endless wondering of ,,Did I die in a different reality at any point in my life? Did I leave these people I love behind to hurt, alone, and I can't do anything to help them? I can never know, I'm not allowed to comprehend..." would slowly kill anyone with a heart, I think.

• I wonder if the Prince is a puppet/the Rot made itself a puppet, - because the Starcatchers were Iterator-esque biomechanications with a different directive than iterating on the Big Problem and this is a consumed Starcatcher (something about its budding dialogue feels to me like there was a sense of a Self beforehand that was drowned out by the Rot and then was pulled forward again with additions) - because the Rot is at the edge of the universe (humming a tune) where a messed up slugcat decided to start ripping holes in the reality, therefore connecting different strands including to places where the Rot already existed as a plague upon Some Iterator, which gave spark to sapience and inspiration to a new mind

• The new karma set is definitely a droplet and the ripples it leaves behind. Makes sense, too, there's more ,,movement" within it the more Spinning Top yanks the Watcher around in time-space (accidentally, I'd guess. or the ,,blame" is more on Watcher *somehow*), messing up their physical existence more and more.

Maybe the karma symbols or the imagery itself have something to do with a combination of an axis mundi and the strand form of existence.

Something about there being a main timeline in which each action and decision creates a new ripple, a new strand.

• I wonder if the Watcher could've come across Spinning Top and effectively latch on/follow her, - because they were already dead/echoed (the dream sequence upon reaching the final karma level could mean they did go to the Void Sea and swam pretty deep but turned back and that resulted in Echo-ification? then again why can a lizard bite me. Spinny's laughing at me for it. Goddammit.) - because of their nature as someone who's so damn hesitant about things, who hangs in the backlines, only observes and learns. Very Echo-esque personality - because of their desire to have someone there

• Just realized that we have a canonical design for Spinning Top's mask, hot damn. ,,How do children's masks look like?" answered.

I don't know why, that kind of creeps me out.

• The portals existing outside of us are made by Spinning Top, I'm pretty sure. She's always over them.

Is it normal for Echoes to leave tears like that? I think if the Rot Prince met her and knew she's the one who started this whole journey that resulted in him coming to exist as a consciousness and to bloom, he'd see her as a friend the same way he sees the Watcher.

• I wonder if his approach to the Rot Triple Affirmitive is ,,it's going to get worse before it gets better". He has suffered, too- while he normally speaks gently, calmly, orderly, when he is a flowerbud he seems frantic to me. Like someone breathing through death before getting better.

• Is the concept of the Rot Prince created for the first time in all existences' or is he a repeating pattern, too? The Rot in the least seems to be a pattern, because of what Spinning Top says when we meet her in one of the original regions, eaten through by the Rot.

,,You shouldn't have come here. It's too far." Does that refer to this strand's/ripple's distance from the axis mundi/the water drop creating all these realities? The further out the little wave carries out, growing smaller and weaker, the more rotten through it is? Is it because still water is stagnation, just as the Rot is?

So the Cycle is change and movement, life and love, that exists in a hurtful matter not out of its design, but because it has to contend with absolute stillness/stagnation/the Rot? Or it's all part of the same system, truly designed like this?

Could a Mass Ascension be seen as an escape plan from a ripple growing old? Man...

• A quick attempt at illustrating the previous thought:

Some Pepe Silvia level nonsense going on here.

#spot says stuff #rw #rain world #rw watcher spoilers #rw spinning top #rw ancients #rw echo #rw the prince #my art #i adore the Prince because he has Such full confidence in the Watcher & revels it a little while I'm here fucking up the teleport command-#-& not understanding how lightning in stormy coast works yet.#he's like a dog. you leave for like 2000 years from his POV & all he does when you get back is go 'hi friend!! :) make yourself at home.'#what a homie. what a sweetheart. I wish he had an overseer so I could pretend talk with him like I did with Moon and Pebs.#he speaks to me as if I brought him the stars & yet last time I played I spent 6 hours futilely trying to figure out how to spread his Rot.#i know now. i had to look it up and i feel like an idiot. the game demonstrates it 4 times and the Prince himself even tells you about it.

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earl-of-221b · 2 months ago

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Nezha 2 spoilers - on the character of Sheng Gongbao.

More on Sheng Gongbao, because I think what the movie did in introducing this classic antagonist's parent and kid brother may feel really random at first, but totally recontextualsies him to be (1) an even closer foil to Ao Bing and (2) a new foil to Nezha.

Ao Bing

In Nezha 1, Shen Gongbao explains his nature to Ao Bing so he could share the similarities of their situations: that he is a leopard demon, and demons suffer the same disrepute and disadvantage of dragons in the world of cultivation. That's why he did all this scheming from Ao Bing's birth to set him on a path that can diverge from his own - so he can prepare his disciple to advance where he can't - so Ao Bing can climb higher on the cultivation ladder. Shen Gongbao would benefit from Ao Bing's advancement as the master who trained, raised, and sponsored him to advance on the celestial stage. Ao Bing's father and people would also benefit from Ao Bing's ascension.

The foil Shen Gongbao plays for Ao Bing is being a demon - underpriviledged, undesired, having to struggle and claw his way in everything, being twice as good and yet not good enough, all because of what they are and how they were born. But he's known to Ao Bing only as his master and senior, someone who understands how the world works and whom taught Ao Bing his martial arts and magic.

In Nezha 2, the characters Sheng Zhengdao, the father, and Sheng Xiaobao, the kid brother, are introduced. This immediately changes the reading of Shen Gongbao. Not only is he a master, senior and an 'adult' in the complicated and cruel cultivation world - but he is also a son. Not only is he a son, there is an intricate backstory about what kind of son he is - he's the son who left his home and backwater town to go to celestial university, he's the first in the family to be accepted into the Chan Sect, the son who achieved human form, the over-achieving son, the son with a career, the son who made it, the absolute pride of the family. The eldest son who's family think he is living it up.

He is..........decidedly not. This is where the 'demon' storyline comes back: he has hit wall after wall. He's done dirty quid pro quo. He's been decieved, used, and even cowed by the system. One can't be treated fairly as a demon. Since he cannot make it any further by himself, he's resorted to relying on Ao Bing.

However, Sheng Gongbao's new role as a 'son' now paints him in an interesting light to both Ao Bing and Nezha. We instantly see that his motivation isn't just about feeling oppressed as a demon and wanting to be recognised for his merits. There is also clearly some insane filial piety driving him - because his position and ascention is supposed to benefit his kid brother and aging father back home! He is not just doing it for himself. He did all that dirty quid pro quo, being used as a tool, cowed by the system....because he needed to be the good son for his family. Because the truth is he has not made it at all. But if only he trains the perfect disciple, more perfect than himself...if only he gets him accepted into the celestial word...if only Ao Bing becomes a god of the Fengshen Bang...if Sheng Gongbao is reocognised as one of the 12 Golden Gods.........

On and on. His foil to Ao Bing as a son adds an extra dimension to Nezha 1. Ao Bing trained his whole life (being given the advantage of being the 'Yang pill') to advance his father's and people's position. To the point of being convinced, even if for a moment, that levelling Chentang Guan and killing all the people to keep the shameful secret of his dragon nature, was the only way forward...This now sounds very similar to his master. This is the solution his trusted, experienced master sold him. In Nezha 2, we learn Shen Gongbao has done terrible things for the celestial Wuliang (his senior cultivation brother)...it follows he would unload that same treacherous cycle onto Ao Bing.

2. Nezha

In a broad sense, Sheng Gongbao as the son becomes 'young,' a former protagonist himself, the hero of his own story, with his own parents and brother to appease. What I found endlessly interesting, is that with this new role, Shen Gongbao explicitly becomes a foil to Nezha as well. But the specific foil to Nezha in this case is 'being a son who will go on a total rampage out of love for his parents/family.'

With the knowledge of his parent's 'deaths,' Nezha goes on a total rampage out of love for his parents and the pain of losing them, that ends in beating up dragons and locking them in a huge magic furnace, completely playing into the hands of the evil celestial Wuliang. When our hero Nezha mitakenly fights the Eastern Dragon King Ao Guang, with the threat of his unfinished flesh body being disintegrated (he's not ready to fight in that condition yet!) - what does he say? He says "I don't care if I'll die, so long as I kill you!" The urge to avenge his parents is stronger than his self-preservation. But it's a twist. His parents are alive!

In the furnace scene, Nezha is offered a chance to save his parents who are getting cooked into cultivation pills by Wuliang. To accept a pill that makes him lose his memory and fall under the control of Wuliang. But Nezha's mother bats that thing out of Wuliang's hands, that's stupid and her son will never be a puppet for nefarious gods! Nezha, in the end, comes from a loving and supportive family who knows and understand him. They accept him for who he is. They would never stand for it. And so Nezha is protected from being manipulated.

Upon the Chentang Guan plot twist, it's revealed Shen Gongbao actually has the same reaction Nezha has when he thinks his family has died. Except for the point that his kid brother really does die - right in front of him! After whisking away Nezha's parents, Sheng Gongbao steps out again to the war-torn Chentang Guan, to fight off a thousand demons and the three traitor dragons. All by himself. There's dialogue, Nezha's parents ask Master Shen Gongbao what is he doing - where is going - why doesn't he take shelter with them?! And Shen Gongbao answers with bitter acceptance, "What's the point? My family's gone." And he goes out to fight. To take a last stand. To die.

Going back to Nezha, doesn't that reveal Sheng Gongbao's deepest motivations as the same as our hero's? He wasn't really doing it - all of it - entirely for himself. Now that his father and kid brother are dead, there is no reason to strive further. Shen Gongbao can let go of being one of the 12 Golden Gods or whatever. He's going to go out into danger, satisfy the urge to avenge his father and brother, and die.

Which takes me to the very delicious, delicious, diabolical end credits scene. The villainous Wuliang goes to a terrible prison where Shen Gongbao and his barely-ok father are alive. In a scene that totally parallels Nezha's choice in the furnace, he presents the same offer to Shen Gongbao. Accept a curse on his mind and body that will enslave him to Wuliang in exchange for his father's life.

But Shen Gongbao doesn't have the same honesty, understanding, protection from his father...because all this time he has been away from home...not returning because he hasn't made it...his father under the impression he is living it up as a celestial...his father not even conscious...

His kid brother died.

He has just this one family member left.

A person he was supposed to be doing all this for, to make proud.

A person he was ready to get revenge and die for.

After all he has already done - what is a little curse on Sheng Gongbao for the benefit of his father?

#nezha #nezha 2 #哪吒 #哪吒2 #哪吒之魔童闹海 #sheng gongbao #Where Nezha escapes the oblivion pill in the furnace - Shen Gongbao will willingly take on the curse in the prison.#Anyways.#Get ready for Mind-Controlled angst in Nezha 3!!!!#*UNGODLY LEOPARD SCREECH*#I am ready for the horrible awful scene where Ao Bing is begging his master who apparently has no clue who he is and is totally ok using #lethal moves on him #aldkfj;ladkjs;laksjdf;lakdj

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the-littlest-goblin · 2 months ago

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As I’ve alluded to, I think a lot of the failures of c3 can be traced to the fundamental gap that, in a plot where so much revolved around “”the gods”” CR never answers the question:

What the fuck is a god?

Others have made excellent points in how we talk about epic fantasy and the difficulties in fully receiving a world where gods definitively exist. What's interesting to me is that, if you really want to get deep into the philosophical weeds (and I always do), then what does it actually mean when we say "gods exist" in Critical Role?

