#which feels devastating because part of the joy of dragon age was the choices! and different world states! and the connections!

[shadowglens]

does anyone else feel like there’s little to no replayability for datv?

[aion-rsa]

Wonder Woman 1984: Ending Explained

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This article contains major Wonder Woman 1984 spoilers for the ending of the film. We have a spoiler free review here.

Wonder Woman 1984 fits a lot of story into its 2.5 hour runtime, especially in its action-packed third act as Diana faces off against not one, but two villains: Cheetah and Maxwell Lord. While audiences have been encouraged to think of the DC blockbuster as a relative standalone, there’s much about the sequel that harkens back to the first film (Steve Trevor, most of all) and there’s much about the movie that hints at what’s to come for our eponymous hero.

If you have some burning questions coming out of Wonder Woman 1984, you’re not alone. What happens at the end of the superhero sequel? What might it mean for the future of the franchise? And which characters might be back for future installments?

We have those answers and more ahead…

Will Steve Trevor Be Back?

Coming into Wonder Woman 1984, one of the central plot mysteries was: how the hell is Chris Pine back as Steve Trevor? We now know the answer: After Diana wishes on the Dreamstone for her dead beau’s return, Steve’s spirit or soul or something is resurrected in the body of a local engineer played by Kristoffer Polaha, credited only as “Handsome Man.” While the rest of the world sees the body of “Handsome Man” when they look at the Steve-possessed body, Diana only sees Steve.

Unfortunately for Steve, Diana must renounce her wish to save the world, sending Steve back from the apparently nice place from whence he came. The movie ends with Steve once again dead, probably never to return. As he tells Diana in his final scene, “I’m already gone.” 

But will he be back? It doesn’t seem likely. Wonder Woman 1984 goes out of its ways to maintain the weight of death in its world, creating a very specific scenario in which Steve and Diana can be temporarily reunited. If Wonder Woman 3 were to bring Steve back again, it would be even harder to maintain the stakes and logic of the world and, honestly, Patty Jenkins is too good of a filmmaker to make a mistake like that.

Sorry, Steve fans. Chris Pine has to go play Dungeons & Dragons now.

Wonder Woman Can Fly Now

In her heartbreak over losing Steve (again), Diana runs. Then, she flies. Using what Steve taught her about how he understands flight (“It’s so easy, really. It’s wind and air, learning how to ride it, how to catch it,”) she uses her Lasso to snag the tail of a plane that pulls her far and fast up into the sky. She spreads her arms, and catches the wind. She uses her Lasso to snag clouds and the occasional lightning bolt to propel her forward, and then she soars.

New power: unlocked.

It’s Diana’s accomplishment, but it’s also a symbol of how much Steve has affected her life. In the beginning of the movie, we see how much Diana still thinks about Steve. She tells Barbara that she still sees him sometimes, in the sky. Later, she tells Steve that she’s always thought of flight as his gift. In this way, flight becomes Steve’s parting gift to Diana. Before, she would look up to the sky and think of Steve as a plane flew overhead. Now, she gets to be the one in the sky, thinking of Steve as she does the thing he so loved.

What is the comic book precedent for this? In her original comic book incarnation, Diana couldn’t fly, but Wonder Woman has never been a character to accept limitations. During the Silver Age of Comics, Diana learned how to glide using the air currents, but it wasn’t until after the Crisis on Infinite Earths reboot that Diana full-on flew. In her post-Crisis origin story by George Perez, Diana was gifted the ability to fly from Hermes. In Wonder Woman 1984, it’s a skill she learns in the World of Men.

Patty Jenkins told Den of Geek and other outlets during a recent press junket: “I love that she learns how to fly in this emotional way, and that that metaphor stands for something for all of us, which is you have to let go and embrace the truth and things for what they are to understand that it’s just wind and air.” 

Maxwell Lord Uses a Satellite to Grant the World’s Wishes

While Diana is going on an emotional journey about Steve, Max Lord is continuing his quest for MORE—more wishes, more power, more everything. After visiting the Oval Office, he has gained access to the government’s Atmospheric Satellite Defense program (which POTUS tells us uses Star Wars technology). Using Marine One (with Barbara in tow), Lord travels to the satellite facility where he is able to simultaneously hijack every broadcast signal around the world to deliver his message: make a wish, and I will grant it.

