#which has its own meta or whatever

[aashiqeddiediaz]

not gonna think about chris rapidly growing like a weed over the summer and eddie missing it just like he missed the first years that he regrets, and then chris coming back and suddenly eddie's chin doesn't fit on the top of his head the same way, or the way chris' arms come around him are higher than they were before or his voice is raspier and breaks more or- <3

[seaquestions]

blake lets him keep it. this is a dire lapse in judgement on his part but they're just gonna have to live with it. (ids in alts)

[the-fallen-blue]

I've been seeing a lot of discourse about the Murderbot casting, to the tune of "Wells says she imagined it as brown"/"the narrator of the audiobook is a man"/"the writing just sounds female, the types of things it notices and cares to mention and the way it puts its sentences together is how a woman would"/"it's canonically agender wtf"/"agender people can look masculine you asshole"/"it's supposed to look big and average that means white male"/"that's your own cultural bias in play and evidence says the average in its universe is brown"/"that's your bias in play there's no ironclad indication what the average is in the Corporation Rim"/"here's every single canon description of Murderbot it has no canon physical attributes other than Tall it could be played by literally anyone Checkmate Atheists" etc etc etc and it all just... misses the point?

No one is annoyed with Skarsgård!MB because "white dude" isn't canon.

They're annoyed because written Murderbot presents a level of identification and recognition for them that "white dude" does not.

Or, in other words: it is difficult to imagine a level of abuse more profound than not having the freedom of your own literal thoughts, consigned to a cripplingly limited and cruel social role from which any deviation is met with brutal pain. And it is all too easy to imagine a demographic who are presumed violent, hostile, and inferior, good only for labor and violence, who must be controlled and denied and unpersoned for the good of the rest. The lines aren't hard to draw, here; Murderbot is deeply relatable to many people who are not (visibly masculine) white men, specifically because they are not (visibly masculine) white men. Because they share with it the experience of oppression, marginalization, and being known on sight as wrong, being punished for the slightest deviance. Because it is not just another in the long boring line of ten thousand thousand grizzled white space marine heroman types; it is the thematic opposite of that.

And yeah duh obviously you can look like a boilerplate white dude and still suffer plenty of oppression, but film is a visual medium. Character design is a crucial part of its language, especially when a specific character is the only example of its type available to the audience. It is a shorthand that the audience will understand as a reflection on the wider setting. Which means that casting Skarsgård is, whether they meant it or not, a subtle statement that the ultimate bigotry in Murderbot's universe is against and about conventional white dudes.

Or in other other words, you cannot refute complaints about Skarsgård!MB with ~canon~ because canon has nothing to do with it. It's a thematic inconsistency, a failure to understand the not the story's text, but its subtext and its place in the wider cultural conversation of sci-fi (or at least to accurately translate those meta considerations to the satisfaction of a decent segment of the audience).

Like you can still yell about how bullshit you think that is if you want. Casting's not that deep or it's an important queer metaphor to pass and still struggle or people have no inherent 'right' to representation or whatever else. I'm not telling anyone what to say or believe. But just understand that that's what you're actually arguing with (or for, for that matter), is all I'm saying.

[angstandhappiness]

VERY INTERESTING

One thing I did like about the ending of Gotham War is that I feel like there's some potentially interesting analysis of Bruce's character to be had here, because I find this whole thing 1000% more interesting viewed through the lens of Bruce backsliding on his core classic issue: He's terrified out of his mind at how much he loves these people around him and he struggles with having relationships with people who have fundamental differences to him. I keep thinking of that Tini Howard quote about this arc and about how it's not about whether or not Bruce and Selina can get together, but that he doesn't really know how to agree to disagree with someone he loves when it comes to something deeply foundational to him. And I think that's the entire point of including everything with Jason--that it's Bruce at a low point, after too much stress coming too quickly, too many major psychological pummelings over the last several arcs, and hitting a point where he can't deal with shoving aside his fundamental disagreements with Jason anymore. But he can't just write Jason off either, because Jason is his son, so his ten simultaneous mental breakdowns all get together and decide that the only option he can live with, is to try to force Jason out of this life. That's why he tries to talk himself into forcing Dick and Tim and Damian to be caught by the police, so they'd be forced out of this life. That's why he crumbles in an alley and tries to talk himself out of loving these people. Because he doesn't know how to agree to disagree with them and still keep loving them, keep having a relationship with them.

Because everything that happened with Selina, that he really let himself believe that he could be with her, marry her, and still be Batman, that really fucked him up and I think Gotham War is more of the aftermath of that. That's how I'm (admittedly doggedly) interpreting the bit about Selina and him being the "parents" of this group, despite that Selina was never in that role--I think Bruce wanted them to be the "parents" of the group and let himself believe in it and, when it went pear-shaped, something in him backslid terribly and now we're all here. "I'm okay with me not having happiness." is a direct call-back to Bruce in the car with Alfred on the way to the wedding, asking with surprising vulnerability, "Am I allowed to be happy?" He opened his heart and got hurt again and it's been stewing for awhile and so much has happened since then--Zur-En-Arrh, Tim getting his throat cut, Dick coming to cheer him up after Selina and getting shot in the head and Bruce almost losing him, Failsafe, Insomnia, everything that's going on over in Gotham Nocturne, etc.--that it fractured something in him and the cracks have finally grown deep enough that it fell apart in this story. So now all of this is just mounting tragedies to him. Which means he can't stay connected to it because he's too afraid of losing them and he's unwilling to try after what his fracturing led him to do. He can't stop them from living this life, despite everything he tried. He can't stop loving them, despite how hard he tried. So, all he can do is walk away before he gets hurt again, trying to leave everything in Dick's hands. Dick who is "better than Batman", who is better than Bruce. That he wants Dick and Barbara to be the "parents", because that's what he was trying to be and felt he failed at it, like to me this ending isn't really resolution, this is a low point for Bruce as a character in his bigger arc, because I think Batman's character arc always has to come back to his trauma of losing his family when he was young, working to let a new family in, coming to love them, and struggling against how much it terrifies him that he might lose them, too, because he doesn't think he can survive that kind of pain again. He'll still be in Damian's life, still be Batman and Robin there, but I think he's making an exception there because so much of it comes back to being able to live with fundamentally disagreeing with someone--Dick and Jason and Tim are adults, he can't tell them what to do anymore. Damian is young enough that, even if they clash, he's still directly in charge of raising him.

Zur-En-Arrh does hang over this entire storyline, he's part of what's taking up too much space to allow Bruce any mental breathing room, but fundamentally I see this storyline as part of Bruce's issues: That he's terrified of losing those he loves, but he can't control them, he desperately tries to and it doesn't work, and he can't live with them taking different paths from his ideals, so he walks away, rather than get hurt further. Bruce is probably going to dig himself further down into this hole and he's being incredibly dumb about it, but I can see how this fits all things that he has always struggled with--and sometimes he loses that fight against himself. This event wasn't really about fighting with Selina or Vandal Savage or even his kids--this was Bruce's love versus his fears, and today his fears won.

[lurkingshan]

Love in the Big City: A Proposal to Extend the Discourse

Many of us have been anticipating this full length drama adaptation of the beloved novel by Sang Young Park for months, and when you watch the trailer above, you can see why: this is a queer story through and through, written semi-autobiographically by a queer man in South Korea about his own experiences, and then lovingly and determinedly made into a live action drama to bring his story to more people. It's a landmark show in the Korean media landscape; nothing of its kind has been made before. And that is exactly why the show is drawing harsh backlash before it even airs. It's too honest, too heartfelt, too steeped in empathy and understanding for the nuances of the queer experience in a suppressive society, and that scares people who want to continue shoving queer folks back in the closet.

As a result of this backlash, the story, which mirrors the novel by being structured in four parts with a different director and focus story in each set of two episodes, is being released in one giant episode dump to ensure that it all makes it onto air. Sang Young Park himself confirmed that conservative groups in South Korea are trying to prevent this show from being seen, and he is fighting to keep promoting it and will ensure its release on October 21st. It will air on TVING in South Korea and on Viki for the international audience.

The best thing we can do to fight back against this kind of censorship is to watch the show loudly, to write and make art about it and celebrate it, and to do that for more than just a couple days. Earlier this year, @bengiyo and I started the Love in the Big City book club to read the novel with friends in anticipation of this drama's release. For four weeks we coordinated weekly discussion posts to correspond to each part of the story, and we intend to do the same with the show. Given what's going on with attempts to suppress this story, I want to open up that invitation beyond those of us who are participating in the book club to include anyone who wants to watch and talk about this show, regardless of whether you've read the novel.

So here's the proposal:

Beginning Monday, October 21st when the show drops, we'll each watch the show on whatever cadence we like (personally, I will be watching two episodes at a time with breaks in between, because that is how it was made and intended to be seen)

Regardless of when we each actually watch it, we will post weekly starting on Mondays about each part of the story in turn. So the week of October 21st we will post art and meta and reactions to Part 1 (episodes 1 and 2), and each subsequent week we'll post about the next part (or each set of two episodes).

