#which is honestly very in character

[dallowaylovespink]

🕯️Someone make a fanfic🕯️

🕯️Someone make a fanfic 🕯️

So you know how this box art came out and people started theorising about the gang traveling to the past in season 4?

I had a painful idea

[benevolenterrancy]

Scholarly peak is catching up on recent literature

[welcometogrouchland]

(ID in alt) hi sorry for back to back marvel fanart I swear I still have dc stuff lmao. However I did recently read X-Men: first class and got a bit carried away doodling this after Lmao

[nyehilismwriting]

Have you seen the recent comment made by Jelly Fish Field on your itch page for Project Hadea. I just read it, and found their view really interesting and extremely important criticism on how you've decided to write certain reactions. I love your writing a lot, so it was extremely eye opening what they wrote. What i'm getting at is, I would just like to hear your feedback on that specific comment! all love, and I do hope this won't be taken the wrong way!

I've seen it, yeah. and... okay, I've discussed my reasons for not using rape as a content warning before, and I stand by them; I'm not revisiting any discussion on what does and does not constitute rape. the content is warned for, by specifics of what occurs in the text, to give people the chance to make the most informed decision they can about whether to play. that's it.

as for the rest of it... there's things in there that I understand. I get being frustrated that you can't fully explore the extent of the operative's trauma, yet; I get feeling like the rest of the crew don't trust you, or like rohan is a bitch. they don't, and xe is.

the thing that I find disagreeable about a lot of these criticisms (and similar ones) is that I think they betray a fundamental misreading of the text: the operative is a war criminal. they are heavily armed, unstable, and trapped on a ship with civilians. they kill multiple civilians in chapter one; they might well attempt to kill rohan in front of everyone, and later succeed in doing so. they are a confirmed murderer, who by and large refuses to tell the civilians why they are so angry with rohan. this is by design.the focus of this story is very much about coming to terms with your trauma - from long before you meet rohan! you've been medically experimented on, had your personhood denied for a long time, and had any kind of human empathy stamped out of you. part of the point of the game is for me to explore how trauma can be expressed in ways that are deeply unpalatable - the operative is not a "perfect victim" (a phrase I loathe) and their trauma impacts the way they move through the world, drawing out reactions that aren't wholly sympathetic or empathetic, because their actions are often unjustified and cause real harm, or seem that way to those who don't have full context.

this is why joia is important, this is why your relationships with the crew are important. the crew aren't intended to be author voices, they're not the moral compass here or audience stand-ins: they aren't supposed to represent the "correct" approach to dealing with other people's trauma. no character in this situation is intended to be seen as perfect, but as a way to shine light on different facets of the story.

the operative is built a very specific way, for very specific reasons: this is intentional. they are a person who has been deliberately dehumanised, used as a weapon, who volunteered and fought for the right to be a scientific guinea pig for the war crimes company, in order to be of greater use to said company. they have had their bodily autonomy violated so habitually, for their whole career - they have been coercively used as a test subject by their employer - that they can't see it as an abnormal violation. this isn't to say it is justified, or to diminish the traumatic impact rohan has, but... it's not the operative's first rodeo here, even if it's the player's.

they're bad at processing their emotions. the operative Does Not Cry: this is a character choice I have made. this is because they have had that emotional response beaten out of them. the operative isn't capable of taking their own trauma seriously, because they're not equipped to deal with it. they can't look at it head-on.

likewise, nash isn't capable of being a gentle, reassuring, sympathetic person, much as they might want to; a big part of that relationship is the idea that the pair of you have to relearn to how to relate to one another in your new contexts, and that isn't a smooth process. nash also has reasons to be reticent with you that are yet to be explored - this relationship is undergoing development, with both of you as violent people who commit violent acts, and who relate through violence. your relationship is built on your capacity to commit violence together. they are not equipped to deal with violence affecting you in the way it might someone else, because you've both spent the last ten years being conditioned and trained to assault other people. part of the theme of this game is to explore the way these people might experience a uniquely traumatic violent event, and the effect this might have on their own capacity to endure and process violence again themself.