Disclaimer: this isn't exactly as comprehensive as I would like but what I hoped to articulate in one meta post is more like 2-5 thesis proposals in a trench coat, and I still want the catharsis of yeeting my thoughts into the void so I can finally take a nap. I tried to limit the academia of it all but there's still plenty of jargon, and also a bibliography because I like to show my work.

Short version: Godhood/divinity is a semantic lacuna in the CR's worldbuilding. That's not a bad thing, in fact it's kind of necessary. The problem arises when the plot makes gods and godhood a central problem without resolving or even acknowledging the barriers to understanding those concepts, thus leading to hours of dialogue, plot beats, and a supposedly climactic resolution which all amount to nonsense if you look too closely.

As anyone who’s so much as dipped a toe into philosophy will tell you, you gotta define your usage of terms or the discussion is DOA. On all levels of CR text, words like "god"/"the gods"/"divine"/"deity"/etc. are used interchangeably in so many contexts, and the meaning of those terms is only accessible via contextual implication, and the deducible meanings in so many of those contexts directly contradict each other. C3 especially reveals a dissonance between how the mytho-cultural text approaches divinity compared to the contours drawn by the mechanico-ontological text.1

The former in Exandria refers to "the gods" in terms of the Pantheon, a definite collection of individual entities. These otherworldly beings of Tengar, a realm of pure possibility. But "god" is also a rank within D&D's cosmic taxonomy—a rank to which, in Exandria, other entities can rise via the Rites of Ascension. The Matron is a god same as the others; Tharizdun is part of the pantheon but separate, not of Tengar. Maybe a "god," maybe not?

In the mytho-cultural role "the gods" play in Exandria, their being-qua-being is positioned as necessarily plurally defined and unknowable, but nevertheless possessed of immense "cosmic power" befitting their role in the Creation myth and ongoing worship. It makes perfect sense that the in-world mythology is (intentionally) plural and contradictory. However, as others have pointed out,* Exandria's socio-political and cultural worldbuilding vis a vis religion are (less intentionally, I would imagine) rather underbaked, leaving significant gaps in our understanding of what the gods (and religion) mean for the cultural part of mytho-cultural.

Now let’s get into the latter. Because CR isn't just a narrative—it's a ludonarrative, and the game mechanics have huge ontological implications.1

In the mechanico-ontological sphere, the gods are positioned as sort of exceptions to the rule, by which I mean, like, we don't get stat blocks for deities. Which again, on its own, makes perfect sense! D&D focalizes the PCs, and so on the purely mechanical level, gods/the divine are subordinate, acting only through proxies. This is necessary for the game-narrative D&D supports. Giving god-level power explicit stats would be a catch-22:

first, it would severely demystify "cosmic power"—to define is to limit, after all. Not doing so can imply an ontology where gods are not confined by mechanics—their powers go beyond, their powers are not only unwritten but unwriteable.

secondly, if the rulebooks were to even attempt codifying mechanical abilities on par with the semantic associations of “god-level” power, then it would be very difficult to maintain either the PCs focal role as agents of the narrative or a fairly balanced game, much less both. We saw this play out in Downfall—the point of the mechanics in the final battle outlined the huge disparity between mortals and gods.

Speaking of Downfall—as well as their mechanic and mythic existences, the gods also exist on the narrative level as characters. As such, we must necessarily consider questions of agency and consciousness in qualifying their existence, but fuck if that isn’t a messy question on the one layer, let alone putting it in the contexts of these shifting, intersecting layers.2 Keeping it brief though, the gods’ narrative agency is subject to similar issues as their mechanical powers.**

Being an exception to the rules of mechanico-ontological existence only holds together so long as divinity remains separate from everything governed by mechanics when mobilized in a narrative. I'm not trying to nitpick—Matt's "NPCs are not governed by the same rules as PCs" MO isn't automatically world-logic breaking, and there's a degree of pedantry on that front that is simply unsportsmanlike. But the problem in c3 specifically is that the plot focalizes the gods and divinity as a construct in such a way that invites—demands even—closer inspection. And the coherence between the structural layers of the narrative breaks down quite quickly under this scrutiny.

It's not like c3 brought this theme out of nowhere. Disproving that there is any essential divide between gods and mortals defines the zeitgeist of the Age of Arcanum. The Matron’s ascension proves that, however the difference is defined, the state of being one or the other is traversable. Exu: Calamity brought this up plenty: Laerryn contends that the distinction is access to the Celestial plane, and seeks to dissolve the difference by achieving large-scale interplanar travel for all of Avalir; Zerxus embodies that so called "divine magic" is not strictly tied to a worshipful relationship with a deity.

In c2, god-or-not is a huge element of Jester's arc with the Traveler. Her build shows that, despite the very different class abilities/powers of warlocks and clerics, there is no mechanico-ontological constraining the distinction between a warlock patron and a god. These are roles defined through a relational existence, not in keeping with any essential taxonomy of substances.1 The Traveller’s position in the cosmic taxonomy as an Archfey has less bearing on the type of magic he can grant than the belief and conviction on the side of the grantee. Similarly, there’s the Luxon in all its mystery—a god but not a pantheon deity? Divine but not a god? The semantics seem less and less significant.

Now’s probably a good time to remember that CR is a story, and stories are representative constructions wherein any logic other than narrative logic is secondary. D&D as a story engine allows fictional representation to evoke a unique facsimile of materialism because the diegetic laws of physics are established in such detail via mechanics. But still, in a fictional world, metaphysics kind of are physics, and also kind of are semiotics, and both answer to the symbolic. It's fun (for me) to dig into the worldbuilding using philosophy as a framework, but at the end of the day, it doesn't matter if the philosophy finds gaps so long as the rest of the narrative elements cohere around those gaps.

In c3, they do not.

Next to c3, c1 gets the closest to leaning too hard against the logical house-of-cards making up cosmic ontology in Exandria due to the importance of the Divine Gate in defeating proto-god Vecna. The Divine Gate is, imo, the material nexus point where all the semantic and ontological contradictions coalesce: it was created so as to specifically block gods from traversing out of the Celestial plane, but is permeable to mortals. Presumably there is some quality or essential substance that decides who can move through it and who can’t—but what is that? What is the substance of divinity, not in the ontological sense but in the materialism of arcana? It’s not something exclusive to denizens of Tengar, because the Matron is also trapped; perhaps “divine” is a misnomer, and it only traps the specific entities designated at the time of its creation, regardless of any shared essential quality? Except no, because Vecna was able to be trapped behind it as well.

On the flip side, the great thing about the Divine Gate is that it encompasses and narratively justifies that catch-22 of divine mechanics by adding the element of time. The gods used to be un-writably powerful Pre-Divergence, hence their cosmic standing, but the Divine Gate limits their powers of acting in the present, allowing for their mechanical impotence. The Divergence and the Divine Gate incorporate the gods’ disparate ontological states into the history of Exandria, a physical and temporal division that allows for these contradictions to coexist in separate corners of the narrative.***

This coheres throughout campaigns 1 and 2—even when c1 started approaching concepts of “divinity” more closely, the plot maintains a separation between mortal stakes and divine stakes. Vecna was Vox Machina’s problem because he posed a threat to mortals; he posed a threat to mortals because he was seeking to achieve god-level power on the mortal plane. We don’t need to know what the “power” exactly means to know it would be a huge imbalance. The threat is nullified by trapping Vecna behind the Divine Gate. We still don’t know what he is vis a vis godhood, but we do know his powers of acting and affecting on the Material Plane are curtailed and as such he’s not mortal’s problem anymore. Compare this to the Bell’s Hells attitudes towards their joint BBEGs of Ludinus and Predathos. Ludinus is the threat on the Material Plane; for much of the campaign, BH cap off cyclical debates on the gods by agreeing that stopping Ludinus is their actionable concern. In the end, however, Ludinus’ rhetoric succeeds in focalizing cosmic concerns: the narrative concludes with the resolution to the questions of ‘what to do about the gods and Predathos,’ reifying Ludinus’ view that the cosmic structure was a problem to be solved (despite the complete lack of supporting evidence to that point). Meanwhile the resolution to the—previously central—question of ‘what to do about Ludinus’ is ‘leave him to his cottage-core Thanos epilogue,’ as though he is not nor has he ever been a primary source of conflict.

I think Predathos is where the irreconcilability of material substance and ontological substance really start to chip away at the foundations of narrative coherence. The “God-eater” must be subject to the same questions re: “so what do you mean by god?” The takeaway is that the Predathos lore is frankly a hot mess of ludonarrative dissonance—perfect illustration for the other side of that catch-22 I was talking about!

In theory, Matt could have introduced Predathos into Exandrian cosmology without it becoming a narrative problem, had it remained at a sufficient distance from the immediate plot to sit comfortably obscured in the same miasma of metaphysical unknowns as the Luxon or Tharizdun. It’s Ludinus and all the discussion surrounding these cosmic entities that shines a glaring spotlight on the contradictions by way of placing the gods into an ethical framework and using that judgement as a basis for praxis. Moral philosophy is not my area, but as far as it intersects with ontology: it is, to put it mildly, very fucking hard to put a subject under ethical judgement when said subject has no defined being as such that it’s very subjecthood is in question.

What I’m trying to say is that you hold a guy in a very different ethical standing than the sun. The Dawnfather is both and can be reduced to neither. He is a character in a narrative with agency and personality and relationships at the same time he is a mechanical construction that has no independent existence and extremely limited powers of acting, and all the while he is semantically presumed all-powerful.

*I can’t find the post now to link it but I’m 99% sure it was by @utilitycaster

**For an illustration of (non-game) narratives where a pantheon of gods explicitly exist, are in possession of a certain cosmic power, and are direct narrative agents, see: Homer. I ran out of steam before getting to the full comparison I wanted to make, maybe I’ll get to that in another post, but trust me when I say it has massive implications—like, ‘requires a totally different method of engagement with the work, one which heavily departs from, and at times directly contradicts, literary and pedagogical tradition since at least the early modern period’-level implications.

***In terms of Pre-Divergence depictions, frankly I need to finish rewatching both Calamity and Downfall (possibly multiple times) to properly incorporate Brennan’s contributions to the text into this consideration. Drive-by assessment though, as it pertains to the main campaigns: we see glimpses of what the gods powers of acting can be without the Divine Gate, both with Asmodeus at the end of Calamity and the final battle in Downfall, to use as a comparison. These are useful for when c3 brings up the possibility for an alternate state of affairs while providing no examples for what those alternatives would entail.

1. Bryant, Levi R. “Substantial Powers, Active Affects: The Intentionality of Objects.” Deleuze Studies 6, no. 4 (2012): 529–43. http://www.jstor.org/stable/45332014.

2. The structuralism I’m employing follows a number of works and theorists, namely Roland Barthes for lit theory and Richard Schechner for performance theory; the most relevant direct citation is Daniel McKay’s book The Fantasy Role-Playing Game: A New Performing Art (2001), which references both of the above and many others.

#critrole #c3 #don't mind me #I'm actually furious that tumblr formatting won't let me do superscript footnotes #cr discourse #anyway cheers to Divergence tonight I will certainly be watching with this lens on standby

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thewordfortheday · 7 months ago

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My dear children, I write this to you so that you will not sin. But if anyone does sin, we have an advocate with the Father—Jesus Christ, the Righteous One. — 1 John 2:1

Anyone who finds themselves in a tight legal spot wants the best available lawyer to represent them. Jesus is our defense, our legal representative, our advocate before God the Father, judge of all. Each of us has broken God's holy law, we stand guilty and condemned. But Jesus is righteous and blameless and has made us right with God —through His death, resurrection, and ascension—we are now credited with His righteousness before God. When we stumble, we take comfort in the fact that our Advocate never ceases to plead our case before God the Father, justifying us through His precious blood.