Ben and I will also write up and post book club discussion questions each Tuesday that will be more about the adaptation to live action and comparisons to the novel. Anyone who has read the book is very welcome to respond to those even if you haven't been in book club with us previously.

My hope with this proposed schedule is that we can keep discussion of the drama alive for a solid month and give it its full due. Tumblr is a crucial part of the fandom ecosystem and I want to do our part to ensure this show isn't buried. This is a complex story with so much nuance, and if we binge and forget about it in a few days, we cannot do it justice. I want to support Sang Young Park and so many others whose stories have been forced under wraps by this kind of oppression, and I would love it if you all would join me.

[grimmtells]

✦ Born of 𝐊𝐢𝐧𝐠 𝐏𝐡𝐨𝐭𝐫𝐨𝐧's craftsmanship, 𝐆𝐚𝐥𝐚𝐱𝐢𝐚 was destined to be wielded by a now long-gone hero of legend. However, when presented with the blade, the hero humbly declined in favour it of his own. Deeply affronted by this rejection, the blade swore that none but the One truly worthy would ever command its power." For countless aeons, warriors and knights of all creeds have sought to wield the legendary blade, yet its judgement remained merciless and unyielding. Fierce thunder struck down the insolents, scorning their pitiful attempts. One day, the terrible 𝐍𝐢𝐠𝐡𝐭𝐦𝐚𝐫𝐞 stole 𝐆𝐚𝐥𝐚𝐱𝐢𝐚 from its creator. Many times, he wielded his dark powers in attempt subdued the blade, and many times he failed, as it stood firm against his spells. Frustrated, the dark lord had countless monsters wield it, but each attempt ended in failure as the blade refused to yield. Furious and unwilling to let the fabled blade be used against him, 𝐍𝐢𝐠𝐡𝐭𝐦𝐚𝐫𝐞 concealed 𝐆𝐚𝐥𝐚𝐱𝐢𝐚 atop a treacherous mountain, surrounded by legions of demon beasts to guard it. The blade might have remained lost for eternity had it not been for a valiant group of soldiers longing for freedom, scaled the mountain and fought valiantly to claim it. At the peak, two reached 𝐆𝐚𝐥𝐚𝐱𝐢𝐚’s hilt, but only one was deemed worthy — 𝐌𝐞𝐭𝐚 𝐊𝐧𝐢𝐠𝐡𝐭. Since that fateful day, the blade has remained unwaveringly loyal to his champion, accompanying the knight in his quest. As of today, he resides on Popstar alongside 𝐌𝐞𝐭𝐚 𝐊𝐧𝐢𝐠𝐡𝐭 and their two trusted acolytes, 𝐒𝐰𝐨𝐫𝐝 and 𝐁𝐥𝐚𝐝𝐞 ."

✦ 𝐐𝐮𝐢𝐜𝐤 𝐎𝐯𝐞𝐫𝐯𝐢𝐞𝐰 ✦ ────────

✦ Voice Claim | Thunder bringer, Lighting Yielder. ✦ Likes | Chivalry, Bravery, Fighting prowess, Apples & Gem apples ✦ Dislikes | Cowardice, Entitlement to his power, Weakness

✦ 𝐏𝐞𝐫𝐬𝐨𝐧𝐚𝐥𝐢𝐭𝐲 ✦ ───────────

• Galaxia was forged to maintain peace across the galaxy through its power. Yet, after isolating himself for so long awaiting a worthy warrior, he grew distant and cold, now struggling to fully comprehend emotions and conflicts that don’t arise from war. • He's excessively stoic, expressing little emotion himself. He always keeps a level-tone when talking. • Galaxia is very matter-of-fact oriented and doesn't do well with humour. He will often almost always misunderstand jokes, idioms and figures of speech due to taking them too literally. • Galaxia is blunt and honest to a fault. Practically insensitive, even. He will say whatever's on his mind, even if it might bother someone. If it does bother, you can be certain he will probably not apologise for it. He never even says anything to be mean specifically, he just says what he considers to be truth. • Unfortunately, he is also very, very, terribly judgemental. • Galaxia is actually temperamental and prideful. However, he tries his utmost best to repress his anger. If anything, he would rather avoid getting enraged, as it greatly blinds his mind. • While most of this makes him sound like a complete jerk which he is, to be fair, he remains on the side of Good. He may have trouble showing it, he does care about the people around him. They are those he yielded his power to a worthy warrior for. He may not be the most agreeable man, but he only wants the best for others, for his duty is to keep them safe.

✦ 𝐓𝐡𝐞 𝐃𝐢𝐯𝐢𝐧𝐞 𝐁𝐥𝐚𝐝𝐞 ✦ ────────

✦ "𝐈 𝐚𝐦 𝐆𝐚𝐥𝐚𝐱𝐢𝐚, 𝐁𝐥𝐚𝐝𝐞 𝐨𝐟 𝐒𝐢𝐫 𝐌𝐞𝐭𝐚 𝐊𝐧𝐢𝐠𝐡𝐭." • Galaxia is channeled through his wielder's willpower. His wielder’s boundless willpower serves as a limitless source of power to tap into, in this state, Galaxia can fight independently. • When summoned, he should remain in close proximity to Meta Knight, acting both as shield and ally. It takes energy from the both of them for him to stray away. If Meta Knight is incapacitated in any way, Galaxia cannot manifest. This is intentional and by design, as Photron created the blade to depend on its wielder. • Galaxia’s true weakness is his soul, as the blade itself is impervious to harm as the blade itself was forged from Photron's divine gold, imbued with his celestial power. Only its creator holds the power to melt the blade. • Galaxia wields the elements of Light, Thunder, and Fire, reflecting the powers of his creator. His light-based abilities include (but not limited to) summoning radiant blades and a shields of light. With Thunder, he can call down lightning strikes, summon thunder spears, and unleash storms, especially when driven by rage. Fire is his most volatile power, allowing him to burn searingly hot, making him nigh untouchable, while his hair can set ablaze entirely, especially when fueled by rage as well. • Naturally, these abilities take a significant toll on Meta Knight as well. Since many of them can be accessed without summoning the Avatar, he calls upon Galaxia’s full form only when necessary.

✦ 𝐓𝐮𝐫𝐧𝐚𝐫𝐨𝐮𝐧𝐝 ────────────

✦ 𝐇𝐞𝐢𝐠𝐡𝐭 𝐂𝐨𝐦𝐩𝐚𝐫𝐢𝐬𝐨𝐧 ✦ ─────

✦ 𝐅𝐚𝐜𝐭𝐬 ✦ ───────────────

• He is gigantic and towers over everybody in Dreamland. • Galaxia was finalized and born on February 6th (02/06). • The height of the avatar is variable. Galaxia very explicitely CHOOSES to be as tall as he is. • Galaxia doesn't need to eat, but for some reason, he has taken a peculiar liking to apples and apple treats of any kind. Especially gem apples from Cappy Town's plaza tree. • He tends to call Meta Knight : "Chosen", "Champion", "Wielder". If not any of these, it's always Sir Meta Knight in full. • It's very subtle, but his ponytail is the most expressive part of him. He has a lot of control over it currently, but it vaguely moves depending on his mood. It puffs up if angry, droops if saddened, the tip at the end can perk up if his interest is piqued, things like that. • He greatly disapproves of Meta Knight's excessively sweet tooth and reminds him to not eat too many sweets and desserts every opportunity he gets. • The life and consciousness he was gifted have given him a sense of Identity, hence why his avatar looks and sounds the way it does. He presents himself as a masculine figure with a male voice, because such is the way he feels comfortable with, although he couldn't tell you why.

