#wish i could put into words my feelings on character dev which i actually care about

[moltensmusings]

Okay heavy spoilers as I talk about final thoughts in regards to veilguard now that I've completed my initial run.

Under the cut because it's long:

I think it is the best dragon age game and while that may be controversial let me explain.

It takes the best parts of each game for me and compiles. Similarly it felt like it took inspiration from Mass effect 2 and 3 in tone and outcome, however the endings we get for Veilguard leave me a lot more satisfied than they did with 3.

I think it's devastating that you can't come out of the game with all 7 companions. That Harding or Davrin has to die. But I also can acknowledge that this outcome is one that made the ending and messaging work. It made the threat of facing gods feel much more realistic and added importance to the decision to work through the game to get the best outcome.

I love all the companions and their interpersonal relationships. How so often in the game you get to resolve differences and mediate and we get to see how rooks words effect things. I loved each companion getting their own room that changed over the story and the devs choosing to have them move around the lighthouse for interactions which isn't something done in previous dragon age games but was something they did in Andromeda that I liked.

The decision to have companion quests be a constant appearing thing over the game is also great. It really helped me get a feel for the characters and enjoy them more.

Surprisingly I don't actually mind the change from 3 to 2 companions on a quest. Banter felt like it happened so much more and not having to focus on healing them made it so that I could still enjoy their conversations while running around.

The outfits and visuals were great and Rook felt like the most full of life main character we'd gotten because of how smooth the animations and lighting was for them.

The environments in inquisition were my favorite in any DA game until this one. I loved how lived in the cities felt. The maps were large and great for exploring which meant one of the things I liked about inquisition carried over without it feeling overwhelming for other players.

This was the first time I actually cried playing a bioware game. Varric's death, coupled with the loss of a companion, actually got to me. And they let you sit with it. You get to say goodbye to Varric. You get to see him off.

Elgar'nan and Ghilan'nan felt like terrifying and compelling villains. Incredibly memorable especially after Corypheus. All the while pairing it with the tense dynamic between Rook and Solas it fully left me wanting to rush through the story to see more of them. It's so clear care and thought was put into designing the main antagonists of the game and I'm appreciative of it.

I'm eager for the next game. Wanting to see how things will connect with the new big antagonist and who our protagonist will be. They have big shoes to follow once again but I have faith.

With that said, I want to add some notes on things I wish had been included. I say these with the understanding of why so much of it wasn't/asking everyone to be aware I still enjoyed and intend to replay the game.

While I fully think the choice they went with made the story more compelling, the "well drinking" not mattering at all is a bit disappointing. I get why they removed it but if inquisition ever got remade/remastered I hope they just remove the option if it didn't matter.

I wish more inquisition choices got carried over because I would've loved to see inquisitor show up with everyone left in the innercircle to assist rook. They wouldn't be in the main battle but more just them getting a side appearance before the final fight starts. Maybe if we got a party scene they'd show up then.

Same note: the person left in the fade never being brought up/us never getting Isabela talking about Varric or any of the da2 companions showing up before we say goodbye to him makes me a bit sad. We'll never see the kirkwall gang together ever again and it hurts.

The romance scenes felt very few and far between. We had a few flirt options and a small handful of proper romance scenes so (at least for Taash) I just didn't get as invested in it as I do for other da games. I wish there were a few more.

All in all: I would recommend this game to people. I'm an andromeda and Inquisition enjoyed which I know is controversial in the fandom, but I feel like this one is actually a game I could see a lot of people liking.

I wish we had a celebration party scene for the characters. Lucanis mentions it to Bellara while fighting to get to Elgar'nan and I was so excited only for it to not happen.

[mintharan]

This is the anon who was talking about romances in DAI. I know I’m late to respond to this so it’s fine if you’ve moved past it and don’t care to answer. I actually agree with you on Dorian. His story arc feels very after school special-adjacent to me, which I’ve always put up to a combination of it just not aging well, and the target audience for it being straight people (a whole different issue). What I really meant when I said it was well done is that he ties into the main plot in a way that shows he was being considered as the game was written and his personal quest feels like the person who wrote it actually cared about it. That’s not something I can say for Josephine or Sera’s personal quests, which both really feel to me like they were added in at the last minute because the writers realized those characters didn’t have any content, and who could both be completely removed with no impact other than the loss of their personal quests (that’s not a slight on them, it’s about the game’s writing). Josephine’s quest is so irrelevant to anything else going on that it honestly feels weird for her to even bring it up when you all have more pressing issues to deal with, and half the time Sera feels like the person writing her didn’t even like her. I’ll admit I haven’t romances Sera, so I can’t speak to whether she has more depth in a romance than without one, but I do know Josephine’s romance doesn’t add that much.

When people say they think BG3 should have done defined orientations, I just want to ask whether they feel like the game would be more inclusive if the queer options were Karlach, Minthara, and Astarion, and everyone else was straight. And if Astarion had the same amount of content as Karlach and Minthara because they didn’t want to put so much work into centering a character that comparatively few players were going to be able to romance. I feel like when people make that argument they think Shadowheart would have been gay or Astarion would have been gay but kept all his content, but no gay character is going to have a romance arc that’s really plot-relevant or game-changing because no group of devs is going to want to make that content unavailable to straight players. Long-winded way of saying yeah, I agree with you, that method of writing romanceable characters really fucks over gay people in particular, and I wish people would realize that.