#salvation #bible verse #daily devotional #christian quotes #bible quotes #inspiration #daily devotion #christian quote #christian life #scripture #bible #forgiveness

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cleabellanov · 1 year ago

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"But Lokius isn't even canon! Stop making everything gay!"

...

The Loki series isn't just about romantic relationships and shouldn't be seen as so. However, there is a lot of subtext. Maybe this ship is not canon, but it was intended to be seen as so by the fans.

If Lokius isn't canon, then why were the last two shots of the series showing Mobius and Loki?

If Lokius isn't canon, why would there be so much touching and scenes so physically close to one another? (believe me I know they're friends. that just offers a solid base for something more)

If Lokius isn't canon, why is there an OFFICIAL track named like that?

Why is said track played or incorporated in different scenes of the series? like

-the first McDonalds meeting with Sylvie,

-the back-in-time conversation with Kang

- the ASCENSION to the throne?

Why is the Sylvie and Loki kiss never mentioned, by the producers, in the series per se, or even in the season 1 recap?

Why is Mobius the only one looking at Loki when he leaves down to the temporal loom?

And the other way around, why did Loki only make eye contact with Mobius in that scene?

Why is Mobius the only one to notice there is something wrong when Loki is still trying to fix the Loom?

Why did Mobius/Don on the original timeline, mention he's single, trust a complete stranger, invite him for a drink, AND offer to sell him a quite personal jet-ski?

Why did Loki, the LITERAL GOD OF MISCHIEF stutter and fix his hair and coat for no one else but Mobius (who by the way is just a jetski salesman on that timeline)?

Why is the timeslipping Loki had to go through directed to Mobius twice, him being the the only one he doesn't need a TemPad to "recruit"?

Why would Loki bring up Thor and Jane if it wasn't to mirror him and Mobius? (because, as he already was talking to Sylvie, he certainly wasn't implying it's about her. They were arguing, AND Mobius was implied in the conversation. Loki defended him in front of Sylvie, in case you forgot.)

Why would Mobius's voice be the one to echo back to Loki on his throne? let time pass time pass time pass

Why the RAINBOW?

WHY DID LOKI LOOK AT MOBIUS RIGHT BEFORE THE FAMOUS LINE "IT'S ABOUT WHO"? (important mention: Sylvie was behind him when he said that. why didn't he just turn around when saying it? nope, they know what they're doing)

Why is the shot cut to Mobi after Loki's "it was more about what I wanted" line?

Why the shot where 7 characters could've been showed (Mobius, Loki, Sylvie, B-15, Casey, O.B., Victor Timely) there are only 2: Mobius and Loki?

Why is Mobius the only one to tell Loki he can be someone good, and the first one Loki actually believes despite his tendency to do the other way around in the past?

Why does Mobius finally find insight, and reinvent his whole life at the TVA because Loki helped him do so? (they're not even the first Loki variant he faced, but something clicked this time)

Why does the bloody sleeve, representing Loki being hurt by Sylvie just because he "wore his heart on his sleeve" disappear on episode 2? (because he finally understands who he needs to be next to)

Why did Mobius risk his life on the first episode?

Why did Loki go to past Mobius for the final advice, not to the present one, not to Sylvie?

Why did Loki ultimately sacrifice his life for the ones he loves?

And why is Mobius left alone, with the door locked, after Loki leaves in the Loom's radiation?

Why would there be so much endearing looks, and smiles at each other, if not for a conscious acting choice?

Why why why why why if it isn't canon?

Nothing is for nothing. Especially in television, where everything counts from the light to the angles and the way the lines are spoken.

We don't need to see two characters kiss to know they are made for one another. In fact, I think implied canon is so much better for now, because it leaves free interpretation for the fans, and nothing to strike on for the haters.

Of course, that doesn't change the fact that the ending is still tragic, although it holds its sweet from bittersweet. But remember: there aren't tragedies without love.

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marielle555 · 1 month ago

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Anti-AA headcanons and gaslighting. Taking apart the online mythology around Ascension. Part 1.

Yes, yes, that's the one. Who hasn't encountered this nonsense about “Ascended Astarion becoming the second Cazador” is probably only someone who hasn't played BG3, or has been practicing exceptional online hygiene all this time, staying in a blissfully happy world of pure own perception. For the rest of us, this headcanon about how destroying your enemy and using him as an ingredient for a ritual automatically magically transforms you into an absolute copy of him, has surely gotten sick of it by now.

Complete rebuttal:

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And here:

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Astarion doesn't follow any of Cazador's “rules”.

Cazador forbade spawns to drink the blood of thinking beings - Astarion gives his blood to Tav (“Don't you worry. You have supped of my blood. It will be no trouble to extend a fragment of my protection to you”). Astarion allows Tav to drink his blood. (“Of course I will, and you'll drink mine. I can't wait to taste your lips after you've tasted me.”) In the game, you can bite Astarion and drink his blood.

Cazador was demanding total submission - Tav doesn't listen to Astarion, refuses to take control of the Brain, and destroys it. Astarion makes plans to take over the city, Tav wants to travel instead - and Astarion happily agrees. (“Then you shall. We'll travel the lands together, tasting everything Faerun has to offer.”)

The spawns could not leave Cazador without orders - Tav could leave Astarion and go with Karlach to Avernus without Astarion's consent. (“I'm not some controlling monster out there”).

Astarion even genuinely sympathizes with Tav, who agreed to willingly give their body to Haarlep and received consequences because of it - the incubus now has power over their body (“I heard that moan. It's the incubus, isn't it? Enjoying your body? Gods, though I've become untouchable, my precious treasure has been violated still. I know what it's like to lose control over your own body. It's a wretched thing.” “I know what's done is done - you made your vow. But I'm sorry all the same.”)

Astarion uses the words “we”, “our” very often, which suggests that he perceives himself and his consort as one, as a real united couple. ("My consort, we are so close to our triumph, I can almost taste it.") Who will say “ours” about triumph, referring to their “property”? “We are sovereigns. My sole endeavour is to make this world yours and mine alone." - again, “we” and “the world for the two of us.” And even first “yours” and only then “mine”. “I wish we could retreat into our palace already, and spend a decade in each other's arms. But first we must manage the trifling matter of the brain. Perhaps it will listen to us. Perhaps it, too, will serve.” And right after the ritual is complete: “I did. We did.”

“It can be ours, my love. The whole world - we only have to take it.” “And as you're my consort, that makes us the most powerful people in the world.” (with special emphasis on the word “us”). “Together, we can do anything. The world is ours for the taking.” “We could be together for eternity, ruling this world side by side. We could have it all.” Because: “I may have power, but it would be nothing without you. You complete me. And together, we are unstoppable. So Heavens help the fool that tries to get in our way.”

Ascended Astarion sincerely, truly loves Tav - and offers an conversion because of love, just to be together forever. Tav-illithid senses the love hormones emanating from Astarion. Astarion wishes to protect Tav. (“Don't worry - if anything happens, I'll protect you.”) Astarion was intimidated and lived in perpetual fear as a spawn of Cazador, and now, after the Ascension, he is no longer afraid, and he seeks to protect the Tav, to make sure they have nothing to fear. “My pretty consort, I don't like to see doubt cast upon your face. Fear not: you are mine.” “You need not fear anything.”

Amellysan's prophecy states that Astarion and Dark Urge will love each other until the end of the world (the same will be true with Tav - “Aeterna amantes. Lovers forever, until the world falls down.” Same for both Tav and DU).

If the player fails a manipulative Persuasion check: “This power will trap you, just like it trapped Cazador,” Astarion responds, “I'm not him, and I will not become him. Please! I can't do this alone.” What is this line of persuasion even based on? What is this “trap”? Where is any factual evidence that Astarion falls into the “trap”? All we know about the ritual are Raphael's words: “If he completes the rite, he will become a new kind of being - the Vampire Ascendant. All the strengths of his vampiric form will be amplified, and alongside them he will enjoy the luxuries of the living. The arousals and appetites of man will return to him, and unlike Astarion, he will have no need of a parasite to protect him from the sun.” Where is the “trap?” Also note that Cazador never managed to get into this “trap”, only dreamed of it - Cazador didn't perform the ritual and we can't say anything about what would have happened to Cazador in that case - simply because it will never happen.

Cazador is a broken, mangled individual, a “trained psychopath,” who has had “rules” hammered into him by years of being on the stake. He wasn't that way from the beginning - he was broken by Vellioth. But he was broken long before the ritual. Astarion isn't broken, he's kept his personality, unlike Cazador, yes, he has trauma, but he's kept himself. Strength of character keeps the trauma from consuming the personality. Astarion is mistrustful, because experience has shown that you can't trust anyone. And yet he has a seemingly paradoxical desire to trust. But not so paradoxical, because he is a strong person. He's not broken, even though he seems that way. Vellioth's second lesson is that power comes from solitude. To share with others is to be weak, and to be weak is to fail ... and die. Astarion breaks this rule completely. Astarion and Tav perform the ritual together, Tav helps him, and Astarion shares his power with Tav. “I'm willing to share all of this with you. What's that if not love?” They are sharing everything and doing it together. “We share a palace, share power, live lives eternal in each other's arms.” Strength is not in loneliness, strength is in unity. A united pair. “A vampire and bride who truly love and trust each other make a team that is exceptionally difficult to defeat!”("Van Richten's Guide to Vampires"). Cazador had no beloved.

Cazador, Vellioth's broken puppet, is a rule-following psychopathic maniac, “fixed” by Vellioth, and he also tried to “fix” Astarion. There are no other Cazador in the game other than the original. Astarion NEVER tries to “fix” Tav, does not try to change them, Astarion loves and accepts Tav as they are, sees only “perfection” in them.

AA:

"You were already perfect before. It's hard to improve."

"You are perfect, every time."

Cazador:

"I strove for perfection in all things – even those as imperfect as you”.

AA:

“Terrifying and brilliant.”

“I'm so lucky I crash-landed next to such an intelligent creature as you.”

“I always knew you could do it. I always knew that together, we could do anything”.

Cazador:

«You are week, my child. You are a small, pathetic little boy who never amounted to anything”.

“I fondly remember your empty boasting, your tired jokes, your endless prattle…”

“Because he is incapable of anything else”.

Cazador also infantilized Astarion to make him a victim. He called him a boy, considered him a child. Doesn't this resemble attempts by some people in the fandom to portray Astarion as an infantile, emotionally immature “elf child” (relying on the age listed on his grave - 39), and themselves as some sort of “life teachers”? Claiming that he was “blinded” at the moment of the ritual, even though the plot makes it obvious that he had been preparing for the ritual long before.

Ascended Astarion is the exact opposite of Cazador. Cazador continues the “cycle of fixing”. Vellioth was able to fix Cazador, breaking him and reshaping his personality. Cazador tried to fix Astarion but couldn't, Astarion proved to be stronger. Astarion never tries to fix Tav. Only fans of the story: “I can fix him” keep doing it to Astarion. UA looks depressed, like he's suppressing his true nature. He has to hide part of his personality in order to be accepted by his lover and other “good” companions. He's been imposed with someone else's view of the world, and he kind of “should be grateful” to them, and do what he did under Cazador - adapt and pretend, “be convenient”. Ascended Astarion says he used to be “pathetic”. Adaptability is his survival mechanism, that's the consequence of his trauma. He doesn't like it, he's disgusted by the necessity of it, it's a survival mechanism, and it's precisely the real reaction to the trauma. Astarion was a nobleman and a magistrate, I wonder how he behaved before, before his conversion to spawn?