The logic here is all a bit hand wave-y. The Dreamstone rules require that people be touching the Stone, in this case Lord, when they make their wish. Screenwriters Patty Jenkins, Geoff Johns, and David Callaham seem to be making a statement about mass media with this plot point (which isn’t so surprising, given their professions): that media has the power to “touch” people.

Regardless of the logic, people around the world start wishing, not understanding the power of their words. A Chinese woman working in a restaurant wishes to be famous, and is immediately recognized through the window. An Irish man wishes that his partner would drop dead, and she does, only moments after she wishes that all of the Irish people in the U.K. would be sent back to “where they came from.”

Elsewhere in the world, a man wishes for nukes for his country. The world erupts in chaos. The Soviet Union launches nukes towards the U.S., in retaliation for the new weapons POTUS wished for; the U.S. fires back. It’s a mess.

Wonder Woman Faces Off Against Cheetah in Asteria’s Golden Armor

Before Diana can stop Max Lord, however, she has to get through her friend, Barbara, who has entered full-on Cheetah mode. While most people only got one wish from the Dreamstone, Dr. Minerva got two. After Barbara saved him at the White House, Max told Babs: “I’ve never been one for rules … Tell me, what do you want? I’m feeling generous.” So she wishes for even greater power: “I don’t want to be like anyone anymore. I want to be #1. An apex predator, like nothing there’s ever been before.”

Yes, friends, she is now a cat.

While Barbara pretty easily dealt with a wish-weakened Diana at the White House, tossing her around like she was nothing, Cheetah ultimately proves to be no match for Diana at her full strength, in Asteria’s Golden Armor. As we learned earlier in the film, Asteria was the Amazonian’s fiercest warrior. When the Amazons escaped to Themyscira, someone had to stay behind to keep the encroaching men at bay. That person was Asteria, wearing armor forged from all of the Amazonian armor. Diana found it when she came to the World of Men, but she never found Asteria…

Cheetah claws her way through the armor’s wings, but Diana doesn’t need those—not really. After a swinging battle, Diana gives Barbara one last chance to renounce her wish. Barbara doesn’t, and Diana uses a nearby downed power line to electrocute Cheetah into submission. Does she know this won’t kill Barbara? Honestly, probably not. Who even knows the limits of a half-human, half-cheetah creature that, by wish definition, has no precedent? It doesn’t kill Barbara, though, and Diana leaves her weakened on the ground outside of the satellite facility.

Diana Uses Her Lasso to Show the World the Truth

Midway through the movie, Diana tells Steve (and us) that the Lasso of Truth doesn’t just have the power to make people tell the truth; it also has the power to make people see the truth. This comes back in a big way in the movie’s climax, when Diana furtively snakes her Lasso around Maxwell Lord’s ankle while he is broadcasting to the world in order to speak to all of the wish-makers herself, in order to make them see the truth of what their wishes are costing the world.

“The world was a beautiful place, just as it was. You cannot have it all. You can only have the truth ,” she tells them before also recognizing and validating their pain. “You’re not the only one who has suffered, who wants more, who wants them back, who doesn’t want to be scared anymore or alone or frightened or powerless … Because you’re not the only one who imagined a world where everything was different, better … But what is it costing you? Do you see the truth?”

It’s a particularly strong message on a thematic level: the idea that we, as a world, need to see through the lies of capitalism and consumerism to the truth. That “more” doesn’t come without a cost, one that is hurting not only ourselves but the entire world. From climate change to global and domestic inequality (both complex issues that represent the devastating human cost of late stage capitalism), it’s not hard to see the real-world applications to this theme.

Max Lord is Saved By the Power of Fatherhood

With Diana’s help seeing the truth, people around the world begin renouncing their wishes. And, eventually, so does Maxwell Lord. Diana helps him see the truth of what his wish is costing him: his son, Alistair. Then, it is an easy choice for Lord. He chooses his son, over power, greed, over more. He chooses the joy and love of his present and future over the pain of his past, which we see in flashbacks: The trauma he suffered watching his father hurt his mother, from being poor, from being socially isolated growing up.

With Diana’s help, Max recognizes the truth of all that he already has in Alistair. In the film, fatherhood represents a kind of sustainable abundance that the Dreamstone could never give. Because of this, Max is finally able to be truthful with Alistair: “I’ve been lying to you. I’m a pretty messed up loser guy,” giving his son a truth that we get the impression Young Max was never granted: “You don’t ever have to make a wish for me to love you.”

In return, Alistair reminds Max that he doesn’t need to earn his preciousness. He has always been worthy of love, even when the world failed him and the people in his life weren’t able to give it to him. “I already love you, Daddy,” Alistair tells Max. “Because you’re my dad.”