Completely agree with you irt to Josephine, who I think is beautiful, but whose personality does nothing for me, and yeah her romance quest is really minimal, and I don't think you can say the same for Cullen who is also an advisor (who I've never romanced, but who I assume has more content judging by years of seeing gifs) .

Regarding Sera, I love her quest, lover her personality and have romanced her multiple, multiple times. At this point for me DAI is pretty much a Sera romance simulator. My party is always her, Dorian and Iron Bull, and occasionally Vivienne for the eye candy and evil bitch banter (a travesty that she's not a romance option, I could write a thousand words as to why that is, but she's so my type and it hurts me).

Her questline isn't particularly involved with the plot, that's true, but personally that works in her favor, because the plot is really dumb. She's a breath of fresh air when I'm thinking 'wow I don't respect literally any of you' and then she goes and says pretty much the same thing. I do think this is happenstance, and not a legitimate design choice, unfortunately. I don't think the DAI game devs thought their game's plot was really dumb.

But yeah, the people who think, their favourite bg3 companions would be gay and retain the same level of content and plot-involvement are delusional. Not that that would be a good thing, of course, but it's just like you mention, straight people are always going to be catered to when there are romanceable characters. With playersexual options at least in theory, the same effort is put into all the characters.

[heloflor]

Some more thoughts after watching every episode up until “The Haunting of Wells House” (except for "The Wellsington Hotellsington" bc it’s not available at the totally legal place I was watching). Spoilers for the whole show (1.4k words below):

- Seeing people having squirrels in their pants for Peri is actually funnier now bc if I wasn’t aroace (my lack of attraction extends to fictional characters, makes hanging out in some fandoms quite the experience) I’d totally have some of those squirrels but for Cosmo. The way he’s written in this show is just so GOOD!

He’s still an idiot but that doesn’t stop him from being a functioning adult, thus making him incredibly endearing. Also love the malewife energy, and on that note you can understand from their (absolutely adorable) interactions why Wanda loves him. This show really fixed Cosmo and I couldn’t be happier about it!

- Speaking of dorky men, huge fan of Hazel’s dad Marcus! And I love how he’s actually a very clever guy who’s just eccentric. Also love how the ending of the Cupid episode is literally him pulling the bad bitch by being autistic. He’s a fun character I like him! And on that note Angela’s great as well!

- Something interesting I noticed while watching in order is that Hazel and Dev aren’t actually that close, which I actually like because it makes their arguments feel a lot more natural. Like don’t get me wrong they are friends and do care for each other (on that note love seeing Dev put himself at risk to protect her! Twice! Even after doing so the first time almost cost their friendship in his eyes! Good way to show there’s good in him!) but they don’t hang out at school or anything, on top of their relationship starting on a bad note due to Dev bullying Hazel.

So when Hazel gets mad at him at the end of the Founder’s Day episode and refuses to listen to him, it works because it’s still very early in their friendship. Same with the ending of Dev’s birthday. Idk, I really like how they approach this dynamic!

- And speaking of Hazel I really like that one of her bigger flaws is having a temper. I think it’s because it works with her being a nice person who tries to help others (in other words it’s not like she was selfish or something which could conflict with her being meant to be a good kind person using her wishes for others, her anger gives her a flaw without conflicting with her good traits).

Or maybe it’s because as an autistic person with some anger issues, I can relate to her idk. Like when her friends don’t want to go to her book club bc there’s a dance that night, or wanting the game with her brother to be the same, or again the ending of Founder’s Day. Basically when her schedule is thrown off or things are changing or people are acting in a way that doesn’t make sense to her.

-Spoilers for season finale synopsis After watching Founder’s Day I really enjoy Dale as a villain, which really makes me hope for a season 2, since from what I’ve heard the S1 finale will focus on the anti-fairies meaning it’s probably best Dale has a minimal role in said finale (if not him not even showing up). Like in order for everything to have proper pacing and be satisfying, the best would likely be to focus the finale solely on the fairy stuff and keep Dale as a villain for S2.

Also, I’m excepting the season to end with Dev realizing how far down he’s gone and starting to try becoming a better person and rebuild his friendship with Hazel, which could create some very good conflict with an ongoing S2 plot of Dale trying to figure out Hazel. Or on the opposite end if the kid continues as an antagonist, him helping his dad with it.

- On a more negative note I’m really not a fan of Hazel’s friends, mostly because they don’t exactly have much of a personality. Jasmine is a nice girl who sometimes brings up singing. Winn is the cool one with purple hair and pronouns and who likes skating. That’s kind of it.

- I’m also not really into the whole thing with some wishes bringing up other random magical creatures like Father Time, Cupid, the Music Fairy or Mother Nature. Idk, the idea of expanding Fairy’s World is pretty cool, but I like it more when the story is grounded within our main characters I guess? Can’t really explain it well right now but I’m just not a fan of that.