It's a pity there's so little info about Vellioth - that is one true psychopath and maniac. His very rules speak to that. Cazador looks like a wannabe, and a pretty weak wannabe compared to Vellioth. “Manic fantasy” and “creativity” (if we can call it that) was Vellioth's alone. Astarion doesn't follow these rules at all, he doesn't want to be in their “system”, he's not maniacal at all. He has cruelty, but his cruelty is an expression of anger, and his inner pain as well. It is not maniacal cruelty. Bloodthirsty and a love of killing, but without cruelty for cruelty's sake. All in all, a classic fantasy trait of vampires. And in the world of Faerûn, where necromancers operate freely - nothing supernatural.

The only “proof” for this headcanon in the game is that Tav can say “Now you're just like Cazador”. How is the possibility of a certain line supposed to convince someone of anything? The game is full of rude lines towards companions, not only Astarion. Does that mean that all companions are accurately described by those rude lines? If you wanted to, you could make a great portrait of each “good” companion using Tav's lines to do so, it would probably come out very funny.

Also presented as an “argument” is Astarion's reaction to these words, full of anger and pain. The line “You're like Cazador” are words suitable for a roleplay of an extremely cruel and emotionless character, these words are aimed at hurting Astarion, nothing more. Astarion is a character with PTSD (PTSD survivors can have very aggressive and even lightning fast reactions to such things, if you tell a soldier, who has experienced torture in captivity, that he is just like the one who tortured him, nothing good will come out of it). Astarion was a victim of terrible violence, he's been a victim for 200 years, I don't think the authors of “cazadoric” headcanons, or anyone in the real world in general, can fully envision that. Astarion reacts more than adequately to cruel, insulting, traitorous words from the one person he has unfortunately only just begun to trust. And this reaction only validates Astarion's feelings for Tav - that he doesn't react like that soldier in the example above, nor does he lash out and attack the one who compared him to his tormentor.

To compare a person, who has gone through such suffering as Astarion, with his tormentor (“You're like Cazador”) - in reality, a narcissist or a psychopath could also say such a thing in order to cause emotional damage to their victim. An abuser would behave very differently and show real cruelty in response to the line, “You're like Cazador.” But Astarion's response is one of anger and hurt, not violence. Just put yourself in Astarion's shoes, imagine that this “You're like Cazador” is addressed to you (knowing that Cazador tortured him for two hundred years, and Astarion hated this creature more than anything else in the world), then you will be able to appreciate this situation in all its colors.

BG3 | Comparing Ascended Astarion to Cazador - Is his anger an overreaction or is it understandable?

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But six months later, at a party in the epilogue, Astarion responds to these attacks much more calmly. In the epilogue, in response to Tav's line, “You're like Cazador,” Astarion says: "Try to wound me all you like, but I'm so much better than he ever was." This is the reaction of a strong person, an example of the behavior of a person healing from trauma. Astarion doesn't let Tav hurt himself. And this line also suggests that Astarion understands the motives of Tav, who compares him to Cazador.

I've always been curious, where did this strange interpretation of “Astarion - Cazador 2.0” even come from, how can one person suddenly turn into another in such a magical way? It seems to me, that the premise of the “cycle of abuse” lies in the fanfiction of the non-con genre. The very idea of this “cycle” lends itself perfectly to such stories of suffering and violence. This idea was later hyped and used by “preaching harpies” - “agenda” activists in games, who really wanted an example of a “toxic relationship” and a “white abuser” to shove their “new ethics” into games and “teach” adult RPG players their rules for “healthy relationships”. And they decided to use the image of Astarion for this purpose. One of the propaganda techniques - the method of multiple repetition works in such a way, that there is some “truth” that has no proof, and if it will be repeated without end by many people, then for other people, and people are rarely inclined to double-check information, especially if it is not very important for them, it will be perceived as truth objective, normalizing this idea in the eyes of others.

P.S. The following posts will also deal with all the other headcanons of haters and examples of gaslighting around Ascended Astarion (“AA is losing his soul”, “AA doesn't love Tav”, etc. etc.).

#astarion #bg3 #ascended astarion #baldurs gate 3 #astarion ancunin #bg3 astarion #baldur's gate 3 #baldurs gate astarion #astarion bg3 #ascendent #ascendant #ascension #baldurs gate #baldur’s gate 3

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venussaidso · 1 year ago

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Mercury Dominant Themes — 𝐍𝐚𝐤𝐬𝐡𝐚𝐭𝐫𝐚 𝐎𝐛𝐬𝐞𝐫𝐯𝐚𝐭𝐢𝐨𝐧 𝐒𝐞𝐫𝐢𝐞𝐬 (part 1) 𝐨𝐟 𝐩𝐚𝐫𝐭 𝟏

It seems to be a theme in Revati where all the wealth that has been accumulated from the Uttara Bhadrapada stage is easily accessed, but the native must be deemed worthy or in alignment with this sacred wealth, and very often they are (but they have to prove it, usually). Profound, universal secrets are quietly recovered in Revati where elevating/ascension is easily achieved (whether through wealth status, spirituality, surpassing mental limitations etc.).

The 12H activates so perfectly in Revati by draining everything away to remind us of those secrets so that we 'wake up' again.

I'm going to use monetary wealth and inheritance for my observation, not spiritual, so bare with me.

Revati reminds us of the duality of privilege and hardship, which is either emphasized in this nakshatra or tends to be taken for granted (how such 12H harsh lessons will come in).

We can see how Revati is the 'nepo baby' nakshatra, but there's more to it if we extend this theme a bit more.

Revati being extremely wealthy while also being a nakshatra about humanity & community further validates it being a universal sign (Pisces).

We can look at the story; The Prince & the Pauper written by Mark Twain who is Revati Moon.

The story is about two boys, the prince and the pauper, who switch places and briefly experience each other's lives. The prince experiences the struggle of a commoner's life, and the pauper gets a taste of the responsibilities of the royal life. This makes them have a deeper understanding and even empathy for each other and others alike. Revati emphasizes the shared humanity of all of us, and that's why this nakshatra tends to use their wealth to give back to communities; going into foreign lands to help others that cannot be helped. This proves them being worthy of their wealth, which is now something that can be maintained and even elevated.

Gaining inheritance but only through challenging conditions is something that I associate with Revati. This falls into them proving themselves worthy of the given wealth or learning to put their ego down to be properly nourished.

The film The Bachelor (1999) is about a man, who is fearful of commitment, is made aware that the only way to inherit his grandfather's wealth is by finding himself a bride. The guy is literally commitment-phobic, but he must change his ways. He is played by a Revati Moon.

It's very interesting that films regarding family monetary/asset inheritance have (Mercurial) nakshatras which trine Revati. For example, the film The Descendants (2011) has a plot where the main character is considering on selling a pristine piece of land that has been passed down throughout generations in his family. The director of this film is a Jyestha Moon.

Or the film Inheritance (2020) stars an Ashlesha Moon who plays a character whose father dies, unfairly leaving her with a small inheritance of $1m compared to her brother - played by a possible Ashlesha Moon - who received $20m.

Unfortunately, she also inherits a lifetime of deception and deadly truths that her father left her to deal with. So, we can see how this trope looks on the flipped side where inheritance can be a curse. Mercury nakshatras are the last to deal with the (family) baggage that tend to be passed on from their family, and they're usually the ones to put an end to curses or cycles. Mercury nakshatras, in the general, are the last stage where all matters from the Jupiter/Saturn nakshatras are dealt with & released. In the film, the deceased father is interestingly played by a Vishakha Sun, Purva Bhadrapada Moon.

Actually, circling back to the film The Bachelor (1999), the deceased grandfather who's willing to pass his wealth to his Revati Moon grandson is actually played by a Pushya Moon, Punarvasu Ascendant. I find that Saturn nakshatras can make things challenging for Mercurial nakshatras, not wanting to let them off too easy. Giving them challenging conditions regarding inheritance. Sometimes, Jupiter/Saturn nakshatras can play a role in which they take advantage of vulnerable, Mercury nakshatra natives.

This is seen in the film Rain Man, which was literally directed by Revati Sun AND Jyestha Moon, Barry Levinson.

The film is about two brothers who reunite after the death of their father. The greedy, selfish brother played by a Pushya/or Punarvasu Moon who realizes that his father left his entire estate to his autistic savant brother who is played by an Ashlesha Sun. The Pushya/or Punarvasu Moon brother kidnaps the Ashlesha in hopes to get him to share his inheritance with him.

Now, very interesting how Mercury nakshatras can be born into wealth but it can all be drained away from recklessness, arrogance, or for a lesson for the natives. Going bankrupt, being dethroned etc. can be Revati/12H themes that make us go boundless, by taking everything away which we held onto most of our lives. It makes sense why the 12H is said to be co-ruled by Ketu. Nakshatras trining Revati can also have these themes extended to them.

The film 'Material Girls' is about two heiresses to a multi-million-dollar company who approach life very recklessly and arrogantly. One day a scandal they get involved in causes the downfall of their family reputation and they shift into a life of being penniless and homeless.

The film stars Jyestha Moon, Hilary Duff, and her sister, Haylie Duff, who has her Mars&Venus in Revati. And the movie is literally directed by Revati Moon, Martha Coolidge.

Another movie to mention is the very first Thor (2011) movie, in which the main character - an arrogant, reckless royal prince - is stripped of his powers and banished from his home. He lands on Earth, powerless and ordinary, where he learns humility and what it truly means to be a hero before reclaiming his status. The main character is played by Ashlesha Sun Chris Hemsworth, and the movie is directed by Jyestha Sun Kenneth Branagh. LMAOOO I MISTAKENLY WROTE JYESTHA MOON IN THE PIC

Now, onto Disney Princesses.

What do these three movies have in common? There's a commonality in their respective storylines. Rapunzel, Princess Aurora, and Princess Anastasia all have a period in the plots where they are not aware of their royal lineage or rightful place on the throne. It becomes a central narrative to move the stories towards these characters finally remembering who they are. 12H themes are at work again here, as 12H will strip you of your identity and create even more confusion of the Self. The 12H is also about remembering who you are again, being reminded of where you belong. These characters are so incredibly Piscean/12th house in nature that of course they can only be voiced by Revati natives!

Tangled (2010) — Mandy Moore voicing Rapunzel

Sleeping Beauty (1959) — Mary Costa as Aurora

Anastasia (1997) — Meg Ryan as Anastasia

Live-action version of Princess Aurora has been played by Elle Fanning; very fittingly lmao.

There's a Barbie Rapunzel movie and Rapunzel was interestingly voiced by a dominant Revati stellium.

And Rapunzel in the Shrek version was voiced by someone with two Ashlesha placements (I know, not the best example but having two repeated nakshatras make them dominant imo).

As I've mentioned, nakshatras that have the same nakshatra lord can share the same themes because they trine as a result, so they're closely connected. But Revati is the face of this post, just btw.

From what I gathered, Revati teaches humility, empathy and compassion. Revati is a nakshatra that sees humanity in all, and this trope is well embodied in the Prince and the Pauper story. Revati teaches us how class and wealth creates illusions of separation, and so the 12H takes that thing you believe 'separates' you from others so that you are reminded of the truth. Reminded, is the key word, because the truth has already been realized Uttarabhadrapada, where self-liberation and abundance is achieved. In Revati, you forget the truth that freed you in Uttarabhadrapada. So, Ketu will remind you (Pisces/12H co-ruled by Ketu) and it will hurt (the process of remembering hurts, but the aftermath is so freeing). But things can go the Disney Princess way, where you have to find your way back to yourSELF. This is how we see Revati natives losing themselves, especially in love, just to forget to remember (which is the whole point of life/humanity... EXACTLY WHY REVATI IS A UNIVERSAL NAKSHATRA).