Does Barbara Renounce Her Wish?

Max Lord definitively renounces his wish at the end of Wonder Woman 1984 in order to save son Alistair, but the choice is much murkier when it comes to Dr. Barbara Minerva. In her final shot of the film, Barbara is no longer in Cheetah form, but we also never see her explicitly renouncing her wish. According to Patty Jenkins, the ambiguity was intentional.

“I have my reasons for making it ambiguous, and I think it’s not clear what her point of view [is] on everything that just happened …  I love that we wrap up Max Lord’s point of view, and that you see the culmination of that storyline, I think is so important. But the truth is there may or may not be more to come [for Barbara].”

It sounds likely that we will see Cheetah again.

Why Does Wonder Woman 1984 End at Christmas?

Originally, Wonder Woman 1984 was supposed to be a summertime release. No one could have predicted the circumstances that would lead to the many delays, and an eventual global release during the Christmas 2020 season. However, the film’s final scene is very Christmas-y. Patty Jenkins told Den of Geek and other outlets during a recent press event that she had thought about re-filming it, but ultimately decided against it. Now, it works perfectly!

Interestingly, it also means that this final scene takes place roughly five months after the events of most of the movie, which takes place around the Fourth of July, as we see from the Invisible Jet scene. Emotionally, this works really well as it makes sense that Diana would need some time to get over losing Steve again, and might not be ready to fully embrace the wonder of the world around her right after having to say goodbye. In other words: this feels more truthful to the character.

The Mid-Credits Scene: Reveal of Asteria

Hopefully, you stuck around until the very end of the film, as Wonder Woman 1984 snuck a scene into its credits. In it, we see a woman who looks like Diana from the back save a baby and its mother from a falling telephone pole on a busy market street. When the woman turns, it is Lynda Carter, the actress who played Wonder Woman in the 1970s TV series. 

In the show, Carter played Diana Prince. Here, she is playing Asteria, the warrior who stayed behind when Themyscira was built in order to keep humanity from following the rest of the Amazons. Earlier in Wonder Woman 1984, Diana told Steve that she searched for Asteria when she came to the World of Men, but could only find her Golden Armor. Now, we know Asteria is still around and still saving people.

“I’ve been doing this a long time,” Asteria tells the baby’s mother in the mid-credits scene, before Carter winks at the camera. Hopefully, this isn’t the last we’ve seen of Asteria.

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[mysticfyres]

2020 Fyre Awards Pt 4: Awards in Writing Achievement

Including Awards for:

•Best Narrative •Best Character Writing •Best Game Direction •Best Protagonist •Best Antagonist

Winner: Best Narrative - Yakuza 0

When I started playing Yakuza 0, I wasn’t impressed. The game starts out incredibly slow, and the first 5 hours were a complete drag, as we were introduced to a ton of characters with little context, a “framed” subplot with a main character we had little connection to, and some of the least memorable combat sequences in the game. Thankfully, the 100-hour game was literally just getting started. What began as a slow-burn, all-too-serious, all-too-machismo introduction to the yakuza quickly turned into a nuanced exploration of Japan’s nightlife, the good, the bad, and the very, very weird. As soon as the side missions began kicking in, Yakuza 0 showed its true colors, and revealed that for every bit it was a serious narrative about honor and pride, it was also about having a good time. Then the main story got better, finding its feet with its stakes and world and establishing tense character drama the likes of which I have hardly seen before in a video game. Then, at any time the drama became too much, the game knew just when to cut back to the humor. While the sudden switch from heartbreaking, gut-punch level tension to slapstick may sound through text like it may feel jarring and discordant, in practice it made for one of the one of the most gripping journeys I have undertaken in a video game. This game is literally a roller coaster of emotions, and once it got started, I enjoyed the ride the whole way through. There’s a lot I can’t talk about to avoid spoilers, but take my word for it when I say the story is every bit tense, involved, and downright hilarious as everyone has made it seem. For its perfect mix of comedy and serious narrative, the 2020 Fyre Award for Best Narrative goes to Yakuza 0.