[our-hextech-dream]

i haven't seen anyone fully articulate what i personally felt disappointed by wrt viktor's s2 persona and ending so i guess i have to do it myself even tho i'm bad at talking!! can someone who is better at this just read my mind and say it fancier and more coherently?

agency, the loss of

i have seen people already mention the way disability came into play at the end and what a wild choice it was for jayce - born able-bodied and healthy - to be the one to tell viktor - trapped in a body that was actively killing him - that actually your disability is a part of you and made you who you are and you owe everything to it. ... huh? jayce (by which i mean the writers), do you think without his disability, viktor wouldn't have still been a genius? yes, viktor is disabled - that's not even remotely what makes him a compelling character and power player. it is his mind not his body that makes him who he is. the fact that he had to waste almost his whole life fighting against that body to achieve anything is the entire crux of his frustration - imagine what he could have dedicated his mind to if he weren't constantly struggling to find a way just to survive another year, another month, another week, one more day. have you thought about it? because he has. so yeah that whole conversation, trash. bruno mars just the way you are ass one direction that's what makes you beautiful ass argument. viktor was not going crazy over cosmetic surgery, he was trying not to die.

but it strikes me as just one more expression of an overarching theme for s2 viktor - that of the complete and total loss of his agency. (more on a meta level than in the show itself, but also in the show!) i said after act 1 that viktor had died in that explosion and jayce was going to be chasing that corpse until the end, and i was correct. viktor bounced from one mindset to another, never seeming to have any consistent ideology of his own that couldn't be changed as soon as the plot demanded it. at any given point he was just kinda... wandering around, doing some random shit with the powers that worked through him. gone was the viktor who used his own hands and mind to influence the world directly, to bend it to his will. i always always felt this and i stand by it - taking viktor's abilities as an inventor and scientist away and turning him into some arcane mage jesus figure was a mistake and a disservice to his character. arcane said no this boy wasn't smart or determined, his ability to build and invent and seek and learn don't matter and never mattered, he was just in the wrong place at the wrong time and as soon as the arcane got its goop on him he just became the most specialest magic pixie dream boy to ever live and his own goals, dreams, ideals, morals, talents, skills, and hard work ceased to matter in any meaningful way. he never had to work to master magic to be able to use it to further his goals, because he immediately stopped having goals.

viktor became a non-character. he became whatever ideological and technological threat level the show needed to challenge to heroes and never more. he ceased to have any control or understanding over what was happening to him, rather he just gave up and decided to use his magic indiscriminately for whoever made the most convincing argument, a choice that would have been completely antithetical to his character up to that point if he'd still been alive. 'fuck zaunites, sure i'll turn them into robots so a foreign power can use them to attack and take over piltover and zaun, who cares. it's not like these are the people i've spent 30 years of my life trying to protect and save.' <- something viktor would never ever ever have agreed to! ever! no matter what! they have played us for absolute fools.

ambiguity, the loss of

the thing i wanted the most and was expecting because of the way viktor's original lore was set up was that the series would end with viktor and jayce unreconciled and with mutually exclusive worldviews, both fully believing they were right and the other was misguided but not evil or irredeemable, setting them up for future conflict. this felt like what was being set up when arcane made it a plot point that jayce was being convinced to turn hextech into weapons while viktor started getting unethical and unhinged with the experimentation. they both had good reasons to do what they did - and i'm absolutely not going to insult jayce's intelligence by claiming he was just manipulated into it by anyone, give me a fucking break - but the point was that both of them were doing something the other thought was misguided and dangerous. and they also felt that if they could just make the other person see their completely logical and rational pov, they could fix the divide between them and make up and be best science buddies again.

but then at the end arcane completely gave up on viktor having any belief in his own ideals. it just turned into 'aw actually he was just lonely all along and none of that science stuff or difference in morals or worldviews mattered bc he's got a buddy now and he's completely unequivocally on jayce's side. :)'

it was like. insanely selfish. as in, self-centered, concerned *only* with the self. the viktor i liked, and the one i wanted to flourish and hoped arcane would canonize, was someone who was entirely dedicated to zaun, to righting the wrongs of piltover and helping the people in the way he thought best - no matter what jayce or piltover thought about it. an ambiguous villain, just like all the other really well-written ones in arcane.

accountability, the loss of

viktor killed people. not sky, who was an accident despite his fixation on her; i'm talking at least a hundred or more zaunites during his stint as the machine herald. he ripped their minds out and made them play house with him, then turned them into weapons of war for ambessa's siege, and all of those people - primarily sick, desperate zaunites - died. this was always the entire crux of the conflict between (league) viktor and jayce giopara. viktor was willing to destroy people and use their bodies for his own gain unapologetically because he thought what he was doing was a blessing and the people were better off under his control because they would never feel fear or anger again. agree, disagree, depends on your view of free will and human nature, but the fact is that everyone who came to viktor hoping for a chance to be healed so they could pursue their own dreams and lives had those dreams and lives ripped away from them and they never got justice or even a single scrap of acknowledgement from the narrative.

in arcane, the horror of viktor's actions just... fade away into the background. viktor and jayce waltz off into magicspace together, leaving viktor's dead, ruined victims for piltover and zaun to deal with. he doesn't return their minds or bodies, he doesn't even seem to remember or care about what he had just been doing to other sentient living human beings. he's not sorry, he doesn't feel regret, he got what he wanted (a friend) and fuck everybody else.

because the narrative just shrugs and handwaves and says no no forget all that it doesn't matter it was just the hexcore or whatever, viktor becomes a flat, uninteresting character. he loses the depth that villains like ambessa and silco had, villains who had their victims validated by the story, who faced challenges in their arcs specifically because of the people they had hurt despite thinking they were doing the right or noble or most important thing. and not just the villains! even the heroes had to wrestle with the people they stepped on on the way to their lofty goals. but not viktor. he just floats away scot free, completely blameless, having no affect on the world and the world having no affect on him.

on arcane's status as the new canon lore and the Implications™

reminder that arcane is somehow supposed to tie into the world of runeterra at large, but now viktor and jayce both have been seemingly entirely removed from it. if it only mattered that they knew the people we'd already seen them interact with, okay, i guess. but that isn't the case. they both have a ton of connections to other champions - from regions other than p&z even - that haven't been introduced and don't have any plausible explanation for how they could have met in the past, which means they should have been set up to meet somehow in the future. implying that jinx escaped and has gone traveling the world is the perfect way to incorporate her in-game relationships with people like lux - she could have met her while traveling! but jayce and viktor don't get that plausible continuation of their story and development of further relationships - they just disappear out of existence. (ambessa also has this problem because they killed her, but unlike jayce and viktor she does have a huge amount of unexplored backstory where she could have spoken to (for example) swain and hwei and shyvanna at some point.)

note 1 - jayce and viktor are so old that they don't have any voice lines in game when meeting other champions. but other champions who are either newer or who have had voiceover updates do talk to them, which is how (aside from the old lore) you can infer that they do have relationships with other champions including ones who weren't in arcane.

note 2 - maybe riot actually doesn't care and none of the champions are really supposed to know each other or be involved in each others' lives canonically, they just have random quippy voice lines that imply that. which would fucking suck. having the lore of the game have no impact on the game itself and vice versa would objectively suck. if the characters talk to each other on the rift and say something interesting, i want that to have meaning. i want to be able to extrapolate the state of the world and the relationships between the characters from the things they verbally say with their mouths. i'm not arguing about this. the voicelines should be seen as the most high irrefutable canon that there is for the game because it is the ONLY source of lore in the game itself.

anyways there's my bible i guess. i miss evil laser robot viktor i want him to perform unethical brain surgery on me (fixing my adhd but also turning me into his personal puppet attack dog) and then give a weapon to a child so they can kill their bullies.

[dailyadventureprompts]

So I've been reading Triangle Agency...

For those not in the know: Triangle Agency is a new weird/corporate horror TTRPG heavily inspired by things like the X files, Delta Green, and Control. You work as agents for the titular organization which sends you out to stabilize reality by dealing with various paranatural Anomalies.

Don't think of this as a review, until I sit down at a table and play this system over a few sessions I won't be able to tell you how well it actually works. What I can tell you is what the game is trying to accomplish with its storytelling and mechanics, and what it's trying to do is interesting.

Unlike a lot of TTRPGs I've read, triangle agency is not interested in giving you a system that you can use to tell whatever story you want. Instead I can compare it to a tabletop version of a choice heavy videogame like Disco Elysium or Bg3: where engaging with the story/mechanics will lead you to one of the endings the authors prepared for you. This is not to say the system is inflexible, that you can't put your own spin on it, GMs can design missions however they want, and player choice is a major focus, but as long as you're playing the game you're furthering the meta story.

As such, this might be the first game that I'd consider running out of the box with only pre-prepped adventures, which is shocking considering how much of a homebrewer I am. Instead, I'd be interested in putting a group of players in this game and just seeing what it does to them, though it'd have to be a very specific group of players than my regular ol gaming group.

The ideal Triangle Agency player is one that's got a primary focus on storytelling over mechanics, who're interested in making big narrative swings happen as a result of their choices. They also need to be comfortable with improv storytelling, as the primary means of interacting with the game requires a quick " what if" session to justify how you're moulding reality into a new shape:

Where another game might have you roll your character's strength for something as simple as kicking down a locked door, Triangle Agency has your party brainstorming a reason why the door would be weak enough for you to kick down in the first place: IE the building has a termite problem, and the hinges were subject to poor storage conditions by the contractor who installed the door. Then you roll. If you succeed, the door is knocked down, the building has a termite problem and has *always* had a termite problem, and an entire human being, Gary the negligent contractor, has been spoken into existence. You are likely to meet him on your next mission.

In many ways this is explicitly like Blades in the Dark's flashback mechanic, except made an explicit part of the game world. Your characters have the same reality distorting abilities of the Anomalies they're hunting, and they have to be careful lest they delete whole swaths of their life trying to angle for a better roll.