I understand that it might not be the way people want to play their characters, but it's the way the character is written, and I am doing that on purpose. all I'm asking is that you trust me when I say that this is not going to be swept under the rug, even in the least volatile relationship you can have with rohan. if that's not possible for you - if you can't trust me to do this - then you're welcome to stop playing.

[jessmalia]

stiles and malia playlist: my boy only breaks his favorite toys by taylor swift

there was a litany of reasons why we could've playеd for keeps this time i know i'm just repeating myself put me back on my shelf but first, pull the string and i'll tell you that he runs because he loves me (he loves me) cause you should've seen him when he first saw me

[wolves-in-the-world]

the thing about eliot spencer as a character, right. the thing about him.

(and as always your mileage may vary on my analyses so if we disagree that's cool actually)

is that he is in fact a somewhat emotionally constipated idiot who is occasionally sensitive about his perceived masculinity and gets defensive about emotional intimacy around other men (largely hardison, who's much more comfortable expressing affection and embracing a softer kind of masculinity), but eliot displays enough emotional awareness and sensitivity and respect for women etc etc that anyone who's been subjected to that era of television will put on rose-tinted glasses without even looking twice.

(and he is, don't get me wrong, incredibly emotionally aware for a professionally punchy guy with enough trauma to sink the titanic. it still startles me to see.)

on top of which we have the layers and the accessories and the excellent hair with the secret braids and the way he barely has an ego and he's good with kids and protective of his team without taking it too far, and some of us never stood a fucking chance.

[lilacs-stars]

wait okay I haven't seen anyone talk about this yet (and I'm really sorry if this has been brought up before, to my knowledge it hasn't, but obviously I haven't seen every single post ever), during "perfect revenge" when they first go into the dead fish layer thing whatever, and around the time where uliana says "find that perfect, perfect revenge"

HADES LITERALLY GRABS ONTO MORGIE'S SHOULDERS AND DOES A LIL JUMP?? AND HE'S SMILING AND HE SEEMS SO HAPPY HE JUST DOES A JUMP LIKE

it's soo cute 😭 honestly in my opinion it feels super out of character for him, idk why it was even included but like maybe it shows a part of hades that's super bubbly, which he tries to mask with his apathetic, uninterested demeanor?

but the way he jumped on morgie's shoulders in particular, makes me wonder more about their dynamic? like is it because morgie's so bubbly that hades is like that around him too? and the way that morgie was quick to agree to hades's "yeah let's burn her to a crisp" makes me wish we got to see more of them. like imagine hades always acting so tough and unconcerned around maleficent, but finally letting loose and being super excited and happy when he hangs out with morgie.

anyways just a thought, I figured it would be nice to point it out and see what you guys think about it. that's all for now! :))

(also now I can't get the idea out of my head where hades is being all chill to maleficent like "yo imma go hang out with morgie" and she's like "okay whatever" and then cut to hades hanging out with morgie where they're both squealing and jumping up and down like a pair of teenage girls while one of them spills the tea 😭 I'm sorry I can't this is too funny 💀 I actually need a fic about this like this is some top-notch villain behavior fr)

[lizzybeeee]

Me watching my Inquisitor walk off with Solas at the end of the game like :) "aw cute ..hey if Mythal hadn't told you to stop would you have murdered her,," (I haven't played the other endings yet).

This!!!

(Obviously, not murdered her personally, but he absolutely had no qualms about doing the ritual once more - knowing the consequences of it.)

Let me preempt this by saying that I wanted there to be a happy/fulfilling ending to Solas and Lavellan. I'm not a blind hater! Just someone who finds it very hard to put my own Lavellan in the place of the 'Lavellan' provided to us in DATV.

The Solas/Lavellan relationship already was kind of iffy (power imbalance, constantly dragging her culture, removing her vallaslin/then dumping her, constantly lying to her, etc...) but DAI did a great job of making you feel sympathetic towards his plight - especially after Trespasser! He woke up in a world so divorced from his own that it was unrecognizable - the people he had done so much for were suffering from the consequences of his actions, justified as they may have been at the time (stopping the evanuris). His actions led to great suffering in the pursuit of preventing even greater suffering.

Even after we learned of his plans in Trespasser, it was very much: "cool motive, still murder."