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genshin-impact-updates · 1 year ago

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Artifact Management and Enhancement Screen Optimizations Are Here~ | Developers Discussion - 12/06

Hello, Travelers~

In Version 4.3, we will implement a series of system optimizations in the game. We will be introducing some of these in this Developers Discussion. Let's take a look together~

〓Archon Quest "Requiem of the Echoing Depths" Unlinked From World Quest〓

To ensure that Travelers have a smoother experience with the Archon Quest, from Version 4.3 onwards, "The Chasm Delvers" quest series will no longer be prerequisites for this Archon Quest. When you reach the objective "Enter The Chasm: Underground Mines" in the Archon Quest "In the Depths, an Unexpected Reunion," a Teleport Waypoint will be automatically unlocked in The Chasm: Underground Mines so you can continue with the Archon Quest.

The Archon Quest "Requiem of the Echoing Depths" requires Travelers to head to The Chasm: Underground Mines, but this location will be locked until Travelers have completed the corresponding World Quest that allows them to enter and continue pursuing the Archon Quest.

〓One-Click Features〓

▌Dispatching Characters on Expeditions

One-Click Expeditions will become available in Version 4.3. This will allow Travelers to claim Expedition Rewards with a single click, as well as repeat expeditions with a single click.

(This is under development and is not indicative of the final product.)

▌Ingredient Processing and Forging Screens

Aside from expeditions, you will also be able to claim processed ingredients and forged items that have been completed with a single click in Version 4.3.

▌Mystic Offering

When performing Mystic Offerings at Crafting Benches, you'll now be able to add multiple Artifacts in batches with a single click.

In future versions, you'll also be able to claim created Furnishings from the Creation Screen in the Serenitea Pot with a single click.

〓Optimized Artifact Management〓

As the journey goes on, the number of Artifact Sets you can collect will continue to increase. To help Travelers quickly find and manage Artifacts, a significant optimization has been made to the Artifacts filter function.

Automatic Locking and Quick Unlock functions have been added to the Inventory > Artifacts screen. Travelers can use these to automatically lock and unlock Artifacts according to the requirements they set.

(This is under development and is not indicative of the final product.)

Additionally, as a reference to help Travelers when choosing Artifacts, recommended Artifact set information based on recently active players will now be shown on characters' Artifacts screens.

For more details about Artifact management optimizations, please stay tuned for future official descriptions.

〓Optimized Enhancement Screens〓

In the current version of the game, when Travelers level up characters or enhance Weapons and Artifacts, a pop-up appears showing how the corresponding values changed before and after enhancement. In Version 4.3, enhancement information will be integrated into the original screen instead. This will make the enhancement experience smoother for Travelers by getting rid of the frequent pop-ups.

Apart from integrating enhancement information, there will also be some small targeted optimizations on these screens:

▌Character Level-Up Screen

(This is under development and is not indicative of the final product.)

The speed of interface special effects related to leveling up characters has been increased, and you can now use Auto Add to add sufficient Character EXP Materials to get the character up to the highest level they can reach before Ascension with a single click.

▌Artifact Enhancement Screen

(This is under development and is not indicative of the final product.)

Other optimizations:

1. You can now consume up to 15 items per time when enhancing Artifacts.

2. Added the "Enhance to Next Tier" function. Once activated, when there are still open slots to add Enhancement Materials but this action will already cause the Artifact to reach Level 4/8/12/16, no more additional Enhancement Materials will be automatically added.

3. In Settings > Other, you can choose whether or not 5-Star Artifacts can be auto-added as Enhancement Materials.

Combined with the Automatic Locking function mentioned above, we hope that these changes will make managing 5-star Artifacts more convenient for Travelers.

▌Weapon Enhancement Screen

(This is under development and is not indicative of the final product.)

You can now consume up to 40 items per time when enhancing Weapons on, and select multiple materials when refining Weapons.

We hope that these optimizations make the enhancement experience smoother for Travelers.

〓Character Reload Spot When Challenging Domains Repeatedly〓

In Version 4.3, after entering the Domain or if you continue to challenge the Domain after claiming rewards, characters will reload nearer to the Domain challenge location. This means you won't have to run over from the Domain entrance to this location again.

(This is under development and is not indicative of the final product.)

〓Other Optimizations〓

To improve your gaming experience, some other optimizations will be implemented in Version 4.3. These include:

1. The way enemy avatars display in Adventurer Handbook: Enemies will be adjusted to help you find them. Also, you can now select "Cancel Navigation" on this screen to stop navigating towards the corresponding enemy on the map.

2. On the various creation screens (Crafting/Cooking/Forging/Create Furnishing), if there are no selected character records on the Traveler's device, the first character that can provide a bonus when creating the selected item will be chosen by default.

3. On the map screen, you'll now be able to check bosses' current remaining respawn times by clicking their avatars.

(This is under development and is not indicative of the final product.)

And that's all for this Developers Discussion. We'll have more information about new version content and optimizations for you in the future, so please stay tuned for further official announcements. If you have any thoughts or feedback, feel free to send them to us through the various channels within and outside of the game~

#genshin impact #genshin impact updates #genshin impact news #official #developers discussion #yesss YESSSSSSS #also sorry if these gifs kill your phone the way they're killing mine

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galedekarios · 1 year ago

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gale, elminster & mystra: new infos from the epilogue and how they tie in with what we know from the base game

so i was mulling over bits and pieces of new information we got from the epilogue, connecting it to the stuff we already knew:

1. gale's story of how mystra came into his life in the full release

gale jumping from from "i'm what one might call a wizard prodigy, who from an early age could not only control the weave, but compose it" to "such was my skill that it earned me the attention of the mother of magic herself" to then the teacher, muse and lover dynamic.

and from early access:

Player: What did Mystra’s attention feel like? Gale: Love. Player: He sounds like a very talented individual Gale: He was. Even though it was in Mystra’s affections that his true power lay. Player: Teacher’s pet, was he? Gale: He fancied himself much more than that. He fancied himself favoured above all others. Perhaps it was not quite love, but you see, the wizard was but a very young man. It was most certainly love to him. Mystra showed him the secrets behind the veils. The gossamer veils first, draped across the Weave. The delicate veils next, draped across her body. ‘Chosen One’ she whispered, as she slipped them off completely.

2. elminster's new letter from the epilogue

we knew before that elminster must have come into his life early-ish as well from this convo:

"While most know Elminster the legend, few know him as you have. He plucked you from obscurity. Offered you his guidance. His faith."

we also know that gale got to attend blackstaff academy.

now, with the new letters from the epilogue, we know that elminster met him at eight years old:

elminster coming into his when gale was just "eight summers old", gale's talents being as they were from "an early age", mystra involving herself in his life.

perhaps those two events happening are connected: the chosen of mystra. plucking him from obscurity. taking him under his wing.

perhaps on the guidance of someone? someone very clever? someone who'd later use said mentor to also deliver a message that needed to be conveyed with the utmost severity of her bidding?

someone who'd involve herself in gale's life, too? someone who needs his ambitions to be laid to rest because of a future she glimpsed at?

3. raphael's new epilogue lines if gale fails his ascension:

Raphael: I owe you a debt of gratitude. You were the spark of ambition that rekindled Gale's ambitions, after Mystra had so cleverly put them to rest.

i'm thinking thoughts not only about "cleverly", implying some sort of scheming here or manipulation.

a goddess involving her chosen, to oversee a child, so full of promise and ambition -

(a relationship forming between elminster and gale, which even by the point we see them interact in the game, speaks of the care and love they hold for each other) -

before she too involves herself: becomes his mentor, teacher, and he becomes her chosen.

making gale her chosen as a form of control, so he perhaps would not oppose her, like, for instance, even elminster is hardly capable of.

but not only did she make him her chosen, in the same breath, she made him her lover.

we know she very much is capable of using her chosen for her needs.

raphael is also very directly saying that gale's "ambition" reawakened after meeting the protag. so we are talking about mystra putting them to rest before gale met the protag, so the comment couldn't possibly be about his character arc during the game.

i already touched on this a bit earlier but:

4. we also know that mystra has foresight, being able to predict the future to some sort of degree:

History of the Chosen of Mystra: The reason why Mystra, the Goddess of Magic, invested a portion of her divine might into mortals is not known. One of the popular theories, and one that is gaining more support in light of the other goddess' during that period, is that Mystra foresaw the Time of Troubles (and her own passing at the hands of Helm) and chose to give some of her powers to mortals in order to ensure that her successor (the female mage, Midnight, as it turned out) would have a number of nearly immortal allies in the struggle against the schemes of the gods (the now dead Bane, Myrkul and Bhaal) who precipitated the Time of Troubles by stealing the Tablets of Fate.

(again, i want to reiterate that larian doesn't keep close to the dnd timeline at times, and has quite a few lore mistakes and even breaks. i know mystra was 'dead' around the time gale would have been that young. take it up with larian, please. i'm only trying to extrapolate from the things we are told in the game and the narrative in it.)

#gale dekarios #gale of waterdeep #elminster aumar #mystra #baldur's gate 3 #bg3 #bg3 meta #ch: gale dekarios #ch: elminster aumar #ch: mystra #vg: baldur's gate 3 #series: baldur's gate #meta: mybg3 #bg3 spoilers #bg3 patch 5 spoilers #grooming cw

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val-of-the-north · 10 months ago

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My friend @katyspersonal made an interesting observation about the flowers that were once found on the path to Midra's Mense. Here's her post on the matter for reference [x].

The flower connection seems way too meaningful to be accidental, especially since the two people in charge of the Mense are not Hornsent at all...

Now, we can't know for sure whether Midra, Nanaya, or both were Shamans or at least related, but the connection IS there, which I doubt was placed randomly.

But yeah, speaking of Hornsent, they were indeed punished for associating with Midra. As my friend pointed out in an earlier post [x], this dialogue wouldn't fit if it was simply due to the Flame of Frenzy business going on there, especially since the ghost that welcomes us is very well aware of the madness.

It's also worth pointing out that the Madding Hand's face resembles that of the other Hornsent who use player models, meaning his fellows are probably other Hornsent too.

Whoever this group of Hornsent was, it's clear they did not care about his lack of horns and simply served Midra, possibly due to him being wise and knowledgeable...

Either that, or there are ways for people without horns to get privileges and benefits even in Hornsent society. Maybe it is still due to his vast array of knowledge, but it wouldn't be too outlandish to think Midra found ways to be productive to the Hornsent and was thus rewarded for his efforts. Until they grew suspicious of him, of course. But his Hornsent attendants seem rather loyal to him despite that.

Which leads me to a different point regarding Marika herself...

The two Hornsent NPCs that we can actually interact with both mention some sort of betrayal from Marika.

To be betrayed means that there was some semblance of trust between them and her that she broke, which would seem odd at first glance, but we must take into consideration what she did to attain godhood. She had to have reached the Gates of Divinity (as shown in the cinematic trailer), which are found in the holiest, most guarded part of Belurat's tower: Enir-Ilim.

And this must have happened BEFORE the Crusade and Messmer, as evidenced by a few things:

1) The Hornsent mention the Erdtree a bunch, which we know was established after a few different conflicts. At the very least, the war against the Giants must have happened before the Crusade, as the Age of the Erdtree began then.

Marika was also already considered a god at the time, she had a consort in Godfrey, and the Crucible was yet to be seen as heretical due to their employment of Crucible Knights. There's also the very likely possibility that Radagon was spawned from that conflict as a curse of the Giants inflicted upon Marika, which would work to explain where the red hair came from.