And yes I know Cupid was in the og show but here the whole love competition doesn’t sit right with me, like why having this kind of beef with a 10 years old over one wish (and that’s not getting into the whole “two characters seeing a third one as a prize to be won” shit this episode is based on)?

- Not sure which episode is my favorite so far. Either one of the 20 minutes long ones (first episode, Founder’s Day, Dev’s birthday) bc they have the best character moments or “Lost in Fairy World” bc I’m obsessed with the Fairywinkle-Cosma family dynamic. I think it’s a tie between “Fly” and “Lost and Founder’s Day”. 🤔

- Least favorite is probably “Dig a Little Deeper”, with “A Dinosaur in Dimmadelphia” in second place. The difference for me is that the dino one is just plain boring while the underground one is badly written all around (Cosmo and Wanda losing their wand in the stupidest way, the rock people not being interesting at all, I usually like puns but those ones were painful especially at the very end). The only thing I liked about this episode is Hazel talking about her passion for rocks, which is brought up in other much better episodes so yeah...

- I’m not going to make another post about Peri and Dev’s relationship but I just wanted to say something about “Best Of Luck”. Haven’t seen the episode past a few clips but from the looks of it Peri fucked up very badly here!

He has an argument with Dev in which he acts incredibly immature (reminder that Peri is the adult in this relationship), actually quits the job and only comes back bc he didn’t give his notice, and upon coming back just laughs in Irep’s face and low-key makes it more about one-upping Irep than taking care of Dev, on that note he caused Dev to feel at the top of the world with Irep only to have it all taken away (apparently he knew Irep was waiting for an opportunity to strike? Meaning he has a bit of responsibility in Dev losing his wishes here), and by the end Peri’s chilling with his parents while ignoring his kid going through it.

There’s also no telling if Peri’s going to resent Dev for trying to kill his parents, since we know from his admission of spying on Dev (+ how relieved he sounds when hugging Cosmo and Wanda) that he very likely saw it happen.

And don’t get me wrong, I love Peri’s character including how flawed he is and how difficult his relationship with Dev is, but yeah there’s no denying that he completely fucked up with this one. Literally couldn’t have done worse.

That actually reminds me of a Tumblr post describing Peri as considering Dev to be nothing more than a job to do, and I disagreed with this stance up until this episode. Because yeah, in “Best Of Luck”, Peri absolutely treats Dev as a job rather than a troubled kid in need of guidance. And again, I still love Peri’s character, but he’s really not doing his job well here.

Also him being able to just up and leave the kid like that probably doesn’t help Dev’s daddy issues. Kid needs stability, including an adult he knows loves him unconditionally and won’t walk out on him the second things get difficult.

- Last random thing since I mention at the end of the og post Peri crashing at his parents’ house after his argument with Dev: I saw screenshots from yesterday’s episode (the puberty one) and seeing Peri at what is obviously Comso and Wanda’s house makes me happy. Depending if they reference other episodes or not in it, I could actually see the puberty episode taking place right after the birthday one and before “Best Of Luck”, hence why Peri is at his parents’.

So this was supposed to be part of my other fop post but it got way too long (both posts did tbh) and is a different topic than the other one. So yeah here’s a bunch of random thoughts about the show in general from what I’ve seen of it. For context I’ve only seen the first 4-5 episodes + “Battle of the Dimmsonian” + the Cosmo-Wanda-Peri scenes in “Lost in Fairy World” and “Operation: Birthday Takeback”.

SPOILERS for “Operation: Birthday Takeback” for the last three dashes (2.4k words below):

- Putting it in first since it’s still related to Peri but I’m pretty amused by the whole “Tumblr sexyman” situation. I mean, less than two weeks ago all canon pics we had of him were baby pics. It’s the same deal when I see people call him a father figure to Dev, I can’t help but be like “wdym father figure? He’s barely an adult! He’s too young!”

It’s like imagine you have a neighbor who have a baby when you’re 9-10, then they move out and 20 years later you meet their kid as an adult. You can clearly tell they’re an adult and treat them as such but also it’s a bit weird bc your last and only memories of them were of a baby. Idk, I see Peri’s character as an adult but also he’s still a bit of a kid, you know? I feel like I explain this better in the other post tbh.

- In retrospect it’s also very funny to see how, when people talk about the decline of fop, they point at the inclusion of the new characters, including Poof. Yet look where we are now! If you thought the baby was the problem, apologize to him, now! /j

But yeah more seriously, personally I never minded Poof. He was definitely a useless addition, like outside of the handful of episodes focused on him he mostly just stands there looking at the other characters, but he was also a cute baby, so I’ve always been fine with him being around. He’s a useless but inoffensive addition, and I think the decline of the show around that time had less to do with him and more to do with the writing as a whole.

- Last thing about Peri before moving on to the show in general, which tbh I could've put in the other post: I've seen people talk about the idea of Hazel and Dev switching fairies and I kind of agree with it.

Not only because Cosmo and Wanda have the experience needed to help a kid like Dev (though it wouldn't be all sunshine and rainbows) while Hazel's situation is easier for Peri, but also it's worth noting that Dev needs a parental figure, which Cosmo and Wanda can be, while Hazel misses her older brother, who Peri is around the same age of. Idk, I feel like this could work, or at least make things easier for everyone involved (but also especially for Dev).