This is where we get into Triangle Agency's focus on character, and the secondary requirement that players be the type to get invested in their eldritch business blorbo as they are subjected to various corporate horrors™. This is a game interested in change whether it manifests as choice, trauma, or metamorphosis, and the ante for these interactions is your player/characters investment in the world. Part of this is with your character's contacts, NPCs who are as essential to an agent's build as their anomalous superpowers or their job with the Agency. To give extra weight to these relationships, each one is portrayed by another player at the table, which I thought was an ingenious way to not only take the burden off the GM, but also to give players more screen time even when their primary agent is off stage.

That leads me to the genius primary progression mechanic: The choice between whether to spend time with your Agent's contacts, focus on their Agency job, or delve into the eldritch truth of their powers, and how to split their finite time off between them. Here we get player choice, story, and mechanics all tied together in a neat little package as progression along any of these tracks unlock new abilities while also revealing more and more of the game's secrets. Possibilities for the game's story open up/are blocked off specifically with how the players choose to personally spend their XP, and if that's not a feat of game design ( or more aptly, craft) I don't know what is.

Final Thoughts: Despite having a delightful time reading the rulebook/optional mission pack (Seriously, the vibes are stellar) I don't know if I'm actually going to get to play Triangle Agency at any point in the near future. I think getting the most out of this game depends so much on finding the right playgroup for it and then pouring in enough time to unlock one of the endings. I'd want to see the mechanism of it's story/mechanics/drama play out, but doing so is one heck of a commitment.

However, if you've got a group full of storytellers that are up for the challenge and you're looking for something substantial to play next, I don't think I could recommend it enough.

I'm also going to be keeping my eyes out for longform actual plays of this one, I'd love to see what a group of performers could do with this.

[hadescavedish]

Some snippet of Jon Steinberg interview from Fathoms Deep on Silver's background (probably someone showed before but I hadn't seen one):

Steinberg: No, I spend a lot of time thinking about it. I think– I don't think it's that he doesn't have one [backstory]. Everyone has one, and I think, when I watch it, the clear implication is that his is awful. Which if– I think, if this story is going out of its way to suggest it's unspeakable, considering the things we have spoken about, I, as an audience, I think, am willing to take its word for it, I guess, is I guess a way of putting it, that if you are invested in that character and you understand where all of the norms are set for the show, for someone to say “I can't say it out loud” suggests that it really is awful. And we played with versions of what it could be. In the moment you name it, it just becomes less scary.

And it weirdly becomes– there is some instinct to explain it, to rationalize it, to suggest it's his fault, to suggest it’s someone else's fault, to suggest it could never happen to me. I think it's the “it could never happen to me”, maybe, that's the most destructive to the story we were trying to tell, that it had to feel like he was everyone and that requires him to kind of be no one at the same time, which sounds like bullshit, but I don't think it is, I think– the less specificity he has, yeah, the more you can see in him what you need to, and so– and it also felt right.

This is one of those moments that I think it depends on how you turn it, it will look different, is that it is clear, I think, from the first frame of season four that there is a point at which these two guys aren't connected. It takes a little while for that to get said in text but it's clearly Flint's concern, and I think on some level Silver's aware of it, and it was it felt both meta and interesting to me that the point at which they were not connected is how they feel about story and how they feel about their obligations to it, their place in it, the burden of it. They just don't agree that there is some need to create stories to explain things, and that that ultimately is the death of that relationship, that they– because they have that discontinuity between them, they– that is the thing from which everything else unravels, it's the thread of the sweater. So, you know, that felt right, too, that we were able to kind of strangely name something you didn't think you were looking for a name for, which is the space between them and not, you know, specifically who did what to Silver when he was a kid. [...]

I think it suggests the horror from another direction, that whatever happened was so terrible that it broke his ability to exist within a story. There is something that is therapeutic about existing within a story and something that I think is normal and also a part of the human condition, to find a place in a story in which you feel like you make sense, and I think whatever it was that happened to him that made him incapable of reconciling that, that is his trauma, you know? His backstory was that he was removed from his own story.

[x]

[kcwriter-blog]

I've been thinking about how we the players know so little about Solas compared to what the writers and developers know about him and how that affects the way he is written.

I mean we know he is an ancient elf. We know he was powerful enough and skilled enough to create the Veil. We know he and Mythal were friends. He doesn't seem to have liked Andruil and Falon'Din much. Skyhold belonged to him. He removed vallislin. He tried to free slaves. He had kind of an underground railroad thing going. He seems to have had a lot of money secreted away. He painted even back in Arlathan. A lot of statues seem to have been made of him. People in the Vir Dirthara knew he created the Veil but were surprised that he would do something like that. He seems to have always had an affinity for the Fade and spirits. He enjoyed whatever version of the Game nobles in Arlathan played. He was cocky and hot blooded, always spoiling for a fight. He is capable of love and friendship.

I think that's all and it really isn't much. Everything else anyone says about him is pure speculation. It makes meta fun but its easy to get too caught up in our own ideas.

We speculate about him based on things we learn from his personal quests and what we see in Trespasser but we don't know anything for sure. Was he a slave? Was he a spirit called out of the Fade by Mythal and given a body? Did he manifest a body like Cole? Was he just a normal elf born in a small village to the north? Was he a noble and privileged or did he work his way up? Did he join the fight against the Titans? Was he a genius who theorized that the waking world and Fade could be separated? Did he use untried magic because his back was against the wall and he couldn't think of any other way to save the world? Was he a friend of the Evanuris so they trusted him enough to fall into his trap? Was he one of them?

So many questions. The writers have tried to portray him sympathetically. They want us to empathize with him. And I have to ask myself why? He is one of the antagonists. Wouldn't it be easier to portray him as not having any redeeming qualities? And yet, he is basically described as the hero who lived long enough to become the villain.

I know his detractors believe he is a genocidal, racist maniac but that doesn’t track with everything we learn about him as high approval or romanced Inquisitors. It certainly isn’t born out by his statement that he is doing his best to minimize the damage.

He truly believes what he is doing is best for the world and is willing to break it and remake it. What does he know? But more importantly, what do the writers know? Fen' Harel has existed since Origins. Devs have always planned for him to make an appearance. That means the valleslin has always been a mark of slavery even if the Dalish didn't know. The Creators have always been horrible, slave owners even if the Dalish don't remember. Which means Solas has always been the rebel fighting for what he believes is right.

Why do the writers see him not so much as the villain (although Epler uses that word constantly - he is usually the only one though) as they do a somewhat noble person who keeps making mistakes? Why is he portrayed as just a sad man who can't see past his regret and guilt. What was he like? What changed him? What did he know about the Veil before he put it up?

I get that a lot of people don't like the idea of being tied to him in Veilguard but maybe the writers did that so we have no choice but to get to know him - the good and the bad. Maybe we finally get to know Solas the way the writers and developers know him. I'm looking forward to that.

[aspiringsophrosyne]

The Mighty Nein: Weird Coincidences.

I've been compiling these here and there when I've had time, but there was a particular reason I wanted to get this post out of the way now. And it's this.

There's been some nervousness surrounding this, and I'm of two minds about it. On the one hand, people overstate just how hard the Nein's story would be to adapt and how much it would need to be changed for another medium. Can it be one-to-one with the original? Absolutely not. (Just as TLOVM couldn't be one-to-one either.) But the main issue is editing; the content is fine on its own.

And if this is the CRew themselves thinking the same thing, that's a little troubling, because it makes it sound like they might be changing more than they need to out of that unfounded fear.

On the other hand, all they might be talking about here is hindsight. The Mighty Nein's Campaign had a lot of strange coincidences, fortuitous thematic consistencies, and one-of-a-kind moments. The CRew is poised to reap the benefits of having these in mind ahead of time. This allows for some remarkable set-up and payoff if those involved are up to the challenge. Which, in the end, could be all they might be augmenting the story to do.

So maybe it's a good time to get into those weird coincidences, huh?

(Spoilers for basically all of Campaign 2 below the cut.)

Names

Veth Brenatto, her alias Bren, and Caleb’s original name: Bren. (This may have been inspired by the German word "Brennen",  which means “to burn”. Thanks Liam.)

Fjord Stone. Cad’s families: Clay, Dust and Stone. How the Wild Mother fits the story of an orphaned sailor like a glove. And how Cad, his family history, and likely the Wild Mother herself never would’ve entered the story if Molly hadn’t died.

A Mollymawk (spelled with a w instead of a u) is a type of albatross. Albatrosses are supposed to be unlucky, but only if you kill one. Per the Rime of the Ancient Mariner, everything goes to shit after a sailor kills an albatross. Molly’s death is just as unlucky, as it paves the way for Lucien's and Cognouza’s return. (In a meta sense, it’s also unfortunate for Matt and Taliesin, as it derails whatever plans they might have had for the character.)

Nine

Whelp.

Nine. Lots and lots of nines. And while Nein doesn’t mean nine in German/Zemnian (it means no), the wordplay works.

Nine schools of magic.

Nine people killed in Obann’s attack on the Cobalt Soul in Zadash.

The three titans (Uk’otoa, Quajath, and Desirat) collectively have nine eyes and nine crystals to unlock them and set them all free.

Nine hells.