It might also tell us WHEN Messmer was born in that case, and speaking of...

2) Messmer's condition, or rather, all the things Marika had done for his sake, seem to have happened AFTER the establishment of the Erdtree, as they feature heavy gold and tree motifs. To have control of Grace so great that she could create the rune she most likely gave to Messmer strongly hints at her having already become a god.

The Blessing of Marika also fits the criteria of a thing she had to have made after her ascension to godhood because of its heavy arboreal theme and the fact that two Tree Sentinels (who defend her home village) are holding onto them as well, further hinting at the existence of the Erdtree by this point in time.

Both of these items relate to Messmer and both of their descriptions already identify Marika as a Queen. I wonder if this means Marika returned to her home one last time after she became a god as opposed to when she started her journey toward divinity. Her last acknowledgment of her past before leaving it behind forever.

3) Messmer was also friends with Gaius, who studied with Radahn, and they were both like older brothers to him.

This means the Crusade and Messmer's banishment could not have happened earlier than many years AFTER the Liurnian wars, as evidenced by the presence of the Carian kids. This point is also strengthened by Rellana being close to Messmer and having to prove her loyalty to the Erdtree in ritual combat.

This means that Marika reaching the Gates of Divinity and the Crusade happened at two different points in time, which seems to align with how the Hornsent word things. She betrayed them, then set them ablaze.

What's left to wonder is HOW it happened. I think it was either:

A) She waged a first war against them with the aid of Hoarax Loux (not Godfrey yet, as there was no reason to conduct himself as a lord), his clan, and the Crucible Knights to consolidate her godhood. Maliketh could have also been involved. The Hornsent, then, simply see being supplanted as a betrayal regardless of whether they knew about Marika or not, or...

B) She found a sneakier way to get there through careful planning and climbing the social ladder of Hornsent society, maybe with contact and guidance from the Two Fingers. If the latter is true, I assume she still had Maliketh's support and Hoarax Loux on speed dial for whenever the chance to claim divinity arrived, as she would still need a consort for that and we know he was her first husband.

Both ideas are compelling to me and make sense in their own right. Still, the thought that she could have actually infiltrated their society and made them trust her just to usurp and double-cross them feels very fascinating, especially since the Hornsent specifically mention Marika betraying them. It makes me wonder what Tower society is really like to non-horned people since some Hornsent can even become very loyal to those with an explicit lack of horns.

Marika's betrayal could also explain why the Inquisition would later turn on Midra despite him seemingly having enjoyed some levity or respect in the past. Perhaps they believed he'd pull a similar stunt to Marika's (or maybe they acted that way because he was directly related to her? idk honestly)... though their preventive actions inadvertently caused even more problems by having the resulting despair attract the Three Fingers to what would become the Abyssal Woods.

Of course, it's unclear if the Mense's downfall happened before, after, or concurrently with Marika's path to divinity, but I think it's worth considering as an option at least!

#elden ring #shadow of the erdtree #elden ring dlc #sote spoilers #queen marika the eternal #queen marika #marika the eternal #midra lord of frenzied flame #messmer the impaler #hornsent #it started as a reblog but kat said it was too good for that #so here it is #I still have to think about the timeline a bit more #waiting for my buddy to finish the DLC so we can start theorizing #but yes there's a good possibility Marika played the long game #and it paid off in the end for her clearly #val-post

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iaure · 2 years ago

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𝔦 𝔠𝔬𝔲𝔫𝔱 𝔪𝔶 𝔟𝔯𝔢𝔞𝔱𝔥𝔰 𝔬𝔫 𝔶𝔬𝔲𝔯 𝔫𝔢𝔠𝔨, 𝔴𝔥𝔦𝔩𝔢 𝔶𝔬𝔲 𝔰𝔩𝔢𝔢𝔭

𝖞𝖆𝖓𝖉𝖊𝖗𝖊 𝖒𝖎𝖌𝖚𝖊𝖑 𝖔❜𝖍𝖆𝖗𝖆 𝖝 𝖋𝖊𝖒!𝖗𝖊𝖆𝖉𝖊𝖗

𝔭𝔞𝔯𝔱 1: 𝔩𝔬𝔯𝔡 ℑ 𝔴𝔬𝔯𝔯𝔶; 𝔱𝔥𝔞𝔱 𝔩𝔬𝔳𝔢 𝔦𝔰 𝔳𝔦𝔬𝔩𝔢𝔫𝔠𝔢 𝔭𝔞𝔯𝔱 2: 𝔴𝔥𝔢𝔯𝔢 𝔦𝔫 𝔪𝔶 𝔞𝔯𝔪𝔰, 𝔶𝔬𝔲'𝔯𝔢 𝔪𝔦𝔫𝔢 𝔱𝔬 𝔨𝔢𝔢𝔭 𝔭𝔞𝔯𝔱 4: 𝔰𝔞𝔡𝔫𝔢𝔰𝔰 𝔰𝔴𝔢𝔢𝔱 𝔢𝔫𝔬𝔲𝔤𝔥 𝔱𝔬 𝔰𝔴𝔞𝔩𝔩𝔬𝔴

CW: delusion, attempted kissing, chase sequence, snitchery, thoughts of reader being a mother, vivid fears of dying, reader is temporarily locked away, reader gets hurt, SpanishDict translated Spanish.

This part switches between Miguel's POV and the Reader's. ♱ stands for the translation being at the bottom of the post. please let me know immediately if there are any errors!

Severe spoilers for Spider-Man: Across The Spider-Verse.

˚ʚ♡ɞ˚ we making it out of nueva york with this one !!!! maybe. there's a poll at the end to determine fundamental plot! please vote after you read and share your thoughts!! i had the she's homeless x spider-man india mashup on loop and reached a higher place of ascension.

wc: 3.8k

𝐌𝐢𝐠𝐮𝐞𝐥 𝐡𝐚𝐭𝐞𝐝 𝐬𝐞𝐥𝐟-��𝐨𝐧𝐟𝐥𝐢𝐜𝐭𝐢𝐨𝐧.

Miles Morales had escaped, run amok to another world. Jess and Ben were trying to hunt him down, but with no back history on the Go Home Machine, they were stuck playing the waiting game. Margo was working on it, but Miguel had a hunch that her heart wasn't in on it. Traitors, everywhere. And the most painful traitor of all refused to meet his eye. Miguel sat on a chair in front the containment bubble, elbows on his knees with his hands laced together. Y/N had been sealed away, red filament twisting around her like a hamster ball, or a puffed up cocoon. The grapefruit glow bounced off her skin, casting an ominous light over the blooming bruises around her midsection, where her suit had torn from the glass, where Miguel had hurt her. He hated self-confliction. Y/N had betrayed him, the Spider-Society, the multiverse-willingly aided Miles in his escape. She probably was the reason he got away. Y/N had made the conscious choice to forsake the canon. She had known Miles for all of an hour, at most. Y/N threw away everything to help a teenager that (to Miguel, at least) had no idea the damage he was causing. She completely the deserved the situation she was in. It didn't matter what the reasoning was. And now she sat, curled up in a fetal position on the floor, trapped inside a containment bubble, her back to him. Y/N didn't meet his eye, but he knew it wasn't an act of shame or cowardice. It was the idea that he wasn't worthy of it; the idea that he didn't deserve to see her eyes. That she wouldn't even grace him with the idea that she was looking at him. She was being punished like a toddler with time out. Y/N had made a mistake.

But Miguel loved her.

He couldn't dance around the word anymore. There was a monster clutching his beating heart, and it haunted his immortal soul. It was love, as twisted and convoluted as it was. Love for a woman that had her back to him, pointedly refusing to speak. Miguel had seen her anger before. Being on the receiving end felt like a nightmare. Just silence, as thought the two of them were preschoolers and the silent treatment was the most lethal weapon in the schoolyard. He expected her vitriol to be loud, the kind that breeds screaming matches-not this.

"Y/N." Miguel was met with (shocker!) more silence. "Where did Miles go? This is important." Silence. "Why would you do this. You've potentially damned the multiverse." Y/N shuffled a bit, if only to wiggly further away. "You've helped disrupt the canon." Miguel sighs. "You're an adult. You should know better. Miles was a stupid kid-" "That you body-slammed into a train." Y/N finally spoke, biting like a viper and tilting her head a bit to look at Miguel out of the corner of her eye. "A 15-year-old that you saw fit to chase on all fours. His reaction was reasonable." Miguel's conflict swelled. Y/N was talking in that dulcet angel tone, so succulent despite her anger. But her insistence was irritating. She absolutely should've understood, better than any of the teenagers, her little acolytes. Miles was new. It was true that his reaction was...understandable, to a degree. Hobie always broke the rules anyway. Gwen was going through a rough time, and Pav was there to have a good time. But Y/N's brother died because of an anomaly. She of all people should know the threat they pose.

"We tried explaining it to him. It was his choice that he didn't listen. You, on the other hand, you knew the consequences." "I'd rather be a proper hero and fight for what's right, to help those that need help. That's a concept that's hard for you to understand, right?" "Oh, so trying to protect the multiverse is wrong. Okay, okay. Esto es ridículo.♱" Miguel rose from the chair, muttering under his breath and turning with his hands on his hips. His head was reeling. He knew Y/N was stubborn, but this was absurd. "I'm holding every Spider, every world, together!" "Says the guy who didn't even get bit!" Y/N counters, quick as lightning. "If your canon events are so true, then how is Nueva York standing? You answer me that!" "Canon events can differ-" "By so much that there's not even a spider? Get real, Miguel! The kid isn't doing the-the-the-!" Y/N tripped over her words, rising from her curl on the ground and talking with her hands, trying to get her thoughts in one row. "The devastation that you think he is! Canon isn't infallible!" Miguel whipped around, realising he'd come face to face with Y/N. She was panting like a dog, a scowl buried under a grimace buried under a glare. Her eyes were steely, finally meeting Miguel's eyes like rocks crashing with the sea. It was a clash of wills.

And Miguel hated how much he loved it.

What a woman, honestly. If she was this passionate about protecting a teenager she'd just met, what would she be like with her own kids? Miguel was sure that Y/N would be wonderful, always coming to the kid's defense, without question. That venomous tongue would be soft-spoken to a child, one that would have Y/N's eyes and Miguel's hair. Maybe a little girl, a Gabriella that would truly be Miguel's own. No switching places with the dead. No feigning love for a woman he didn't know. No technicolour nightmares. His own little girl, from his own wife. And god! Y/N as a wife! She'd be so sweet, waking Miguel up in the mornings with light kisses, whispering sweet nothings to him, letting his hands water as his slips out of groggy dreams. The rising sun on her skin would light her up like a holy statue, and the moment Miguel was conscious he'd be happy (honoured) to worship. From the second he woke up, to the second he fell asleep, he'd be worshipping, down to his dreams being dictated by Y/N. Holidays, weekends, family trips, saving the multiverse together...it would be-

"What, you going brain dead? Are you even listening?"

Y/N's biting words dragged Miguel back to reality, as hateful as the idea of reality was. His daydreams were so much kinder than this. She was still upset, still trapped behind that red barrier, and they were still enemies. But after the vision of what they could have, it was like a tease to just keep playing cat and mouse. It would be cruel and unusual punishment to torture himself like that. It'd take convincing. A lot of it. But Y/N wasn't unreasonable. She was noble at heart and maybe a bit naïve. But she was a Spider at the end of the day, always looking for the best solution to terrible problems. And that's where it's important. That's okay. Relationships were about compromise, after all. "Y/N." Miguel spoke softly. He really couldn't hide his affections for much longer. It was spilling out of him like a cup, pouring through the cracks and spilling over the sides. And he saw how Y/N shifted. He could tell that she was figuring it out. She could see how he moved. And she slowly backed to the other side of the containment bubble, moving further away until her back was against the wall. Did it break his heart? A little bit, but this was going to take time. All things would.