Winner: Best Character Writing - Dragon Age 2 

As a long-time fan of Bioware, I’ve always loved the writing in their mainline games, as their writers have a knack for creating rich in-game universes with gripping narratives and compelling characters. Dragon Age 2 is no exception, and stands as an all-around well-written game. However, more than any other aspect of its writing, what stands out the most is its character writing. Every character, from companions, to villains, to npcs, to even the main character, are well-rounded, interesting people. Each and every one has diverse backstories, experiences, and opinions which deepen your understanding of Dragon Age’s world and central conflicts, giving you a greater stake in the main story. Not to mention, every single character is a joy to talk to, at times being a great source of hilarity, at times acting as a fantastic foil to your own moral stance, and at times just being fascinating people. After building my relationship with my companions, I wanted to see them succeed; I wanted Isabela to get her ship, and Fenris to get his freedom, and Aveline to move on from her late husband. The diverse morals and motivations of each companion, and their ever-present witty banter, helped me build a relationship to them which was deeper than in any other game I played this year, and made leaving them when I finished the game one of the hardest things to do. For making me fall in love with these characters, the 2020 Fyre Award for Best Character Writing goes to Dragon Age 2. 

Winner: Best Game Direction - Spiritfarer

The Best Game Direction Award is always a very special one in the Fyre Awards, as it honors not just a game which means a lot to me personally, but a game I think has a strong message to spread to all audiences, and is built from the ground up in service of that message. This year, that game was Spiritfarer. Most of what you need to know about Spiritfarer is in its title: it's a game about chartering spirits to their final destination so they may find eternal rest. However, beyond simply being about a glorified taxi service, Spiritfarer is also about life and loss. With each passenger you take aboard, the game explores what life meant to that character, who and what was important to them, and what business they left unfinished. For some, that business takes the form of an unresolved lovers’ quarrel, for some it is a mental illness they were unable to overcome, for others it is leaving before saying goodbye to those they cared about most. Rather than magically resolving these spirits’ final grievances, like we might be ought to see in other games, as the player you instead help them come to peace with the past and their inability to change it, before finally helping them pass on. Through this system, Spiritfarer explores the idea that death will always come too soon for all of us, and there will always be more we hope to accomplish in life, or things we wish we could have improved on, before our time comes. Likewise, when we lose people, their departure will always feel as though it comes to soon, and we will forever wish we could have spent more time with them. But rather than lamenting about the time we lost, we have to learn to appreciate what we did do and who we had with us along the way. In a year plagued by loneliness and death, I think there was never a time when Spiritfarer’s message was more important. Thus, the 2020 Fyre Award for Best Game Direction goes to Spiritfarer.

Winner: Best Protagonist - Hawke, Dragon Age 2

As I previously commended Dragon Age 2 on its character writing, it should come as no surprise that the most important character of all, the protagonist, is given just as much care in their writing. As expected, Hawke is a fantastic main character, a human from humble origins who by circumstance, force of will, and unique choice of friends ends up wrapped up in the biggest events in all of Thedas. Being a nobody, but not a “special,” “chosen” nobody, Hawke is an instantly relatable main character, whose progression and journey players can get behind because they could easily imagine living it themselves. Likewise, the conflicts faced by Hawke within Dragon Age 2 hit like never before in a Bioware game, because rather than always being massive, earth-shattering events, they are personal, and thus inherently more tied to your character and initiative as a player. Plus, as far as actual dialogue goes, Hawke is one of the funniest characters I’ve played this year, and his ability to remain witty and charming even in the most dire of circumstances made him a blast to roleplay as. As one of Bioware’s strongest protagonists, and one of the strongest protagonists all year, the 2020 Fyre Award for Best Protagonist goes to Hawke.

Winner: Best Antagonist - Monokuma / The Mastermind, Danganronpa Trigger Happy Havoc

The Danganronpa games are a series built around an insane premise: a bunch of high school students, each best in the world at one particular thing, are trapped together in a location and forced to kill each other if they are to have any hope of escape. For such an insane premise, it's only fitting that the killing game’s mastermind be just as insane, and just as inherently interesting. And oh boy are they. The mastermind is a fantastically written villain, equal parts entertaining and intimidating, psychologically fascinating and amazing to watch in action. Be it in-person or through Monokuma, the mastermind commands any scene they’re in, a fantastic manipulator, showman, and threat, all at once. Beyond great personality, the mastermind is also an expert at creating internal conflict within characters, and presenting devastating ultimatums which are lose-lose either way. It's no wonder they take the title “Ultimate Despair,” as the mastermind is a genius in spreading misery through impossible choices and the pain of losing friends. A villain truly deserving of the admiration they get, and one I personally can’t get enough of, the mastermind is an easy winner of the 2020 Fyre Award for Best Antagonist.