Nine betrayer gods as of Vecna’s ascension.

Nine eye tattoos on Molly, each a mark of the Somnovem, the sleeping nine.

And of course, eventually, nine members of the Mighty Nein.

(Just for fun, Tharizdun’s sacred number in its premier in Greyhawk was 333. [3+3+3=?].)

Nein and its actual meaning work thematically as well. The Nein repeatedly clashes with forces and entities that want to mold them against their will into vessels they can use for their own purposes. And the group repeatedly says “Nein!” to that.

Tarot Readings

Molly deliberately pulls specific cards for his readings. Taliesin makes that explicit. However, some folks have pointed out that you can interpret his original reading for Jester where he tells her “You’ve already found what you’re looking for,” to be true in a few different ways. (She’s already found the people who will help her find her father. She’s discovered the company she sought that she only ever had with her Mamma and the Traveler prior, etc.)

But once we get to Jester’s readings, things really pop off. (Pop-pop off?)

Fjord's Reading

In episode 110, Jester draws two cards for Fjord: one for his present and one for his future. His present card is the Eye, which has two hands holding an eye above a restless sea.

There’s no need to elaborate on how that relates to Fjord’s then-present.

His future card is the Home And Traveler. This card could work for all the Nein if you interpret it as someone who will find or reach their home after some travel. But it hits especially hard for Fjord, who finds a home with Jester, the devotee of the Traveler, on a ship that travels up and down the coast.

And then...

Lucien's Reading

The three cards Jester pulls for Lucien are his past, present, and future. Even at the time, they seem pretty fitting.

His past: History and a Dream, which Taliesin clarifies as depicting the Calamity. This fits perfectly with the Tomb Takers’ previous job for DeRogna and their coming into the Somnovem’s patronage.

His present: the Tyrant. We don’t know either Lucien or his goals too well at this point, but we do know he and his troupe kill indiscriminately and he holds an unnatural sway over the other Tomb Takers.

His future: the Death Card. You can attribute that to the upcoming fight between him and the Nein.

But in hindsight...whoo boy. In hindsight, not only do we know of Lucien’s plans to dispatch the Somnovem and become the Tyrant king of Cognouza and all its lost, broken souls, but we know of his fall. More specifically, who he falls to.

Jester, sitting across from him, pulls his last card and tells him “Facing you is Death.”

And then it’s Miss Lavorre who ends him for good.

Divine Intervention

Generally, a Divine Intervention is a Hail Mary. You roll a d100 (or an equivalent combination of dice) and only if you roll a number below your level do you trigger it. Logically, this gets easier the higher your level gets, but you can’t rely on it until level 20.

Taliesin rolls three of these for Cad in the last quarter of the Campaign. And that’s cool enough. But what’s even better is the Wild Mother’s Grave Cleric rolls successfully for Divine Intervention every time he makes a request (knowingly or not) relating to Cognouza. The city that's coming to swallow Melora's Exandria whole.

The first successful roll comes when Cad seeks info about Vokodo, the pseudo-god of the island of Rumblecusp. Vokodo, it turns out, punched a hole through the Astral Plane to escape the hunger of the lost ward of Aeor. And upon its death, it gives a vision that sets the Nein on Lucien’s trail.

The second success comes when the Nein is attempting to uncover the Tomb Takers' secret entrance to Aeor so that they can use it to set a trap. Cad’s success tells them exactly where they need to go. This allows them to get Zoran, Otis, and Tyffial out of the way early, even if it doesn’t stop Cree and Lucien from continuing towards the city.

As for the third, well...we all know what the third does. That it prevails after Critical Role’s first Resurrection Ritual failure, (due to a natural 1 no less!) is just the icing on the cake.

Caduceus even makes the point that Cognouza had functionally become a corpse that was unable to die and that he was uniquely called upon, given his family’s business, to put it down for good.

Odds and Ends

Nott distracts a Manticore from killing Fjord by killing its baby. Her own child ends up in need of a resurrection later on in the story, during their trip to the Fire Plane. Speaking of which, a painting of said Plane can be observed in Trent's house. You know, the one he would end up chasing the Nein to?

Fjord loses his chance to break the first seal to Avantika; he lands the first attack on her Revenant incarnation when the Nein catches up to her after she escapes with his orb, and he gets the final blow on her there, recovering said orb as he does.

Yasha and Caleb are the most susceptible to the Succubus/Incubus mind control. In the former's case, this could be chalked up to her low Wisdom score...but it also serves as some neat accidental foreshadowing for her time with Obann. And for Caleb, it can be a callback to his time learning under Trent.

The Circus Kids' stories sync up perfectly. Both of their bodies end up puppeteered by someone from their respective pasts. Both of them are used to try to end the world. And, probably once Matt noticed this synchronicity himself, both are revealed to have fallen under the sway of the Chained Oblivion. And their stories didn't have to go this way. Molly didn't have to die, and Matt revealed that Yasha could've theoretically made that wisdom save against Obann's control in the King's Cage. But that's not how things turned out.

Accidental foreshadowing:

Episode 19, Molly and Yasha, after acquiring an item from an Orc hermit living somewhat off the side of the road:

Molly: We made a friend. Jester: Did you kill someone for that? Molly: Yes. Yasha: He’s dead. Molly: He’s very dead. And then he rose up from the grave again and we had to kill him again. Twice. Same man.

Also, in episode 23, after meeting the Syphilis Bandits again and leaving one of them out cold:

Jester: What if we put some flowers in his hair; so when he wakes up, he looks really pretty? Beau: That’s good. Let’s do that. Molly: There’s nothing better than waking up in the morning with no pants and flowers in your hair.

In episode 48, Yussa and Caleb have a conversation:

Caleb: Sometimes I follow my friends places I shouldn’t. Yussa: That might someday get you killed. Or may one day get you what you seek.

Following a certain Tiefling up to Eiselcross got him both.

Nott also asks Caleb in this episode if he has an eye on his forehead. This is probably a callback/joke about Scanlan’s blessing from Ioun, but it foreshadows what happens to Veth much later.

Episode 49, about Ludinus Da’leth and in particular, Vess DeRogna:

Fjord: Then we kill the two elves. Jester: Easy peasy lemon squeezy. Maybe we go up into their room at night or something and just, you know... Stabby stab.

Episode 70:

Jester (to Essek): Maybe you’ll like us so much you’ll just hang out.

Dramatic Irony:

Everything the Nein say about Molly after his death and at his grave is, in hindsight, an awful twist of the knife, as his body's former life is far from finished with him.

Episode 41. The Nein learns Orly can make magic tattoos. Beau talks about getting an eye tattoo on her back to mirror Molly’s:

Jester: I mean, I don’t know, maybe it was really sacred to him and he would be really super offended by it. Beau: Oh, yeah, maybe it would, like I stole it from him? Jester: But it’s fine, I’m sure. Beau: Yeah, you know, he’s dead, so, what’s he going to do?

Almost a hundred episodes later, Beau's new tattoo gets a little addition...

Episode 65

Jester: Are you nervous? Yasha: Yeah. Yeah, I’m nervous. I just don’t know what we’re walking into, you know? Jester: Yeah. We’ve got your back though. That guy isn’t going to do anything bad to you.

Episode 91

Veth asks Essek at dinner if he’s heard of a Nonagon, or someone named Lucien. Essek says he hasn’t. This won't be the case for long.

Episode 95

Jester, talking about Cad and the Wild Mother:

Jester: Yeah. So like, when he asks her questions, you know what she does? Artagan: “Nothing?” Jester: She blows the wind. Exactly, she does shit. So and he’s like, “I sensed, you know, I understand what she’s saying.” She’s not doing anything, but he thinks she is.

This commentary is particularly delicious, considering which Cleric's Divine Interventions end up working.

And there's probably some I've missed! These are just the little bits and pieces I jotted down during a rewatch. It wouldn't surprise me if there's more.

But that's to say, just what we've got here is a monumental amount of things to build off of and play with. The Mighty Nein's animated series has the potential to be something extraordinary if the CRew can make use of all these little gifts deftly and with subtlety. There's power and potential here, and I am nervous as hell about whether or not they can tap into it successfully.

[thenightwolf51]

So i originally had this idea when i reblogged this post by @saphushia but i wanna just seperate it out as its own little prompt.

A quick context is that Danny seems to be roaming around Gotham like some homeless cryptid, kinda Bus to Nowhere style but with more vigilante interaction and casual offerings of first aid. And the batkids are keeping their adoption bait First Aid Cryptid(tm) secret from Batman.

One set of tags in the reblogs from @little-pondhead caught my attention

I came up with both funny answers and an angsty answer for that "#why?" but here's the angsty one (though i promice i actually envision it to be more hurt/comfort with a lot of family fluff)

Actual Prompt⬇️⬇️

Something happens, maybe a reveal gone wrong, maybe he got capture by the GIW, maybe he lost Jazz and his parents somehow.