I felt sympathetic towards Solas and the implication that we could change his mind, given to us in Trespasser, gave me hope that we would be able to convince him of another path. That he could find a place in Thedas as it is now and look to the future. That was why I chose the option to try and get through to Solas, despite knowing that his plan would lead to mass death/terror if it went ahead.

I always expected the Veil to fall at some point, but i was hoping there'd be some more nuance to it than: veil gone, demons everywhere, lots of people die. Well, I was very wrong lmao.

But, if anything, the game made me entirely unsympathetic towards Solas.

The moment he started his ritual he chose the old elven empire over Lavellan - over her family, friends, home, culture, and anything else she may have loved/valued.

And he did this twice.

He chose to pursue lowering the Veil - knowing that thousands would likely die. For all his insistence of 'minimizing the damage' he went in knowing that many more people would die because of his actions. There was no justification of stopping the evanuris this time either - no excuse of not knowing the potential consequences of his actions like the first time.

He chose to begin the ritual that ended up releasing the Elven Gods - knowing full well the risks it entailed.

He killed Varric - whether by accident or not, it was by his hand.

He chose to use blood magic to manipulate Rook into thinking that Varric was alive - puppeting his corpse around in Rook's eyes and putting his words into Varric's mouth.

He chose to manipulate, mold, and guilt Rook into the old 'switcheroo' in his mind palace/regret prison

He chose to 'free' the elven people by bringing down the Veil - regardless of their feelings about it (elven Rook can call him out on this!), never mind the consequences or ramifications of a bunch of people suddenly having their bodily autonomy overwritten by now being magic/having immortality.

He looked at the devastation caused the by the Gods and still went ahead with trying to bring down the veil again.

These are the thing he does in-game - not even mentioning making the dwarves/titans tranquil, creating the blight, started the chain of events that led to SOUTHERN THEDAS BEING DESTROYED, and taking my good gear from Inquisition!

Aside from the 'all lore leads to Solas' reveal just being really dull it also does nothing to help with making me sympathetic to him as a character. The audacity of this man to say: "it was like walking in a world of tranquil" when he fucking lobotomized the dwarves/titans is wild in retrospect.

If he didn't do the ritual at the beginning, if something else went wrong and that resulted in the God's being released, I could understand why a Lavellan would still want to get through to him. It would make sense - she could stop him from doing it again at the end too! You can still have him conflicted and torn between the restoring the past or pursuing the future - but this doesn't happen!

He never chose Lavellan in this game! Hell, it's Mythal who convinces him to stop?!! He owes her nothing! He's learned nothing from this!!! He's only stopped because Mythal 'pardoned/freed' him - once again showing that he values the ancient elves/mythal over her!!!

How impactful would it have been to have him choose Lavellan over Mythal! To show us this! Mythal, who 'crawled through the ages for a reckoning' (which was retconned to her being sad about the elves lmao) telling Solas to go through with the ritual and him touching grass and saying 'no'.

It's something I feel was wildly out of character for him as well - he never came across in DAI as being subservient to Mythal, if anything the ending cutscene gave me the impression they were equals?!

After everything he did in this game - after all we learn about what he did in the past - I had no interest in reasoning/appealing with his ass. None whatsoever. My inquisitor/Lavellan asking if Solas can be reasoned with only made me regret making that choice - perhaps other people's inquisitor's would say that, but mine would not, especially after everything that happened in game.

She came across as delusional: standing on the ruins of a blighted Minrathous, the south blighted to hell, dead all around them, blight tentacles everywhere, a gaping hole in the Fade right next to them:

Lavellan: "I forgive you! All you have to do is stop." Solas: "But I cannot."

Boom! There it is.

At this point it's not romantic, it's just sad! Sad that she's spent 10 years pining after a man who seemed to learn nothing at all from what happened in DAI.

------------------------

There should have been some sort of a dialogue option with Lavellan right before you go into the big fight - she can ask you what you think of Solas, if he's truly regretful for everything that happened, and then you can give her an answer that can 'change' her approach to Solas in the end - giving the player some agency as to how their Inquisitor would actually respond to this.