[redscullyrevival]

Fool’s Fate: The Tawny Man Rundown

@sonnetscrewdriver I’ve moved on to Dragon Keeper!

Plot/Setting/Narrative

Jesus

Okay

Holy shit???

I need a moment

Alright, so lets start easy

Being the Age of Sail nerdo I am this book’s voage bits were amusing and then a bit dissapointing; an apprecaition of sailing and living the sailor LifeStyle isn’t really a Six Duchies thing it seems, huh?

I was SO excited with getting a glimpse of my precious Bingtown babies in the last book that I was stoked for a high sea adventure in this book but wah waah mostly it was sea sickness and brooding 

Honestly I let myself down because this is a Fitz story and, well, how else would the sea be depicted?! LOL 

Poor Thick

Poor everyone for the most part, yikes

Farseer had a lot of mystery to it, a lot of slow burn world building/concept reveal with answers eventually given; Liveship Traders showed it’s cards on the table for the most part but thrived of the suspense of all the threads coming together or possibly unraveling; Tawny Man is the first series where I understood events before the characters did, the results of which made the series much more subdude than the last two. 

Not in a bad way, just, ya know, different. 

“Life Is Change” is very obviously the big overarching connecting theme between the Realm of the Elderling series and I only have praise for the fact each series has it’s own distinct tone and approach to the same (and shared) characters - it’d be a hallow utterance if the book narratives themselves did not change and grow series to series. 

The change in Tawny Man is big; it’s big for the narrative space and it’s big for Fitz and it’s big for the reader.

And you can accept the change or reject it, that’s a option we as the reader has.

I choose to embrace it.

But oh man, oh my god, I will miss The Fool. I’ll miss “Fitz and The Fool” as a unit. I know there is a new series and I’ll get to it eventually but I’ve got four Rain Wild books (YAY!) before I come back to Fitz and his part of the map so this is a solid goodbye for a while and it feels odd to part with them in the place we do.

Odd, but new. 

I’m talkin’ out my butt - I’m a little sad okay?! But I’m happy too. 

And I think that’s what this book was going for; a kind of reaffirmation that life and change is hurt and happiness and a lot of effort went into guiding readers through feeling that message as well as understanding it on an informative level.  

Ultimately I enjoyed Tawny Man more than Farseer, it’s just much more my-type-of-story. 

I never really agreed with/bought into Fitz’s choices within much of the Farseer Trilogy. I understood Fitz’s logic of course, so his choosing to let expel his pain and hide away (and all the other choices along the way) were not make or break issues for me; there is much to enjoy simply being along for the ride.

But with Tawny Man it was very satisfying for me to see Fitz come back again and again to his past decisions and not cast them off as impervious to change or impossible to face. 

That’s a beautiful message.  

I embrace that message very much in my mind and I will try to embrace it within my own life as well. 

And this isn’t relevant to anything but a little thing I’d like to preserve for my own amusement: This was the first book I’ve ever read on a Kindle! Lee got me one for my birthday for my “Year of Book” project. It took a little time get use to but once I adjusted I really enjoyed it - particularly the fact that if you are reading a borrowed book from an online library it shows you what others have highlighted as they read! I found that very interesting and I enjoyed highlighting my own favorite bits (which, not shockingly, coincided with many other people’s favorite bits).

For Rain Wild Chronicles I may start a new section for these write ups where I relay some of my highlighted sections, ‘cause why not? These are already long and useless, might as well really own them. 

Fitz

I know there is a lot we could talk about when it comes to Fitz in this book 

But I kinda already covered him in the setting/plot/narrative section above

And I really just want to let anyone bothering to read this know that I’ve never liked Fitz more then when he cleaned up and donned fancy Jamaillian digs and walked into Molly’s family chaos to tell a grieving family he is FitzChivalry Farseer and he’s gonna look after them.

I was shocked and horrified and thrilled and laughing

Fitz truly changed! It wasn’t just description of his inner change (although that was lovely, good for The Fool, thank you Fool) but the end of the book drags a bit as it does so as to allow Fitz to act on this inner change - which is something I’ll never hold against Hobb. 

So many books end quickly after their narrative climax but Hobb likes a good post cuddle and god bless her for it. 

Cutting a story off after the final movements have played is dramatic and can help events stand out as an experience in an audiences mind; but there is unique pleasure in seeing the individuals of an orchestra pack up their belongings and shuffle out isn’t there? There is a true affection for humanity’s relentless plodding along in those final chapters. Fine by me. 