"Y/N," He repeated. "We...really shouldn't fight. We're-we're special, you and I." Miguel got close to the containment bubble, watching Y/N.

He didn't realise it, but sometime in the last fifteen minutes, the bubble's purpose had changed. It started out as capturing a prisoner, a traitor, someone who was dangerous and could be a threat to society as a whole. But it changed to a shield, protecting a prey animal from a predator. It was Y/N's last safeguard from Miguel doing anything unwise. The dynamic shifted. Y/N could tell it-every hair was on end, every sense was on fire. But Miguel was oblivious. "I'm gonna shut this off," He tapped on the filament, and Y/N swallowed. "Promise me you won't go running off. We can have an adult conversation. We can talk." And maybe Y/N should've protested. She could've asked to keep it on, but who'd admit they were scared in a situation like this? So she stayed silent. She kept in her corner, and irritation reared it's ugly head again. Miguel was trying to be cordial. Why wouldn't she just promise? He was offering her freedom.

(Somewhat. Details didn't matter, not here, not now.)

It's not like he was going to hurt her. It's two measly words. Two words in exchange for a lifetime and some of love, affection, devotion. Was that really too hard of a deal?

"Promise." Miguel growled.

Instantly, Y/N put her hands up in mock surrender. "Promise! I promise." Miguel's heart bloomed. She could be so charming when she wanted to be. So disciplined and playful, a good wife, a good lover. Listening was the first step, and she was listening. Miguel could only grin. "Okay." He put his hands to the barrier as his heart raced. He was so close. A step or two more, and he would have the love of his life in his arms. And Y/N was staying still. There was no tension that he could see. She didn't look like she was about to run. She was just nervous. The red barrier folded out of itself, and quiet suddenly, it was just Miguel and Y/N in a room. When was the last time they'd done this? Miguel couldn't remember the last time it was just them. It was always either in fleeting moments or with other Spiders around. It was impossible to get Y/N alone, no matter how hard he tried. But here she was, just him and her and them and an empty room where no one was going to stop them. She didn't move, watching him like he were a predator in the savannah. Miguel didn't like to say that he was excited, per se. But there wasn't really another word for it.

His eyes scanned over Y/N's pretty face, every inch memorised in Miguel's mind. Her sharp eyes. Her cute nose. Her pretty lips. Her pretty lips. What would they taste like? Did she use lip gloss? What would that taste like? How would it feel to have her lips linger on his? These were dire questions, and Miguel was done waiting. He walked up to Y/N, slow and purposeful. He had to seem as non-threatening as possible to pull this off. And quick, because chances were Y/N was going to do something harsh, like slap him. But it was a small price to pay. After all, he had his whole life with Y/N ahead of him. He just needed to get it started.

Y/N was by no means a stupid woman.

She grew up with the same precautions every other girl did. Don't talk to strangers, they don't have candy in their van, and know when men are about to jump your bones. And in this case, she could practically smell Miguel's thoughts, like the gears in his brain were making smoke from how hard they were churning. She trusted him as far as she could throw him, if she tried throwing him when she was 12 and before she got bitten. That is to say, she didn't trust Miguel at all. He was a stupid, stupid man, and she needed to bolt. So, that's exactly what she did. Promises, schromises. Y/N could say whatever it took for Miguel to let her go, but at the end of the day, she had a responsibility to herself. For all his talk about having an adult conversation, she knew what the look in his eyes was. And when he began reaching for her cheek, Y/N knew it was now or never. Miguel's body weight was enough that she could web him up and hurl him into the nearby wall. It was like watching a cannonball get launched a Mach speed, and his surprised yelp was far more satisfying than it should've been. But he'd done this to himself, and as Y/N booked it down the hallway, she knew she was on a divine clock. Either luck or skill was going to get her out alive, and luck was unreliable at best. She had her hands, her webs, and her brain. That was going to have to make do.

A vast majority of the Spider-People were out, either in their own worlds or helping hunt down Miles. Poor Miles. He just wanted to save his dad. Y/N did her best, did the most she could, but right now? Right now, she had to focus on getting out alive, preferably with her pride intact. And as she heard Miguel's thundering footsteps behind her, an anguished yell, she found it in herself to go impossibly faster. Maybe if she was an outside observer, it would've been funny-a woman booking it past someone standing, only to be followed by a massive, 6'9 blue and red bullet on all fours. Wow. Miguel really did like just running like a dog. Y/N dove down into the lobby of the Spider-Society, ducking and weaving under bridges and platforms. Miguel leapt like an animal, clawing his way onto a platform above and dropping down.

"Stop running!" He barked, getting up to two legs again and reaching out. Y/N could feel his claws miss by a hair, and she leapt off the edge, swinging around and swerving to a platform above, stumbling into the containment room. Rows and rows and rows of sunset orange, anomalies staring at her with wide-confused eyes. None of them were the ones she'd caught, and as she heard Miguel claw up the side of the wall, she knew running wouldn't work forever. She had to do what Miles did-hide, outlast, outplay. These kids were getting too damn smart. Y/N dove behind the anomalous Rhino, praying that it wouldn't elect to shuffle over. It was the biggest thing in the room, the most stationary-and now Y/N realised she was putting far too much stock in luck. If Miguel found her, she genuinely didn't know what he would do. Would he cage her again? Hurt her? Kill her? It all seemed to be a possibility, all at once.

Now, all she could was hope the anomalies didn't sell her out.

In all honesty, she wouldn't blame them. The Spiders didn't have the most ethical treatment of anomalies. She wasn't even sure if they got fed, or what. But maybe a shared hatred for one particular Spider-Man would get it across. Y/N shared a look with a Doc Ock, and he stared at her. She grit her teeth, praying that somehow, the silent prayer would get across. A twitch throbbed in her neck from sheer tension, before the Doc Ock gave a barely noticeable nod. He looked away. It's a cold day in hell when the villains understood Y/N better than the 'good guys' did. Miguel burst into the room, claws tearing up the metal floor. Y/N could see a handful of the anomalies jump, all eyes on him. She had her back to him, and part of her hated how she'd put herself in such a compromising position. Short of her spider-senses, she wouldn't have a clue if she needed to run, and right now, she was having a Spider-Woman check engine light with how much the sense was going off already. It was rendered useless, because thank you very much, she was aware she was in danger.

"Vamos. Prometo que seré gentil.♱" Miguel cooed, heavy steps reverberating throughout the room. Maybe he was muttering to himself, or he genuinely was trying to speak to Y/N, but she knew better than to just leap out and go 'I'm here! Come and get me!'. Spider-Man was funny, but he wasn't stupid. And the same went for his 7290 variant. The anomalies all went silent, and Y/N felt her mouth go dry. It'd been so long since she'd last felt this genuinely terrified. Last time, she was 14, sobbing in an alleyway as she watched her uncle die. This time, she was being hunted by an obsessed, genetically infused daddy longlegs. This was absolutely, totally, completely fine.

"Mi corazón es tuyo. ¿Qué más se puede pedir?♱" Miguel kept muttering to himself, low and quiet and enough that if Y/N didn't have superior hearing, she wouldn't have picked it up. "I need you, I need you, I need you...you need me."

Mm. Y/N wrinkled her nose at that. That just sounded stupid.

Y/N kept her breathing controlled, trying to tame the soreness in her lungs and the shuddering breaths. Bile pooled in her throat as she heard Miguel slowly walk past the rhino, a shake in her hands that she hated acknowledging. But Miguel was terrifying. He was the ultimate predator, trying to hunt Y/N down like prey. She was prey, for the first time in years. She figured that maybe, if they'd done a better job of convincing Miles, then it would make sense. But if this was what the boy was seeing, feeling, then no wonder. She would've jumped off the bullet highway, too. Abruptly, there was a sudden crash, and Y/N's head whipped around to see that Miguel had thrown one of the containment contraptions, hurling it to the wall opposite to her. She practically jumped out of her skin, the bile leaping to her tongue in a bitter, acidic taste. Miguel swore hard in Spanish, howling like an injured dog, damaging more equipment and clawing up anything that wasn't an anomaly. With every hit, every swipe, Y/N flinched, because holy shit that could be her. He could pop her head off with a single slightly hard hit, and it'd be over.

He stalked out of the room, leaping down to the Go Home Machine below. Y/N's sigh of relief felt like it was shared with the whole room, all the anomalies relaxing at once. It's like a thread had been pulled out of a fabric, letting it finally fall the way it was meant to. One anomaly, a fucked up Green Goblin, did a dramatic flop to the floor. Y/N shut her eyes, taking a deep breath. At this point, she'd just abandon ship-leap out the nearest window and web her way out of the city before Miguel could deactivate her watch. And even if he did, then she'd hide out. Nueva York was insane, a metal jungle. She could spend the rest of her life hiding out there, if she had to.

"Beep beep."

Y/N's eyes flew open, looking to her left. Her gut plummeted. Miguel's golden boy, his favourite, one of their best, stood next to her, exactly 4 centimetres high. LEGO Spider-Man, with his teeny little watch. Before, Y/N thought he was cute, like a dog or something. But as his watch flickered to life and the visage of Miguel appeared, she regretted every single instance of her almost stepping on him. "H-Hey, wait-!" She whispered, harsh. "Don't-!" "Miguel, I got eyes on Y/N!" LEGO Spider-Man moved in a way that only a LEGO minifigure could, his head rotating a little bit. The Miguel avatar slowly turned, locking eyes with Y/N, and her blood froze. "Thanks, Peter. You're one of our best for a reason." "Beep beep." LEGO Spider-Man shut off the watch, looking to Y/N. "Sorry. Nothing personal." There was silence for a second.

"Peter." Y/N said. "You fucking suck."

She picked up the LEGO and proceeded to chuck him as far as she possibly could, launching him into the lobby and watching him fall. Some of the anomalies groaned, and already Y/N could hear Miguel barreling his way back to the room. Why the hell could she not catch a break? She only had a handful of options, most of which weren't actually options she could do. There was turning herself in-a non-option. There was calling for help-another non-option. And then there was simply...jumping out the window. The same thing Miles did. Which...felt cliché. Would Miguel really fall for the same thing twice? Literally? Miguel ran into the room, sliding across the floor. There was a moment where he looked up to Y/N, eyes wide and wild. His grin was wide, panting hard with his fangs poking his bottom lip. A flush had bloomed on his face, his eyes blown out like he was on drugs. "There you are," He hissed.

Well. The window it was.

Y/N's sides still hurt from the last time she got tossed out a window. This time, she gave herself the courtesy of bracing herself with her arms, but the glass still hurt like hell. It cut into her arms as Miguel genuinely shrieked, running out after her. There was a moment where Y/N was just in a free-fall, taking a second to reflect on her situation. Did she wake up this morning expecting any of this? No. If she had, she would've texted her neighbour to keep an eye on her fish. But nooo. She just had to get herself mixed up in super-hero shenanigans. She crossed her arms, a petulant scowl on her face. Maybe she still could call to make sure her fish would be okay. Miguel hurtled out the window after her, a hand reaching out to catch the front of her suit. His claws were out, the extra inch and a half proving far more of a threat than Y/N liked. She spun down and webbed Miguel's foot, yanking him down and using him as velocity to shove herself up. He tried the same trick on her, but if there was one thing she had on the 'kilogram of steel vs kilogram of feathers' built Spider was that she was that much faster. She yanked her foot out of the way, webbing to the side of the Spider-Society and slamming into the glass of a floor she'd never even been on before. Miguel plummeted like a brick to the ground, webbing to a building that was that much lower. Y/N had a total of two minutes to decide what the hell she was going to do. So...what was she going to do?