Ending One: Bye Bye Bye

Rook: "HE'S A GUY."

alternatively, "Look around you! Look at what Solas has done - what he's threatening to do even now after all of this! You gave him every chance to turn away from this path. So did Varric...and look at what he did!"

Lavellan is bitter/angry with Solas: "It seems we never were people to you after all."

Refers to him as 'Fen'harel' and not Solas - dig the knife in deeper, give us angst!

"Just go. You love the Fade, don't you? Enough to do all this - enough to kill Varric for your pride in a dead world that no longer exists. We were never 'real' to you, were we?"

Solas says his goodbyes, expresses his love, and Lavellan steps back.

Solas leaves voluntarily, his 'situation-ship very much over', to stew in his regrets for the rest of his life.

Ending Two: Bittersweet Goodbye

Rook: "Girl, it's been 10 years."

alternatively, "You loved him once, perhaps you still do even now - after all he's done - but love wasn't enough. Love does not excuse this."

Lavellan is firm with Solas, does not excuse his actions, but has a bitter sweet farewell: "I had hoped…it doesn't matter what I hoped. You made your choice - it wasn't me. It wasn't our friends. It wasn't this world. You can make a choice now - if I ever mattered you. If I, if our friends, were ever real to you."

They can have a final goodbye, a goodbye smooch, and then he can go off to the Fade.

Bittersweet ending - acknowledge what they had and then provide closure.

Ending Three: Happy Ending (?)

Rook: "He didn't mean it babe. He's tots sorry."

alternatively, "He seems to regret what's happened - I've seen his memories, his regrets. He believes this is the only path he has. Perhaps you can convince him to find another."

Default Lavellan ending basically

"There is no fate but the love we share" blah blah blah

As happy an ending as it can be when you have Lavellan fuck off to the Fade - leaving behind her life, friends, family, and whatever remains of the world for an eternity.

I'm being mean but I genuinely wanted a happy/fulfilling ending for them both too - despite the fact that this game seems to want that ending as well, it did little to convince me of that. :(

I genuinely liked Solas in DAI - despite his flaws, I thought his romance was compelling and I was hoping to be able to convince him to change/alter his path. I can see what they were trying to do with him in DATV but it's so hard to feel sympathy for him when we see/know the results of his actions. The story in this game is doing anything but convincing me to give him a 'happy ending'.

'Love' can't excuse what he did and neither would my Lavellan.

Also RIP Sandal's Prophecy about the Fade lmao

[mohntilyet]

Personal headcanon about the "you picked the wrong dellamorte" line, I don't think illario actually likes rook outside the context of them being someone close to lucanis. Like rook on their own isn't much to him, but when they meet it's yet another person talking about his cousin (why isn't he good enough for whatever job they're hiring for?) and on top of that they somehow bring him back from the dead (another whole can of worms for illario). Now he starts turning on the charm, but whether he's actually interested or this is just one more thing his cousin has that he doesn't and it gets under his skin, who knows. Either way, rook ignores illario, the guy who lives off his charm, and is instead interested in the guy who's never even dated before and thinks giving someone a knife is how to flirt. Infuriating

NO THANK YOU !! i am genuinely sorry if i have ever implied illario is into rook like i see some takes about it and unless it like ties into your rook's personal backstory i don't seriously think he's romantically jealous. at all. my enjoyment of that line stems from illario's pathological need to make it about himself and not see his strengths but what lucanis has, and therefore what he doesn't. he's annoyed enough to try and goad you in the middle of a fight about the 'wrong' dellamorte and completely blind to the fact that the venatori are at best, a stupid fucking alliance, and at worst, a cult that will devour the crows from the inside out and illario would have been the one to give them the keys. he sees lucanis make allies, needs his own, and instead of charming the other talons/houses as he should, he (probably spitefully) picks the venatori. or maybe he just thought it would be easier. ugh he makes me want to telekenetically throw him around

[happi-dreams]

why do i always draw lego at 5am—

[genericpuff]

y'all have no clue how wild it is to live in my timeline, because 12 years ago i was a huge fan of these cute lil' zelda strips and at the time i found out through the grapevine that the creator apparently stopped making these comics because they had started drawing NSFW content-

and at the time i was like "oh ok that's wild but respect"

and now in the present the artist who's making the OMORI manga adaption is under fire for being a shota fetishist and it's putting the spotlight back on the OMORI creator themselves for ALSO being a shota fetishist and oh my god the omocat who made those zelda comics over a decade ago is the same omocat who went on to make OMORI holy shit-