- Something I originally wanted to put in the tags of the other post but fuck it: I’m really not a fan of them releasing the episodes so soon one after the other. With serialized shows, I’m always been more of a fan of having an episode a week you can chew on and theorize about, rather than being given everything at once. Also it takes a while for the cargo to get on the ships if you catch my drift.

I’d also complain about seeing all those plot-related episodes one after the other with none of the more casual stories in-between that give us more character moments, but honestly that’s on me for looking up spoilers.

- Going to the early show, I think the first episode is such a good introduction! I especially like the amount of focus on Cosmo and Wanda, it’s good to have them reintroduced given how flanderized they became in the og show. I’m especially happy with Cosmo! He arguably had it worse than Wanda in the og and it’s so good to see him shine this much in this first episode (also I love his human form having a bit of a gut)! On that note, they did a fantastic job having them around a lot while still giving Hazel enough time to be introduced properly and get us to care about her as the MC!

But yeah I really like this first episode, fantastic beginning to the show! The only issue I “really” have with it is the way Cosmo and Wanda go back to being godparents just because Hazel made a strong enough wish or something, it felt a bit arbitrary rather than them just telling her who they are.

And on that note, big fan of that one scene where they immediately notice her trying to run away and try to talk her out of it. I love the contrast between them starting off as disasters being barely capable of passing off as humans at the beginning of the episode, and them being perfectly in their element the second they start talking to Hazel about her running away in this scene. It’s such a good way to see how much experience they have with taking care of kids!

- I’m not going to go episode by episode but one thing that bothers me a lot in the second one is that rule of “kids should get whatever they wish for”. Doesn’t that...go against the whole concept of having rules in the first place???

They should’ve replaced it with something along the lines of “a kid should always get the fairy that fits them the best”, not only bc it would work perfectly well for the episode, but also from what I’ve heard Foop (now Irep) is coming back and I could 100% see him use that rule to his advantage given Peri and Dev were such a bad match (I’m guessing anti-fairies don’t actually follow Da Rules but maybe they could still use it as an excuse regardless since fairies do have to follow them or something?)

- Call we talk about the fact Hazel is clearly autistic? Like is this a canon thing in the show? Are there people out there talking about it? No because seriously:

The fidget toys (Cosmo and Wanda’s disguises), her special interest for rocks, her anxiety over making new friends which is reinforced as uncommon when that one girl she befriends comments on how easy and not scary it is to approach other people (also Hazel’s “what am I supposed to talk about with them? School lunches?” comment in the teachers friend episode), her liking for fries which could be seen as her being potentially picky (bit of a stretch tho), her comment about liking the DMV if only for the reaction she gets that makes her seem “different”, her struggles to come up with a wish on the fly with minimal/vague instructions (episode 2), her character arc throughout the show apparently having to do with her not wanting things to change (me too girl), her being considered mature for her age, the angry outbursts when things don’t go how she hoped, pretty sure there’s also a lot of stimming that I have yet to pick up on (see if any of them repeat often). Like, there’s no way ALL of that was a coincidence!

I’d also like to mention at the beginning of the Dino episode, when her dad is explaining things to her, he starts talking louder and louder in excitement until his wife tells him to quiet down. Makes me think her dad’s likely neurodivergent as well. Also this moment hurts my soul a bit, as someone who’s both been on the receiving end of it and done it to someone else, in both cases it sucks.: /

- Took me until like episode 4 to realize the town she lives in is named after the Dimmadomes, with the hat in it (the very first shot of the intro). Also you can see their infinite house in the background, both in that shot and the show in general, and I absolutely adore that they committed so hard to this joke! That giant ambiguously-shaped-like-a-hat skyscraper that we never see the top of is just *chief kiss*.

- On that note Dev’s introduction in the first episode made me laugh, if only for the references. I also find it kinda funny he has such a big speaking role considering he doesn’t do anything for the rest of the pilot and the next few episodes. Then again I guess it’s in character for him to make such a show of introducing himself.

- Still on general stuff, I’m a bit curious about how the timeline went in regards to Cosmo and Wanda retiring and going on vacation “right after” Timmy (iirc they don’t voice it like that in the show). Like I’m having a hard time believing they would just ditch their then-child son to go on vacation, and then come back when he’s an adult. So I ended up having a bunch of headcanons.

Basically, after leaving Timmy they do take what was supposed to be a short leave to think of their future since it feels strange to get a new kid after so long with the same one + I like the idea that Cosmo and Wanda’s marriage did suffer while living with Timmy and they want to work on it before getting a new kid (the whole thing about them feeling confined, made worse if the “stopping time for 50 years” wish is canon) + Poof/Peri is struggling with the reality of having to leave Timmy behind and is nervous about his parents having a new godkid because of it.

Eventually they decide to retire, got to marriage counseling, possibly get Poof/Peri into therapy, and raise their son until he’s an older teen/young adult, at which point they leave for their vacation. And while the vacation is 10 thousand years for them, it’s like, 5 years at max in their present. And in that meantime, Peri starts his godparents studies (or however it works), leaves the house and changes his name.