Whatever it is, it leaves Danny with a need to escaped to a new dimension which just so happens to end up being the DCU. He winds up in Gotham and is just trying to start over, easier said than done but at there's plenty of heros around so he doesn't need to go ghost and he can still patch up the local vigilantes to feed his obsession. He's just not up to being Phantom yet and he's still recovering from whatever happened in Amity, whether it be mentally or physically.

Plus these vigilantes are kinda fun to mess with. Danny can practically see the gears turning as they try to put together and make sense of his little "lore drops", that Red Robin almost reminds him of Wes in a way.

Its not like he really needs to hide anyways. There's no GIW here, no Anti-Ecto Acts, if it really comes down to it he could probably pass as meta and fall under those protection laws. Judging by Signal, Danny's pretty sure Batman's bluffing on the whole "hating metas" thing anyways.

It takes awhile before Danny actually does meet the big bat himself and the reaction he gets is nothing anyone was expecting.

You see theres one little detail danny couldn't have been warned about, and its that there just so happens to be a version of Jazz here.

Except this Jazz lost her Danny when they were in high school, as in full on dead and gone Danny, no halfas here, the portal simply did not work and it was just regular ole lethal electrocution that hit her little brother.

What if she grew up with a young Bruce somehow, whether it be because CPS took her from the Fentons after her Danny's death or Amity Park simply doesn't exist in the DCU making Gotham the city with the thinnest veil and thus where the Fenton's chose to settle down.

This Jazz is an adult in her 40s but was once a kid smart enough to go to Gotham Academy on scholarship (or maybe the Fenton's had enough money from patents?). A kid who took one look at young Bruce's grumpy little face and decided he needed a honest friend, one that wasn't after status or money.

This Jazz grew up being a secondary voice of reason for Bruce, ganging up with Alfred in their own crusade to enforce healthy habits on him in between their weekly tea sessions.

This Jazz lost her brother and could not only understand Bruce's resoning on a minor level but encouraged his planned "journey of self discovery and healing". (Though the bat costume he made when he came back was unexpected and she gave him a look to rival Alfred for it)

This Jazz grew up to be a social worker because if anyone had cared enough to take her away from the Fenton's sooner then her brother might've still been alive

This Jazz being the one Bruce calls when he first gets Dick because holy shit he has no idea what hes doing and "Jazz, i just became a father, help!"

This Jazz being a sort of aunt to all the Batkids and is a major influence that has led to their dynamics being similar to Wayne Family Adventures

Bruce goes pale and later calls Jazz after he finally gets a glimps/meets the so called "First Aid Cryptid" his kids have been obsessed with. Because this kid that he's looking at with the barely visible lichtenberg scars... that's a face he hasn't seen in little over 20 years, that's his old friend's long dead baby brother.

Bruce sees danny and his mind rapidly jumps to all sorts of possibilities. Is this a clone? Is this a trap? Are the Lazarus pits involved somehow? Time travel? He does consider a ghost but this kid is too solid and they're nowhere near the old dilapidated Fenton Works building

Eventually, down the line when they get the full story of Danny being from an alternate dimension, Jazz might try to adopt him. Which has potential to be unhealthy but i fully believe Jazz would be aware enough not to project her decades old grief on this Danny, who is so similar but so different to her brother.

(Because I think a Gotham raised Danny would've been similar to a young Jason in street smarts so this Amity raised Danny is noticeably different)

Danny on the other hand... not sure if i could say the same, especially if he just lost his Jazz before winding up in the DCU. But again, this is an adult Jazz in her late 40s with professional experience dealing with traumatized kids, and she'll do her best to help him through it

Im imagining Jazz and Bruce to have a more platonic friendship, maybe even see each other as family, but you could go with Parent Syndrome if you want

(And because i love to see other peoples ideas and opinions, @omnicrafts @ailithnight @atiyasnake @hdgnj @nelkcats @nerdpoe @im-totally-not-an-alien-2 @dcxdpdabbles. Sorry i tag you guys so much but i like your writing, im eager to offer ideas, and your posts have been major sources of joy while ive been hyperfixating on DPxDC)

[alitontress]

Everyone, please go watch Captain America: Brave New World. I beg you. Please don’t listen to the critics; they are biased and a lot of people are complaining because “Sam shouldn’t be Captain America—Bucky should be” or “Chris Evan’s is better” or “People will never accept a Black Captain America”. Anthony Mackie has done an amazing job and he deserves all the accolades. He deserves to have a successful movie. I feel like no matter what though, Sam Wilson/Anthony is never going to be seen as his own character without being compared to the original. I’m already hearing from people that Sam will always be BLACK Falcon to them. And it’s disappointing. The same qualities Sam has in the film, which Tumblr especially would be making dozens of gifsets of or writing metas of, etc isn’t happening but I think would be happening if Sam was a white character. Tumblr is giving his sidekick more love and posts than Sam. Sam is the HEART and SOUL of the story. “Well the plot was slow”—why does that matter when Sam is an amazing character with depth? If the film had the same plot and pacing but Bucky Barnes was the main character, I think people would be losing their minds and saying how much they loved it and Tumblr would be obsessing in its usual fashion and making meta about how wonderful Bucky was. Sam has been in the “Magical Negro” film trope since Captain America: Winter Soldier, and now that he’s not anymore, I’m being told that Sam doesn’t fit the role as Captain and should be Bucky’s sidekick. I shouldn’t be upset—The Falcon and The Winter Soldier show already predicted people would react this way. I just hope it doesn’t rob Anthony of a sequel. I just want it to be successful. I could continue to write a whole essay about this, but I’m going to conclude by saying: I beg y’all to watch it—even if you think you’d hate it for whatever reason. I need Anthony to have this win.

Please.

[godsandvillains-if]

Gods and Villains is a superhero/horror story set in a dystopian future where Earth is filled to the brim with crime and corruption—a.k.a MCU meets The Boys.

Warning! injury to major characters, gore, body horror, trauma and PTSD, amnesia, death, and sexual content. Rated +18. More specific content warnings will be provided at the start of each chapter.

LINKS

DEMO ✶ PATREON ✶ KO-FI

You take control of a powerful metahuman, an otherwise ordinary human on the outside but who has the meta-gene, a potent mutation deep engraved in their DNA, which gives them superhuman abilities. This next step in human evolution comes with a setback, however, for the curse of madness seems to follow their every step. It lurks in the shadows, patiently waiting for the opportunity to strike—many metahumans fall prey to its alluring promises. 

With a dark and traumatic past filled with untold horrors and inhuman experiments, you are rescued from the clutches of crazy terrorists by a team of heroes that might lend you all the tools you need for redemption or complete self-annihilation. 

As the only metahuman with the ability to wield the powerful Chaos Magic, your very blood holds the answers to unlocking the secrets behind the control of time and space, but it has the drawback of being almost completely volatile. 

Who can you trust to keep you safe other than yourself? Trust no one, and maybe you can get out of this literal hell alive.

Play as male, female, or non-gender specific, along with transgender choices;

Romance one of seven characters, and if your heart is big enough fall in love with two of them. There's three possible poly routes available: Archon and Stardom, Archon and Mars, Paladin and Wildcat;

Customize your appearance, personality and powers;

Struggle against the shackles of madness trying to take hold of your psyche;

Battle a multitude of villains or become one yourself;

Uncover the secrets behind the meta-gene and your abilities;

Help the public fall in love with superheroes or forever destroy that chance;

In total there are seven romance options, each with their own personality, and dark secrets for you to uncover. You can read more about them below:

?

The villain, or anti-hero, whatever you want to call them, Mars is an enigmatic figure; the very concept of life seems to hold no value to them. A trail of bodies follows wherever they go, and on the news, they are regarded as the biggest menace of the century. They will have the unique ability to sway your loyalty. Beware, their sweet words and promises may drip with honey, but they also drip with the blood of their victims.​

Trope: Forbidden love, emotional scars, blood-play

Zev/Zena Hammer

The oldest of the bunch and not a metahuman per se. Hammer acts as the spokesperson for the team, mitigating the often tenuous relationship between humans and the so-called "mutants". As a retired police detective they've learned firsthand how rotten the world can be for the innocent, and they've vowed to protect them at any cost. Their analytical and communication skills will go hand in hand when dealing with various crimes, just as their implants.

Trope: Widow/widower, age gap, don't-call-me-daddy/mommy

Adam/Ada Armstrong

The current leader of the Alliance Team. Headstrong and dauntless, they are regarded as the strongest metahuman in modern times and the most enigmatic of them all, whose past is shrouded in mystery and unknown even to their closest friends. On the outside, they might seem apathetic and unconcerned with human suffering, but their true feelings are hidden beneath layers of deep trauma. Superhuman strength and invulnerability are their greatest assets when fighting villains.