[bonefall]

Did Brambleclaw actually disown the Three when the secret is revealed? I don't remember this happening (then again, it's been a while) but it does bug me how all three go "Poor brambleclaw :(( He was such a good dad to us and he has to learn we're not even his biokits :(((( poor guy" while simultaneously shitting on Leafpool and Squirrelflight despite them showing them more care and affection before AND after the reveal. If he does disown them, then.... WOW is the double standard real here.

In-canon? It's something you have to approximate. They don't seem to have a concept of ""disowning"" because blood relation is taken as such an insurmountable, FUNDAMENTAL fact of life. He doesn't write them out of his little kitty will and testament, but his actions ARE disowning.

It's as if the fact he is not their biological father is an automatic disowning. From the reveal onwards, he is immediately cold, distant, and the "betrayal" is mentioned often. The Three also explicitly don't blame him for his behavior, like it's just to be expected that he's Not Their Dad anymore.

Lionblaze in particular stares longingly at him several times, really missing him. And like... that's kinda what gets my goat so much

I do believe Brambleclaw is entitled to his feelings of betrayal. I believe Squilf was ultimately in the right to lie, actually, but he's still allowed to be upset and angry that she didn't trust him enough to tell him something so important. THAT SAID, YOU ARE NEVER ENTITLED TO TREAT OTHERS POORLY.

And that's what GETS me. He isn't upset that it was all revealed in such a painful and embarassing way when this could have been avoided, or that his lover struggled with this lie for so long without him, or that he feels he's lost his children. Squilf points it out in The Last Hope-- He's so ANGRY at Squilf that he will THROW HIS FAMILY AWAY

Lionblaze seems desperate to be his son again. Hollyleaf is gone for months, and Brambleclaw is still huffing about the secret when she comes back from the dead. Squilf is fawning in the hopes it makes him talk to her again. Doesn't matter. Brambleclaw Is Upsetti Spaghetti so the narrative will never examine his role in hurting this family he apparently loved so much.

(Narrative seems to understand full well that when Squilf lies for a good reason, that doesn't invalidate the hurt Brambleclaw felt... but when Brambleclaw is upset for a good reason, it actually DOES validate what he put her and his kids through)

In BB it is explicitly a disowning. He cuts them off as his children, and they reciprocate. BB!Lionblaze does so in a ball of fury, vowing that he has ONLY a mother.

[dykedvonte]

I think it’s so ironic that the Pony Express escapes a lot if not all blame in discussion. I can’t even say I am excused from it but it’s just how hard people circle back to the characters alone without considering the environment they were made to be in.

Why would they design a ship where only two of the rooms lock? Not the bathroom? Not the sleeping quarters? We assume that all the companies in the universe are this shallow and careless to their workers but we explicitly know the Pony Express in extra vile. They are fed processed slop pack they can’t even really cook and the ration of those pack is meager at best. They hired and made people with a plethora of conflicting demeanors and beliefs work together on a mission where cohesion is important if not an outright necessity and punish them for not being happy about it. There’s no social protocols, not chain of command other than Captain’s word/choice and the only way to enforce that is with a literal firearm. They don’t allow them to celebrate freely and even took away leisure activities that would make them less stir crazy. They are only allowed a few hours of sleep despite their being no other real responsibilities or work on the ship, no matter the position or its importance. With any crew, with any level of synergy, this was a powder keg waiting for a spark.

I’m not saying characters that made mistakes didn’t make huge ones, but I think part of the horror is that at least for some (this is targeting Jimathan) those mistakes are partly made by a force of the hand. There’s a running theme of lack of choice and being forced into something and the very nature of how The Pony Express expected them to function plays a big part.

[blackhholes]

teen wolf meme: [3/5] motifs -> resurrection

It's different now. I think dying did something to him. It did something to me, too. But none of it was good.