The Fool

): 

So I freaked out towards the end there, ya know? 

And much like with when it happened to Fitz, a part of me thought it a cruel thing to do, to bring someone that far gone and that brutalized back.

I understood the thematic ouroboros of The Fool’s return and as a fan it was a relief of sorts but there is still that small part of me that found it cruel all the same.

I’m floored with how moved I was by the aftermath of the Fool’s death. Fitz’s quest to find the body and then to restore dignity to his friend - that was some rough stuff. 

It wasn’t “true grief” like with Nighteyes (for me anyways) but rather a form of anticipatory mourning, but in reverse? Hard to explain.

The point is yes, I cried.  

Oh oh oh how I hope The Fool can learn to manage in a world they can’t see into or shape. I hope to see the Fool again after visiting the Rain Wilds. 

Hap

lol

fuckin’ Hap

I love this idiot 

I love how all around Hap epic and fantastical things happen and his story is just him coming of age and figuring his shit out

Good for him

Does he know who Fitz really is though?! This was never addressed?! 

Prince Dutiful

Dutiful cracks me up

I love how he’ll go into PRINCE MODE and be near perfect Sacrifice and royal and awe inspiring 

then he laughs at boogers

Dutiful is hilarious to me, how I see him switch back and forth between mature young prince to out-of-his-depth-survivor brought me much joy

I love his friendship with Thick; I love how he falls for Elliania’s transparent baiting; I love how he’d be cool outwardly but skill “WTF is happening?!?”

What a joy! 

Chad

In the last book Chad really slipped through my fingers but now we’re back to our normal rocky relationship.

I like Chad

but then I don’t

And I think, finally, I’m okay with that duality 

Thick

My sweet little man

Everything about Thick is my favorite thing

I especially love how he is often described as being bored

Discussing intrigue and espionage and dragons? BORED 

Hahaha!

No wonder he and Nettle get along so well

I especially loved how he decided, for himself, to stay with Fitz on  Aslevjal

I’m excited to come back and hear more, learn more, about Thick

Nettle

I wouldn’t wanna be on Nettle’s shit list, would you?

What a storm of a person!

Nettle isn’t very defined still, she is a bit reactionary and never quite gets totally fleshed out by the end of the book. 

Which is a bit of a shame.

But! Nettle of the Dream World is a different story. 

She feels much more defined there and I dunno, maybe that’s intentional?

I like her but I’d have to spend a lot more time with her in the solid narrative space rather than the abstract dream/skill narrative space to really have opinions or emotions over her as her own character rather than her as a character and how she relates/involves/moves Fitz, Burrich, Molly, or Thick.  

Elliania

Elliania has a similar disadvantage as Nettle does but at the same time she still has more definition (to me) then Nettle; her motivation and actions are followable and her personality is filled in with Outisland society.

And she ain’t afraid to smack a bitch up with her titties out.

So she gets some mad bonus points right there.

I really felt for Elliania’s struggle and she totally won me over in the scene where she comes up from inside the Pale Woman’s domain dragging her forged sister and mother with her.

One of those scenes where the grandure, emotion, and awe of it all was very powerful

loved it, love her

Web

YEAH

Don’t need permission to do what’s right - fuck yeah

Web’s the friggin’ best guys

I want a spin-off of him teaching Old Blood children and Fitz

Swift

This little shit

I love him, I love all of Molly and Burrich’s wild children, but Swift gave me anxiety lol

I’m actually really intrigued by Swift but he’s too brief and wild at the moment, I hope he mellows out a bit but still keeps that confrontational fire and uses it for good

Burrich

NO. 

God

Damn

It

When my man showed up on Aslevjal I was shocked

I was so mad 

I was also very happy of course but ughgughgu

I WAS CONFLICTED and had good right to be

Oh this man, I really adore Burrich even though he is a flawed person - that’s what is so compelling about him though.

We kept learning things about and from Burrich up until the very end. 

I’ll miss you, Heart of the Pack.

Molly

I’m devastated for Molly

I’m Happy for Molly 

I’m very pro-Molly in general even though she is a bit vague

Like, she is more than just a plot device but not by a whole lot, ya know? 

What I wanna do though is sit her down and have a real heart to heart; ask her if she really thinks Fitz will ever be truly free himself of his duty, from his duty to the Farseers or from his own idea of honor.

That man is going to leave off on some quest or some shit you know it, I know it, she must know it! 

Be safe Molly, but happy, but alert