Trope: Nobody thinks it will work, love/hate, fucking-your-boss

Edward/Evelyn Osborne

The former leader of the Alliance Team and Archon's best friend. On the surface, they are the stereotypical showboat: cocky, greedy, and egoistical. Stardom does whatever they can to gain attention, fame, and riches. For them, the best feeling in the world is an adoring fan and a beautiful person fawning over their heroics. The meta-gene gives them a genius-level intellect, which in turn is used to develop several pieces of equipment that are employed by themselves and the team during fights.​

Trope: Billionaire, belated love epiphany, good-people-have-good-sex

Johnny/Johnnie

If Archon's past is shrouded in mystery, Paladin's is drowned in it. For all you know, their name is not even Johnny/Johnnie but an alias of their choosing. They are known to be the silent loner type and are somewhat socially withdrawn from other members of the team, only speaking when called upon to do so. Behind their silver mask, they harbor more than a few inner demons, and together with their superhuman weapon and combat proficiency, they fight for the innocent.​

Trope: Secret identity, oblivious to love, weapon-fetishization

Pedro/Pilar Flores

The youngest of the team, considered by many a lighthearted jokester without any real talent beyond their obvious powers—which set them apart from every human that walks the earth. With their metahuman status so evident for everyone to see, hiding just didn't seem like an option, so they chose the next best alternative. Known to be playful, energetic, and often immature, they are responsible for balancing the team's more serious side, and when someone can take the form of any living being on Earth, the repertoire of pranks is endless.​

Trope: Beauty and the Beast, broken in some way, begging

Doctor Malik/Malika Aziz

The renowned Doctor Aziz, a famed archaeologist and considered to be the most powerful sorcerer, or magic user, in the world. They wear several enchanted artifacts that, in turn, accentuate their already tremendous knowledge of the mystical forces. With an extremely strong moral compass and kind demeanor, they will show themselves to be the best teacher you could ask for, but why do they seem to be everywhere you look?

Trope: Time travel, twin siblings or clones?, teacher-student

[johanna-swann]

This got a little long and it might sound a little mean at first, but. What exactly does Eddie bring to the table that adds to the bigger picture of the show as a whole?

Disclaimer: If you are a big Eddie fan and/or disagree with me, I am happy to have a civil discussion about this. I mean that, I love debates over fandom stuff. You can comment or drop into my inbox, whatever. Please do keep it civil though and if you could actually read the post before coming at me - that would also be appreciated. I can promise you I'll be nice as long as you are and you won't provoke any sort of reaction out of me other than some polite concern for your mental well being anyway. I pick the fights worth having carefully and if you're just ignorant or aggressive, I'll end up blocking you.

As per usual I'm trying to give my rant a somewhat sensible structure, stay as objective as possible and highlight it when I introduce a new point. Alright, let's go.

Observation number one. The firefamily worked perfectly fine as a found family of 4 in season 1. They were a somewhat dysfunctional family, but that's what made them interesting and they already cared about each other so much, even called themselves a family by episode 3 or 4. The show needed Abby and Athena for their respective perspective as dispatcher/cop, but they weren't integral parts of the firefam (yet).

For Athena that obviously changed quickly when she started hanging out with the 118 more and dating Bobby, they're married now and Athena is no longer just one of Hen's closest friends, she's family to all of them.

Abby didn't leave that big a hole because she was only really connected to Buck and no-one else in the first place. Other characters had scenes with her, but she was always there as Buck's girlfriend. The show needs one main character at dispatch, but that didn't have to be Abby. She was replaceable.

In season 2 we got two new main characters that weren't established members of the found family (yet), kind of like we had Abby and Athena in season 1.

Maddie was immediately connected to Buck of course, but then she also got together with Chimney (another main character) and they became a family as well, she has a handful of lovely scenes with Athena and the Wilson-Han family bonds are stronger now than ever. She is integrated into the firefam, her role as dispatcher is important and she's being played by thee JLH which makes her existence in the show load-bearing and basically irreplaceable.

[Side note: Everybody who has been following me for a bit probably knows I'm not exactly a Maddie fan - personally I wish she was written a little more active than reactive, a little more flawed instead of "crying white woman who suffers more than Jesus Christ himself" (I'm exaggerating to bring across my point) - but objectively speaking I know that Maddie is a perfectly normal character on a show that has much bigger issues and that doesn't change just because I personally find her annyoing. I get why the show needs her and why other fans like her.]

Which makes me ask again though, what does Eddie bring to the table? It's nice to have him, sure. I like all the Diaz family dynamics. I love Christopher. The friendship between Eddie and Buck is amazing. Buck's and Chris' relationship will always be special to me. I like Eddie and his weird ass drama. Does the show need him though?

To go with the "bigger picture" metaphor - it's like the show is one big picture and Eddie is a smaller picture that hangs on the same wall. It has its own frame and exists separately, it can be taken down or to a different floor of the museum without destroying either of the pictures. Walk with me:

On a meta level we just have to be realistic. Ryan Guzman is not a name that will draw a crowd like the names "Jennifer Love Hewitt", "Angela Bassett" or "Peter Krause" do. If people know him at all from previous projects then they'll either know him as Jennifer Lopez' eye candy or as that guy who was in one of those dance movies. (I wanna add here that I actually watched Step Up Miami Heat a few times as a teenager, it's a guilty pleasure movie for me that I come back to every now and then and I didn't even realise it was the same guy until somebody else told me.) So yeah, he's an okay actor and I'm sure he's a nice person (or maybe he's not, idk and idc about the actors that much), but I don't think a lot of people started to watch 911 because they found out their favourite superstar Ryan Guzman was in it.

As for Eddie in his function as a firefighter/army medic: We already have 2 firefighters and we already have 2 paramedics at the 118. Eddie is just extra. No disrespect, but we never needed him the way we need a Maddie to man dispatch or like we need an Athena for the police's perspective. The firefighter/paramedic front was already more than well covered.

So, we don't need him for the actor's star power or the character's unique career, what about personal relationships? Eddie's not particularly close to anyone in the firefam other than Buck whereas everyone else has multiple close connections. His friendship with Bobby is there I guess, but it's only shown in one scene every other season or so. I'd put it in the same category as the Maddie&Athena friendship. Heartwarming and nice to have, not integral to the show though. Nobody watches the show just because they love this friendship in particular so much. Eddie has very casual friendships with Hen and Chimney where they exchange banter or gossip here and there when they all sit in the truck together, but I don't remember many (if any) really meaningful scenes between them. To this day I don't think Eddie ever had scenes with Maddie or Athena at all.

Then there's the fact that next to none of his story lines are connected to the 118. All the other characters have had impactful story lines concerning their job at the 118 itself or their personal drama really involved other main characters. [I got side tracked thinking about this, but I don't want to derail the main train of thought too much here, so I put this part under the cut.*]

The Texas arc, beginning with Kim entering the stage in 7x07 and up until 8x13, only proved once again how disconnected Eddie is from the other main characters.

I don't think anybody except Buck knows what happened between Eddie and Christopher or at least nobody mentioned it. Nobody mentioned the break-up between Eddie and Marisol or Kim's existence either. Not even Eddie really talks about Marisol, nor Kim or Shannon for that matter. He is very focused on his son which, you know, fair enough. But moving to Texas, confronting his parents, stepping up as an actual parental authority again (instead of being a bit of a pushover because he's scared to mess up again) is only treating the symptoms, not the cause. The reason all of this happened in the first place is the Shannon-Marisol-Kim disaster and that hasn't been adressed at all by anyone.

Anyway. None of the other main characters were involved in the love triangle (square?) doppelgänger mess and even Buck took a very passive role here where Eddie told him about what was happening, but he didn't do much. Christopher hasn't interacted with Buck at all in season 8 which feels strange considering he was still willing to talk to Buck immediately after he walked in on Eddie and Kim and Buck was there when Christopher left - all in all they were still very close only one season ago. Now Buck is worried about Eddie, but he doesn't talk about missing Christopher. Not to Eddie or Maddie or Tommy.

Then Eddie moved. He's been in Texas for a while now and Buck has expressed that he misses his best friend, but he doesn't seem to be struggling that much to be honest. Before the move he was mostly upset because it seemed like Eddie didn't care, but they cleared up that misunderstanding. After the move it took him one episode to get over it. In the meantime he's getting closer to Ravi, spends time with his sister, still has fun with his job, settles into his new house - yes, he misses Eddie, it was an adjustment, but he's doing fine without him. They still talk to each other, phones exist. But Buck is okay and nobody else really mentions Eddie.

In comparison: When Chimney left in season 5 to get Maddie back everybody was affected. Eddie suddenly worked medical calls, Hen got snappy with Eddie because they hadn't found their rhythm yet, Buck blamed himself and thought about leaving the 118, Ravi had to step up because he wasn't just the new probie anymore, Bobby had to manage that entire mess and vented to Athena.

Eddie left to get Chris back, Ravi replaced him, even Buck got over it within a single episode. More at eleven. You see the difference?