[the-sage-libriomancer]

Shigure's relationship with Kyo drives me crazy. he doesn't hate Kyo in the slightest - in fact, he pities Kyo, and not in the condescending "oh you poor little boy, cursed to be a horrible, disgusting monster" sort of way that everyone else does. Shigure pities Kyo for the reason he should be pitied: he's just a kid caught up in a system so inhumane it can't possibly be survived without some seriously unhealthy coping mechanisms.

and it drives me crazy because - listen, Shigure is the only zodiac member who's emotionally aware enough to see the other zodiac members as exactly what they are. he knows Yuki is a severely traumatized kid who projects all of his self-hatred on a single convenient target. he knows Akito is really a scared little girl with a raging god complex (literally) and no concept of a healthy relationship. and he knows Kyo is a regular-ass human being who doesn't deserve to be locked up for the rest of his life just because some arbitrary system says so. he KNOWS it's stupid. he KNOWS it's ridiculous and unfair. and he has to share a house with Kyo knowing that Kyo is living with a sword over his head, hating himself and hating others in perfect tandem because he has no other way of coping with the insane amounts of negativity he's had to deal with his entire life.

but the thing about Shigure is that he KNOWS all of this, and the same time he doesn't really CARE. he feels sorry for Kyo, but an apathetic sort of pity, a disinterested "this is how it is. such a shame." sort of pity. in some ways he's worse than the other zodiacs because he DOES see Kyo as a person, someone he likes being around even, but he still considers Kyo below his attention because all his focus is on Akito and breaking the curse. and sure, once the curse is broken Kyo will theoretically be set free with the rest of them, but that's more of a coincidental side effect than anything. despite being in a much more dangerous and precarious mental space AND comfortably in Shigure's reach, Kyo is about as much a priority for Shigure as Ritsu or Momiji.

and it drives me CRAZY because i think Shigure does start actively caring about Kyo as the series goes on, but it's hard to tell when that happens and to what extent. when Kazuma told Shigure he planned to reveal Kyo's true form and Shigure said he was going too far - whose sake was it for? was Shigure trying to protect Kyo, who would be hideously traumatized/emotionally scarred by such a cruel betrayal? was he trying to protect Kyo and Tohru's relationship, which was still formulating and might, under such severe testing, ultimately end up damaged beyond repair? was he only trying to protect Tohru, who wasn't ready to be burdened by such a horrible aspect of the curse so soon, or perhaps simply didn't deserve it? or was it all for the sake of himself, trying to protect his still-forming plans of using Tohru's positive effect on the Sohmas to break the curse?

Shigure cares about Kyo, but they're not close and Kyo clearly isn't a priority. he treats Kyo like a person - offering him genuine advice, teasing him like he teases anyone else, even speaking up on his behalf once or twice - and yet he's too entrenched in the long game to spare much active interest in Kyo. for a very long time, he doesn't care about Kyo the way he cares about Yuki or Tohru, and it's never made clear when exactly that changed. and the thing that gets me about this whole situation is that right from the start, Shigure is in a position where he can meet Kyo at his level - as equals, just one human being to another - but he doesn't, because Shigure is a chessmaster, Shigure is someone who observes and calculates, Shigure never steps in unless one of his chess pieces makes a wrong move and he absolutely has to.

it drives me crazy. Shigure drives me crazy. this series drives me so so crazy.

[ttrpg-smash-pass-vs]

SHADAR KAI

VS DROW

First, Shadar Kai! They're former elves of the shadowfell, though now some half-living offshoot. Normal human height. They can see in the dark and teleport, turning all ghostly when they do so. This is the player kind, so don't have to deal with the depression aura of the monster manual version! And...that's all we learn of the PC version, so for once I'm actually glad for the MPMM's hatred for detail.

The average drow is a 5 foot (1.5 m) cursed elf that's cartoonishly evil to the point of parody. That's not actually innate, their goddess just personally has the good ones killed and tries to manipulate/torment them to be even more evil. So there are actually nice ones, I mean they used Drizzt as thier only example photo, but most drow that survive to adulthood are going to be sadistic and dominant. Primed and ready if you're into manipulation and being used! Or someone with a hell of a lot of trauma.

I'm figuring out how to make these look...decent, because some of these have too many artworks with background for me to comfortably do my usual basic photo editing.