Btw Cosmo and Wanda would 100% invite him to the vacation, he’d just refuse in a mix between wanting to be away from his parents for once, wanting to maybe surprise them a bit with his work and/or just get started with work, and not knowing how long the vacation would be. He’d also probably tell them to just use this time as some new honeymoon to finish rebuilding their marriage (though by that point it must’ve gone back to being strong). Oh and Cosmo and Wanda would send Peri postcards every so often, which would also let him know how long they’ve been gone.

Once they come back from vacation, I’d imagine there’s like less than a month between them “moving to the human world” and meeting Hazel, hence why they didn’t reconnect with Peri. They didn’t really know how to contact him and were busy with the move, and afterwards they had a godkid to take care of so they couldn’t exactly go back to Fairyworld.

As for Peri, he hears through the gravepine that his parents are back, and would be happy until he realizes they’ve been gone for 10 thousand years, hence him freaking out about meeting them again (he doesn’t know how much they might’ve changed with how long it’s been). Also he can’t contact them bc he’d hear about them coming back due to them taking in Hazel, meaning they’re in the human world and he doesn’t know where. Also he might be intimidated to contact them, which doesn’t help his decision-making.

So yeah, that’s all for how I could imagine this whole vacation thing going and how it fits with them having a child.

- Since I’m talking about Cosmo and Wanda’s marriage, I’ve heard about the whole “they fixed their marriage” before watching the show and oh my god I can’t get over how fucking adorable those two are in this show!!! I fucking love them.

- And on that note I’m incredibly amused that this show had the balls to reference the mpreg. Twice. Especially since it doesn’t even specify the whole “that’s just how fairies work”! In the eyes of people who never watched the og show, “A New Wish” just casually dropped the fact that Cosmo’s a trans man (bc let’s be real, how else are you supposed to interpret those lines if you haven’t watched the og show?) or you get the vibe that the writers wanted to make him trans (+ Wanda by proxy since she’s Peri’s bio mom) but weren’t allowed so that’s how they got past the censors.

And I love this because you just know Hartman would be furious about it! With our current society more aware of trans people and how men can in fact get pregnant, I could definitely see him sweep the whole mpreg thing under the rug, hoping people would forget about his “”accidentally-progressive”” (and also very sexist 😒) episode, but nope! New show said Cosmo was pregnant and gave birth! And better yet it didn’t even elaborate further! It just goes “btw this guy has an uterus and was once pregnant, here’s his bio child if you need more proof” and then walks on like nothing happened, I love it!

- Going back to the episodes talk for the last three dashes, there’s that shot at the very end of “Operation: Birthday Takeback” that I really dislike. It’s the one when Dev lashes out on Peri, with him hovering over Peri who’s laying on the ground in fear.

Really not a big fan of this shot bc 1. It makes Dev look way too much like a villain, especially with the way Peri’s laying like a servant that gets beaten up, and 2. Peri, honey, you’re a grown ass man; why are you so scared of that 10 years old scarred kid that’s lashing out while in a very vulnerable mental state? What are you doing on the ground buddy? I’m not asking for him to fight back but at least stand up! Don’t act like that kid can actually hurt you! Btw I’m completely fine with Peri afterwards looking like a dejected puppy (after Dev makes his wish), it’s just that one shot with him on the ground that I dislike.

- Obviously I’m genuinely curious to see how things are going to go in the next episodes (which apparently air tonight?). Like obviously Dev is going to spiral but if you have a scene at school how will it go? How will Hazel feel about the whole thing? What about Peri? Is he going to be gone for a few episodes? Be a temporary third fairy to Hazel? Crash at Cosmo and Wanda’s for a while?

(Personally I’m hoping for the third option, it would be a good way to still give him appearances to show the main plot’s still going without giving him to much screentime, which could take away from Hazel. Also given how much he wants to appear independent, I don’t see him being a third fairy to her, though I think he’d be ok with staying at his parents for a bit, if only for emotional support (though tbh I doubt they’ll do that, most likely he’ll be doing his own thing off-screen for an episode or two). Also I want to see a “human” design for him)

OK so I wrote this yesterday before the Irep episode came out, so on one hand nevermind all that but on the other hand I’m letting it in bc I AM curious as to how things are going to evolve with our main cast, especially with Dev spiraling and pushing both his bestie and fairy away.

- Btw is nobody going to talk about how Vicky’s dress might be a reference to one of the “Oh Yeah” shorts?