♱ - This is ridiculous. - Come on out. I promise I'll be gentle. - My heart is yours. What more could you ask for?

╰･ 𝙜𝙤𝙩𝙝𝙞𝙘 ⸜❤︎⸝‍ 𝙢𝙞𝙜𝙪𝙚𝙡 𝙤'𝙝𝙖𝙧𝙖 ⨯・ ⨯・@ishqani ⸜❤︎⸝‍ @pix-stuff ⸜❤︎⸝‍ @localdepressedvampire ⸜❤︎⸝‍ @cantchoosejust1 ⸜❤︎⸝‍ @tired-writer04 ⸜❤︎⸝‍ @neteyamsbulletwound

#divagaciones (per)#୨♡୧ gothic updates #yandere miguel o'hara x reader #yandere miguel o'hara #miguel o'hara x reader

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hotdaemondtargaryen · 9 months ago

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WRITER SARA HESS TALKING ABOUT RHAENYRA AND ALICENT'S RELATIONSHIP IN SEASON 1 AND THEIR MOTHERHOOD FOR VARIETY MAGAZINE.

“I can definitely understand that it’s hot watching complex female characters who have agency and who are trying to navigate the world and understand themselves. Like, that is hot,” nonbinary actor D’Arcy says.

“And is very different from, I suppose, more two-dimensional portrayals of female sexuality.” 

Cooke adds: “I guess what’s alluring, and quite scintillating, is that they all live in quite close proximity to each other,” noting “House of the Dragon” Season 1’s focus on keeping its characters near the Iron Throne in King’s Landing.

“Stealing these loaded looks with someone that you fancy and that’s forbidden, that’s hot. It’s all hot.”

“We had a lot of conversation at the beginning about, is this a feature or a flaw?” Hess says.

“There’s a lot of births, do we want to see a lot of births? My thinking was, every single childbirth I’ve ever seen on television, in any show, in any genre at any time, has always looked exactly the same: the woman lying on her back with her feet in the stirrups and doing the pushing and the baby comes out.”

“In my experience, women give birth in vastly different ways.”

“I thought we should show them all and they be really, really different, separate experiences and not just, now there’s that birth scene and we all know exactly what it looks like.”

FOLLOWING THE BIRTH SCENE IN EPISODE 6, D'ARCY RECALLS SHOOTING A PARTICULARLY REALISTIC MOMENT OF MOTHERHOOD WHEN RHAENYRA FINALLY GETS TO REST AFTER GIVING BIRTH AND IMMEDIATELY GOING OFF TO SHOW THE BABY TO ALICENT:

“She gets in and [her sons] Jace and Luke have gone and got a dragon’s egg and want her to look at it.”

“And I just remember responding, ‘Wow, that looks perfect,’ but not looking at them at all, I was looking in the other direction.

“And that felt like what a lot of parenting is probably like.”

FOR COOKE, THE MOTHERHOOD MENTALITY HIT IN EPISODE 9, WRITTEN BY HESS AND DIRECTED BY CLARE KILNER:

“That moment in the carriage where Alicent’s hungover son asks her if she loves him, and she says it by smiling and saying, ‘You imbecile.’

“Like, it’s so obvious, this is all for you.”

“Everything that I’ve done.”

“Everything that I’ve sacrificed.”

“All the awful things I’ve done in order to facilitate your ascension is because I love the bones of you.”

BUT MOTHERHOOD IS FAR FROM THE ONLY ASPECT OF A WOMAN'S LIFE THAT FEMALE WRITERS LIKE HESS AND WOMEN DIRECTORS INCLUDING KILNER AND PATEL INFUSED INTO THE STORY, WITH MUCH OF THE SEASON FOCUSING ON YOUNG ALICENT (EMILY CAREY) AND RHAENYRA (MILLY ALCOCK) AND THEIR DEEP BOND AND INTENSE FALLING OUT.

“There’s an element of queerness to it,” Hess says.

“Whether you see it that way or as just the unbelievably passionate friendships that women have with each other at that age.”

“I think understanding that element of it sort of informs the entire rest of their relationship… Even though they’re driven apart by all these societal, systemic elements and pressures and happenings, at the core of it, they knew each other as children, and they loved each other and that doesn’t go away.”

Hess continued: “Olivia has told me she believes — and this is her headcanon — that they at some point kissed or made out or had some kind of physical interaction that Alicent’s mother found out about and forbade.”

“And that was Olivia’s head story, ‘Oh, I can’t do that. That’s not right.’ And that’s the background for her in their relationship going forward. I would be 100% down with that.”

COOKE SAYS SHE AND D'ARCY HAVE “DEFINITELY” TALKED ABOUT ALICENT AND RHAENYRA BEING “EACH OTHER'S FIRST LOVE”:

“But when it comes to our iterations of the characters, too much has happened and too much time has passed to probably even recognize those fledgling feelings.”

“But Condal and Hess weren’t “necessarily interested in ever defining” what that love meant in terms of the women’s sexuality.”

“I happen to be a queer woman, but I know straight women who had ‘Heavenly Creatures’ -esque, romantic friendship with their best friend at that age,” Hess said.

“That’s something that I think, probably — I don’t want to stereotype anybody – but it seems to be more a phenomenon with young women than it is with men, probably because whether you’re queer or not, society cares less if you’re physically intimate with each other or hugging or touching each other.”

“You can have sleepovers and sleep in the same bed and nobody cares.”

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cosmerelists · 4 months ago

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Cosmere Protagonists as Villains

As requested by @idontknowanametouse :)

Let's talk about what Cosmere protagonists would be like if they decided to play for Team Evil!

[Spoilers for book series mentioned in titles--but no Wind and Truth spoilers included]

1. Kaladin [Stormlight Archive]

What turns him evil: I think Kaladin could honestly go down a Moash road, where he decides to take justice into his own hands and punish people who have hurt him, his friends, or What's Right.

What he'd be like: Abso-storming-lutely terrifying. Imagine a Pursuer-esque figure, but it's Kaladin coming to kill you. I mean, you'd die. He once ripped a guy's head off by lashing it to the floor. He never loses a fight. He wouldn't sneak up on you assassin-style, either. He's blowing the front door off its hinges and entering like a glowing Angel of Vengeance to MURDER you.

2. Vin [Mistborn Era 1]

What turns her evil: I can see a few possibilities: like she does take up the power in the Well of Ascension and becomes the new Lord Ruler, or Zane is just a lot more persuasive than he is in the original. But I'm gonna go with "Ruin gets to her so completely that she becomes his agent."

What she'd be like: Vin already has some...villain-esque actions in the original, like when she pretty much slaughters an entire Keep with Zane. But always in the original she was doing it to protect, and she had friends to give her moral and emotional support. But if she was Ruin's, then she really would be a Natural Disaster Made Flesh, bringing Utter Destruction and Ruin to the whole world. Like, she's taking down whole cities single-handedly.

3. Shallan [Stormlight Archive]

What turns her evil: Listen, Shallan already kills a lot of people. We know this, and we still love her. But perhaps she gets a little too into killing people and just goes straight serial killer.

What she'd be like: You ever seen Hannibal? I'm seeing the most beautifully artistic but horribly deranged Murder Sculptures. You know, where she's killed someone and but then turned their corpse into Art.

4. Tress [Tress of the Emerald Sea]

What turns her evil: It's hard to imagine Tress being evil, tbh...but, I mean, she does sell Crow into slavery to avoid the same fate, so there's something there. I'm gonna say that either the Sorceress does kill Charlie or Tress believes that he's dead, and she turns totally to the dark side.

What she'd be like: She already plays with hugely destructive powers and captains a Pirate Ship--plus her crew is actually loyal to her. She'd be what Crow wanted to be.

5. Yumi [Yumi and the Nightmare Painter]

What turns her evil: I mean...Yumi faced religious abuse for like thousands and thousands of years. She took it pretty well, all things considered, when she found out. Imagine if she didn't...

What she'd be like: Yumi is, like, the most invested being in the Cosmere. She's nigh unkillable. And she likes to stack things.... In this case, mountains upon mountains... of skulls.

6. Adolin [Stormlight Archive]

What turns him evil: I think Adolin could break from the combination of (a) finding out his father burned his mother alive and (b) killing Sadeas with virtually no consequences. Maybe he figures that if his dad can do all that and still be a beloved political figure, then he might as well do whatever he wants too.

What he'd be like: Adolin is great with people. As a protagonist, this makes him the sort of guy who makes friends easily, remembers everyone's name, and wins over even people determined to dislike him. Evil Adolin takes those skills but goes straight manipulator. He's winning people's trust only to poison them with lies, turn them against each other, make them think he's the only one they can trust. And if manipulation doesn't work, well, he can always challenge you to a duel...in a dark hallway with nobody around...

7. Sarene [Elantris]

What turns her evil: She just gets tired of not being in charge, considering that she's smarter and more strategic and just better than the men actually in charge...

What she'd be like: Honestly, Sarene would be a fantastic Evil Vizier, the real power behind the throne who is actually controlling everything for her own evil whims. I can see her doing it to Iadon, but that's almost too easy. I know in canon they love each other and are actually good 'n' all, but imagine her controlling Raoden from the shadows and tell me it's not kinda cool...

8. Marasi [Mistborn Era 2]

What turns her evil: She gets the Bands of Mourning...and decides she's never gonna give them up.

What she'd be like: Ultimate Power Marasi would decide that SHE knows what will keep a society happy and healthy, and that's her control. I see her creating a terrible police state where everyone's actions are very tightly controlled and every infraction is punished...but only because she wants what's best for you, you know?

9. Jasnah [Stormlight Archive]

What turns her evil: I mean, remember Jasnah's Philosophy Lesson to Shallan where she baited out some robbers and then murdered them in Cold Blood since they were hurting people and no one else would do anything about it? Now imagine that Jasnah takes it upon herself to fix all societal problems through whatever means are necessary...

What she'd be like: Jasnah could be a sort of Vigilante, who makes sure that "bad people" and "political problems" are dealt with swiftly and murderously. Like imagine the Urithiru coalition of monarchs, only Jasnah's is gonna assassinate you and replace you with a puppet if you're not persuaded by her arguments.

10. Spook [Mistborn Era 1 / Secret History]

What turns him evil: I mean, Spook had a lot of voices talking to him--first Ruin, pretending to be Kelsier, and then Actually Kelsier. And the voices were always pretty darn pro hemalurgy. I'm not 100% sure Spook wasn't evil by the time he was in charge...

What he'd be like: Spook suggests in his book that old people should let themselves be killed via hemalurgy to make sure their powers get passed on. Think that, only it's not a suggestion and it's not just old people and oh my god Scadrial is Hemalurgy Power Planet now.

11. Navani [Stormlight Archive]

What turns her evil: She just gets lost in the sauce, the "sauce" in this case being Scientific Advancement and Discovery.

What she's like: I see her as an Evil Scientist who is simply making terrible weapons of mass destruction more or less because she can...and no longer worrying about the consequences.

12. Ulaam [Tress of the Emerald Sea]

What turns him evil: Listen, he TRIED asking people politely for their organs and limbs after they died, and NOBODY ever said yes!

What he's like: Let's just say he got tired of waiting. And asking.

#cosmere #cosmerelists #Kaladin #Shallan #Adolin #Navani #Jasnah #Vin #Marasi #Tress #Ulaam #Spook #Sarene #Yumi

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