Conclusion: Eddie is replaceable, you could argue that he doesn't even need replacing since there are still four other main characters working at the 118 who are also all friends with each other. When you pay a little attention it's obvious how disconnected Eddie is from the other characters, even Buck sometimes who shares emotional conversations with Eddie, but isn't always an active participant in Eddie's story lines. I don't like this, I'm not sitting here gloating that "my favourite character is superior", I'm just observing this and it's sad. I usually enjoy Eddie's story lines even when the writing could be better (see Texas arc), I see a lot of potential in his character, I spent the better part of 2023 reading Buddie fanfiction mostly from his perspective. But this insistence that "Eddie completes the firefamily" or that it's "just not the same without him" is more than a little exaggerated. The show is exactly the same without Eddie. It's almost funny how god damn unbothered everybody is by Eddie's absence. How did the Texas arc not make that clear?

*On the career themed story lines:

Chim was feeling like Bobby favours Buck which resulted in a bigger fight, a horrific car crash and the first moment where anybody actually said out loud that the 118 is a familly. He later had his turn as Interim Captain where we saw that while he does have a lot of experience and has been at the 118 the longest, he might not want to be Captain in the long run. As we learn a few seasons later, he could very well be cut out to become an instructor at the academy though, proving leadership qualities in a different way.

Hen had her med school arc and while that didn't lead to anything, it did emphasise and confirm for her that she is exactly where she wants and needs to be. She was also instated as Interim Captain several times which showed that she is Captain material and might take over a station at some point.

Buck was kept from his job and had a whole identity crisis about it in season 3, later "Buck Begins" sort of confirmed that after a lot of searching he found the job that is exactly right for him. In season 6 he was wondering if he could make Captain one day himself and in that season finale got a chance to prove that he can not only work under extreme pressure, he can lead under those same circumstances, too. (It was sadly a very short scene and we haven't seen "potential Captain Buck" since, but the point stands and the idea is out there.)

Bobby had to learn to trust his team so they could trust him in return back in season 1, a theme they also picked up again in "Bobby Begins Again" where he started settling in and making the team into, well, a team instead of just co-workers. We've seen him fighting to stay their Captain both in season 2 and recently in 8a.

Eddie on the other hand quit the 118 during his season 5 breakdown arc, but it wasn't about the job, it was about Chrsitopher. Then he had to extend his time away from active duty because of his ptsd. He never thinks about advancing in his career (everybody else either was Interim Captain at one point or at least showed interest in it) or tries anything else unless he sees himself forced to do it for Christopher. I don't think he even is officially a paramedic. Similar to Hen's med school arc it probably wouldn't really change anything because he's usually paired with Buck and he already (occasionally) works medical calls anyway, but (similar to Hen's med school arc) it would at least give him something to do and show that he is generally invested in his career. I haven't seen "Eddie Begins" in a while, but does that episode give us a moment where Eddie truly finds his calling as a firefighter like the others did? I don't think so, we just got two lines or so about "missing the camaraderie, seemed worth the shot" in season 2.

On to the "personal" stuff. Do any of Eddie's big story lines have any impact on the firefam?

Eddie's love life is a mess. Season 2 was all about Shannon and their marriage and the others gossiped a little about it, but what difference does it make to the firefam who Eddie is dating? None of Eddie's love interests ever have any connection to the other family members whereas the other couples are a) both main characters or b) in Buck's case do often have connections to the others. Abby was a main character who wasn't close to the 118, but still shared a lot of scenes with them. Taylor showed up on calls, had her own story lines when she investigated stuff, asked Bobby about Christmas presents, had dinners with Buck that involved other characters like Albert or Eddie. Tommy of course was good friends with Eddie and Chim, but also acquainted with Bobby, Athena and Hen. Even Veronica who only had one date with Buck then turned out to be his neighbour and dated Albert for a while.

Other than Buck I don't think anybody ever really had scenes with Eddie's love interests and even Buck barely met those women as far as I remember. Eddie talks about Ana and Marisol, sure, but do they interact with Buck much?

Then Eddie of course has story lines about being a (single) father, but somehow he always ends up talking to Buck about this instead of literally any of his friends who actually have children of their own. Denny and Harry are shown to be friends, but despite being about Denny's age, Christopher doesn't have scenes with them outside of that one season 3 Christmas episode. Only Buck ever babysits Christopher for Eddie. Recently even Buck hasn't had anything to do with Chris. He coached Eddie through some parenting decisions, but he doesn't have contact to Chris at all. Neither Chris nor Buck express that they miss each other or anything.

There's Eddie's fight club era which ended after one heart to heart with Bobby, but mostly affected his and Lena's friendship who, again, is a character who was Eddie's friend but barely had scenes with the other mains. This is connected to the fight he had with Buck of course, but while Buck's absence and the lawsuit impacted the entire family who picked sides or felt the tension in the firehouse, Eddie's personal issues with Buck are between the two of them. There are raised eye brows during that supermarket fight, but that's it.

He had the shooting story line and while the other characters worried about Eddie of course, it was Buck who was with him when it happened, Buck who took care of Christopher, Buck who rushed to the hospital when Eddie woke up, Buck who picked him up from the hospital and had a heart to heart with him, etc. The other characters existed in the vicinity of this story line, but only Buck was really in it with Eddie. Compare that to when Buck was struck by lightning. Every single main character had emotional scenes with Buck in that story line.

Eddie eventually started dating again and, once more, this was casual gossip fodder in the firehouse, but it was Eddie's aunt who had an actual, serious conversation with him.

The season 7 stuff is part of the Texas story line for me, so I'm not getting into that again.

[puck-luck]

Ooh omg congrats on the 1K!!

I would like to request 5 of clubs with Jack Hughes please. (Maybe with an exhibition kink 🙈)

This isn't quite as clubs-like or exhibitionist, but I've been feeling slightly out of the mood today (I think because I had to make a lesson about the American relationship with Native Americans during colonization... not the most uplifting topic). Hoping for something better tomorrow!

Also I'm watching a 2.5 hour video essay about One Direction's history right now. I love that people can make whatever content they want, and they usually give it their all :)

after typing that i'm realizing that statement is really meta since i'm writing nhl fanfic. sigh. ok fine i guess i enjoy my own content whatever

Warnings: fingering, exhibition, Paul Mescal in Gladiator II WC: 592

You’ve never been one to keep trivial secrets from Jack. He’s your boyfriend and you are thoroughly against miscommunication. Your openness has resulted in plenty of fun jokes for Jack, the latest of which has landed you in your current predicament. You’re in the bougie movie theater that Jack always splurges on, sitting in a plush recliner and watching Gladiator II. Jack thought this would be a fun date night, because– well– you love Paul Mescal. 

It’s something about his nose. It’s very Roman, which you find sexy. Jack knows this, and knows that you’ve particularly enjoyed the costume design of the film, even joking with you about dressing up like a gladiator for Halloween. 

He hadn’t mentioned it again until this morning, which is when he told you that he’d bought some tickets for the film. It had actually been out for a while now, so the theater is relatively empty, but you’d never had the time to see the movie. Jack, after all, had wanted to see it with you… probably because he wanted to pull something like this.

He knows that Paul Mescal is your celebrity crush. You’ve been repeating that to yourself since you realized that it’s the motivation behind Jack’s movements. His touch had been casual at first, just tapping his fingers against your thigh. He’d convinced you to wear a skirt by claiming you’d be going to dinner afterward. You expect that his real reason is that he wanted easy access.

His fingers are inside of you now, petting over your walls. He’s teasing you, moving slowly when Paul Mescal isn’t on screen and thrusting into you at a quicker pace when your crush graces your vision with his presence. Jack also particularly likes drawing circles over your clit as he moves inside you, constantly keeping you on the edge.

“Jack,” you hiss, ready to try and convince him to stop, even though you only half-want his movements to cease. You’re flushing a bit, eyes darting around the theater to make sure no one is watching you. There are only a few other groups in the theater: another couple two rows ahead, a group of university-aged girls near the middle of the theater, two middle aged women in the front row. All in all, there are less than fifteen people in this theater. 

“Be quiet, baby. I can’t have everyone hearing you,” Jack murmurs. He shoves a handful of popcorn into his mouth, continuing his movements. He’s acting completely normal, even as your cunt squeezes him tight. 

You bring your hand down and clutch his wrist, trying to halt his movements. 

Jack turns to you. “Do you really want me to stop?” He asks quietly. Paul Mescal starts speaking on the screen and Jack’s eyes flicker away from you to check the screen. His thumb increases its pace against your clit and his fingers flex rapidly inside of you. 

You whimper a bit, clenching down involuntarily. Your knuckles turn white while your fingers grip his arm. Your hips jolt.

Jack quirks an eyebrow. 

“No,” you admit, loosening your grip and allowing him to continue. 

“Just pay attention to Paul,” Jack encourages, smirking at you and brushing a kiss against your cheek. “I’m just here to help you along, baby.”

You scoff quietly, cringing a bit at his words. 

Jack clocks your reaction, his face breaking out in a tiny smile. He giggles to himself, tracing the line of your jaw before mouthing against your throat. “Don’t laugh. We’re having fun. You, me, and your other boyfriend.”