- VERY LAST SECOND ADDITION, SPOILERS FOR IREP: So yesterday before I finished both this and the other post the new episodes dropped, with a few clips shared on Tumblr. And OH MY GOD IREP’S DESIGN!!! The fact that they kept him as a cube makes me so happy!!! I was HOPING at least ONE part of him would be a cube and they delivered!!! He looks like absolulte dogshit I love it!!! Bc yeah for some reason I remember Foop as a character you’re not supposed to take seriously at all? And as a result I really like how stupid Irep looks. A+ design right there! /gen

[lucifermeo]

this thought has been niggling in the back of my head ever since dazai called akutagawa too slow to teach that time in the dungeon (which wasn't really true he was just manipulating aku) and only became more prominent when i read the failed sskk-vs-fukuchi fight but for a fighting(?) shonen(?) manga protagonists/main duo atsushi and akutagawa's talents (beside their innate abilities) are pretty....mid?

obviously i dont think theyre stupid but even if we dont consider the OP protags usually seen in the genre they still come up quite average in-universe? for one they are clearly not the brightest bulbs around. akutagawa's mostly been the brains behind sskk and he's pulled some pretty good saves like waking the tiger in 55 minutes or assisting atsushi throughout the fight against goncharov, so he's capable and can further improve (provided vampirism or death didnt turn his brain to mush rip) but theres no way its in the same dimension of the class of people considered the "brain" of the series (dazai, fyodor, ranpo, even mori). it couldve been somewhat better if their intellect complemented each other (for example ranpo+dazai whose brains become 1+1>2 together) but sskk are pretty similar in how they think? i dont think theres anything akutagawa could come up with and atsushi couldnt (well, i do have to give it to atsushi for the ability to consider strategic retreat, something aku is incapable of).

then there are their abilities & combat capabilities. the abilities are strong, no doubt, and even stronger together (sskk 1+1>2 goes here) but considering how strong the abilities are capable of, their combat power is just ok? and its quite not a problem of experience either because like how dazai and friends above reign over intellect we have seen other ability users with genius control over their abilities at very young, most notably oda and chuuya (no corruption) for me. oda's ability seemed like a cheat because he can see the future, but its really just 5-6 seconds so its still on him to react fast enough. from the day i met dazai we actually found out by 14 years old, he's killed so many people they thought it was an entire organisation behind the assassinations, but nah it was just oda alone. and even when his ability was canceled out in the fight with gide, he was still comparable in speed and marksmanship, and given how gide fought in the great war 10 years before the event of dark era, the man has years of experience over oda. similarly, its chuuya's ability to combine his gravitation manipulation to enhance his fighting with insane accuracy (generating the right momentum for his hits, gathering dust as leverage for midair mobility, etc.) that makes the gravitation control a lot more deadly. and hes done all this by the time we first saw him at 15, where "the sheep" aka basically chuuya alone has enough firepower to compete with port mafia. like oda, chuuya also fought with someone with the same ability and at 16, under normal power condition his hand-to-hand combat skills are comparable to verlaine, a government-trained spy and assassin, or even better as he managed to wound him (of course verlaine still won in the end because his dragon aka energy output is bigger than chuuya's dragon lmao). in comparison to them, sskk's track record doesnt seem as impressive? of course they have their limitations like how atsushi has only been at this for a year at most or akutagawa is simply too frail due to his illness (dazai's physical skills are below average for the mafia per chuuya's assessment and well, we all know how dazai-vs-akutagawa goes). but sskk actually had training and mentors and so far they look to be on an ordinary(?) learning curve, while oda and chuuya seemed to be just genius??

of course, as protagonists we love sskk for their drive and personal growth that us readers are privy to but kinda like how teruko told sigma, in a fight to the death its not like the geniuses like the ones above will have less drive to survive. anyway, its not really a complaint because the appeal of bsd has always been the characters and themes to me, not so much the powerscaling (even if it has been about fighting, having an "average" protag is perfectly fine). i just think its pretty interesting to take this into perspective considering if everyone manages to survive the doa arc future enemies are probably gonna get stronger, and i wonder how will we go from here, assuming asagiri still wants to give sskk the "main fight" of the arc (though who knows with the madlad anymore lmao)

(i wouldnt say no to more ability group fight like how the mafia ganged up on verlaine in stormbringer though that's be rad as hell)

[scrawnytreedemon]

Can’t sleep, mind going precisely 56 miles an hour, so I think I’ll finally get around to writing this.

Couples days back, I went ahead and finally psyched myself up to do the Zant bossfight.

Because I’d picked up where I’d left off yesterday, which was just before the boss room, obviously I was taken back to the beginning of the area. This gave the whole ordeal a trek, if a short one, what with the Palace of Twilight’s laughable length, and me more time to think.

I didn’t want to do this.

It sounds stupid, but I really didn’t want to do this. I’d cried the day before trying to psych myself up and failing, and I’d cried then, before the boss door, stalling by sweeping away the crystal-fog as best I could-- A meagre attempt at housekeeping, and a futile one. Of course I couldn’t. This isn’t that sort of game. This isn’t a game for failed attempts at kindness, at least trying to clean this awful, awful place for an awful, awful man going through awful, awful things. I was supposed to be a hero.

Heroes don’t make beds.

They don’t wash dishes, or hang laundry, or hold a rival’s hand,

They kill.

The trek didn’t stop past the door, either.

We still had to walk up the stairs. To the throne.

To him.

And I was there, laugh-crying, wishing I didn’t have to. That I could skip this pathetic ordeal.

I tried to turn around and leave.

Despite it only looking like a larger one of the many, many doors we’ve passed through this awful, nonsensical, poorly-designed excuse for a palace that no one could ever live in, it didn’t budge. There wasn’t any turning back. I had to go forward, because this is an action game, and violence is key.

The game takes the reigns. Link walks up to the throne, sword drawn, despite my deliberate decision to sheathe it. The narrative begins again. Midna sneers, and throws a taunt at him.

Zant sits, and smiles. Smiles like he thinks he still has some form of control, or knows full well he’s lost it.

You know, when I was working through the Palace of Twilight, I’d come to the realisation that... Zant locked himself in the throneroom. From the outside. Logistically, despite the good laugh I had over this guy locking himself in from the fucking outside, where his opponents can grab the key, he could get out easily-- teleportation and all. But even that aside, it still spoke to a level of hasty panic, that he would even keep the key outside, behind a waterfall of yet more shitty fog-crytals in the hopes that would deter them. Deter us.

How long had the guy been here, alone in that room?

We all know what happens next. Despite this being my first playthrough, I’ve probably seen this cutscene a dozen times. Zant has what amounts to an overly-dramatised autistic meltdown expositing himself and his motivations. That he was upset and felt like everything he’d worked for had been taken away from him. That he was angry, angry and fed up of being relegated to a half-existence. Midna retorts, Zant wails some more.

What gets me is that, when Ganondorf visits him, engulfs him in this flaming ball of fucked-magical-fuckery, he just. Stares. He doesn’t say anything, doesn’t do anything. Ganondorf speaks as though he’s already decided that, yes, you will do, we will make a pact and rule Everything together; I will live on through you.

Did Zant even agree to this?

I think, subconsciously or not, he accepted it, but it begs the question of whether or not Zant was capable enough to partake in it.

Whatever the answer, he’s clearly not capable enough to partake in this. This fight.

It’s laughable, that I’m expected to find victory in this.

The fight was a fucking slog, 90% of the time. Some of these boss-battles I hadn’t played in nearly two years thanks to the impromptu hiatuses I’m so fond of taking, so I didn’t know what the fuck I was meant to be doing half the time-- And when I did, it lagged to shit everytime this poor bastard fired projectiles, because I was playing on the gamepad, because why on earth would I play this on the goddamn TV? It was a sad, pitiful encounter that I had to laugh my way through and also mumble “what the fuck“ on several occasions because I guess somebody at Nintendo ate cheese before bed and the dev team were so desperate to patch something together for this guy’s sudden crisis that they threw it in-- I’m obviously having a good laugh, but What The Fuck.

I knock the guy down in the last phase of the battle, the only one where he isn’t mimicking something else and dizzies himself spinning like a hyperactive child, and the game takes the reigns again. Midna prepares her hair. I look away-- I’ve seen it before, many times before, and it’s cartoonishly grotesque for a game that relies heavily on somber semi-realism. Midna has her own crisis-- And yeah, yeah bossbabe, I feel it.

It cuts back, and there’s a Heart Container on the guy’s throne.

I.

I killed a guy, and now I’m collecting his lifeforce. I stormed into the bunged-up attempt of a fortress conjured up as a last defense by a man who’s fallen head-first into insanity, tore through any meagre security measure like butter, murder the guy when he’s having an episode, he dies a fucked up death, and then I collect his lifeforce.

Is that fucked up or what?

For all of Zelda’s endless violence, rarely do you actually kill “people.“ It’s the kind of stuff reserved for the end, for Ganondorf, or some other corrupted nigh-demigod on the brink of losing their humanity, or never having possessed it.

We kill Zant.

Zant barely puts up a fight, and we kill him. Zant gets summoned from the netherworld by Ganondorf in Hyrule Warriors; we put him there in the first place.

If we were to view this from a literal, like this shit actually happened and these characters are to be held accountable standpoint, then what we did was justified-- If not wholly, then mostly. Zant got power-hungry, committed what amounts to a bio-terroristic coup on the government, disfigured his rival, a woman notorious for her beauty, then proceeded to attempt the same thing with Hyrule, leading to the indirect death of at least the people who got transfigured into Shadow-Beasts in Kakariko, and attacks you first, then yeah, no biggie?

But I’ll be fucking real with you chief, I don’t find it... I don’t know, persuasive? Effective? Compelling, would be the best word, to think of it that way?

What Zant is, is a narrative tool. One that was set up to be this big, bad interloper who you need to Take Down and Save Everything, as per usual Zelda format. The justification for why we should hate him, if I’m going to be honest, feels contrived, most of the time. He does some bad thing off-screen, Midna gets pissed, Midna and everyone within a 12-mile radius explains why we should be pissed in a way that often feels borderline developer-hand-y-- And that’s. Well that’s how Zelda usually is.

It’s justification to commit violence.

--To be clear, I don’t say this in a political sense. I mean it in the very literal “hit/kill a guy“ sense. And in all honesty, that’s kinda inherent to the ethos of action games. We enjoy catharsis-- We enjoy taking down big things, it’s satisfying! I’ve played a little Hyrule Warriors-- Loved the feel of it. Violence is inherent to even the most benign of action games, and it is what it is.

Where it falls short for me, is that with Zant, I don’t feel like I’m taking down some great foe that I should justifiably hate.

I feel like I’m a clearly more equipped person breaking into a room, and bludgeoning a mentally ill person.

I’m autistic. I may slot in easier to NT society than most, but I am autistic, and it makes me deeply uncomfortable to see something I’ve fucking gone through be used carelessly as flavour for a prelude to violence. I have meltdowns. They’re relatively rare, and mostly in my room, alone, but I’ve also experienced one out in public. It was only sobbing, but there’s a special kind of horror, of humilation in knowing other people, strangers, family, what have you, are seeing it, and all you can think is how much you failed.

I can’t fully articulate why I cried so much during this, quite frankly, menial ordeal. I’m half-embarrassed to even talk about it-- Because then that means caring too much, and I can’t care too much over a poorly-justified character that wasn’t even intended to be sympathised with and that most of the fandom laughs at. And I can’t say I blame them.

I guess at the end of the day it comes down to the ever-present pity; some strange, childish commiseration I’d indulged in ever since I was six and cooing over Bowser and how awful everything was for him, that despite my continuous efforts, I can’t ever seem to explain.

I didn’t like the Zant fight. It felt empty,

And all did was sweep cobwebs and try to turn back.

[destiny-smasher]

Life is Strange: True Colors

Leading up to the release of Episode 1 of TellTale's The Walking Dead game, I was working freelance for GameRevolution at the time, lived in the area, and had the chance to play a build of the game to write a preview on it. I remember comparing it to Mass Effect because, at the time, there just...weren't games of that subgenre. Of course, by now we've seen an explosion of this type of game - the 'narrative/choice-driven game,' spearheaded and even oversaturated by Telltale to their own demise.

Out of all of the games that have come from that initial boom, Life is Strange by DontNod was and still is the most influential on my life, but I also have always harbored really conflicted feelings about it - especially with how it resolved its narrative. Hell, if you're reading this, you're probably aware that I spent a few years of my life creating a sequel fanstory which I even adapted a chunk of into visual novel format. Hundreds of thousands of words, days and days of life spent essentially trying to process and reconcile my conflicted feelings about this game's conclusion(s). Since then, I've been experimenting with interactive fiction and am currently developing my own original visual novel using everything I've learned from both creating and playing games in this genre. It's a subgenre of game I have a lot of interest and passion for because, when handled well, it can allow a player to sort of co-direct a guided narrative experience in a way that's unique compared to strictly linear cinematic experiences but still have a curated, focused sense of story.

Up until this point, I've regarded Night in the Woods as probably the singular best game of this style, with others like Oxenfree and The Wolf Among Us as other high marks. I've never actually put any Life is Strange game quite up there - none of them have reached that benchmark for me, personally. Until now, anyway.

But now, I can finally add a new game to that top tier, cream of the crop list. Life is Strange: True Colors is just damn good. I'm an incredibly critical person as it is - and that critique usually comes from a place of love - so you can imagine this series has been really hard to for me given that I love it, and yet have never truly loved any actual full entry in it. I have so many personal issues, quibbles, qualms, and frustration with Life is Strange: with every individual game, with how it has been handled by its publisher (my biggest issue at this point, actually), with how it has seemingly been taken away from its original development studio, with how it chooses to resolve its narratives...

But with True Colors, all of those issues get brushed aside long enough for me to appreciate just how fucking well designed it is for this style of game. I can appreciate how the development team, while still clearly being 'indie' compared to other dev teams working under Square-Enix, were able to make such smart decisions in how to design and execute this game. Taken on its own merits, apart from its branding, True Colors is absolutely worth playing if you enjoy these 'telltale' style games. Compared to the rest of the series, I would argue it's the best one so far, easily. I had a lot of misgivings and doubts going in, and in retrospect, those are mostly Square-Enix's fault. Deck Nine, when given the freedom to make their own original game in the same vein as the previous three, fucking nailed it as much as I feel like they could, given the kinds of limitations I presume they were working within.

I'm someone who agonizes every single time there is news for Life is Strange as a series - someone who essentially had to drop out of the fandom over infighting, then dropped out of even being exposed to the official social media channels for it later on (I specifically have the Square-Enix controlled channels muted). I adore Max and Chloe, and as a duo, as a couple, they are one of my top favorites not just in gaming, but in general. They elevated the original game to be something more than the sum of its parts for me. And while I have enjoyed seeing what DontNod has made since, it's always been their attention to detail in environmental craftsmanship, in tone and atmosphere, which has caught my interest. They're good at creating characters with layers, but imo they've never nailed a narrative arc. They've never really hit that sweet spot that makes a story truly resonate with me. Deck Nine's previous outing, Before the Storm, was all over the place, trying to mimic DontNod while trying to do its own things - trying to dig deeper into concepts DontNod deliberately left open for interpretation while also being limited in what it could do as a prequel.

But with True Colors, those awkward shackles are (mostly) off. They have told their own original story, keeping in tone and concept with previous Life is Strange games, and yet this also feels distinctly different in other ways.

Yes, protagonist Alex Chen is older than previous characters, and most of the characters in True Colors are young adults, as opposed to teenagers. Yes, she has a supernatural ability. And yes, the game is essentially a linear story with some freedom in how much to poke around at the environment and interact with objects/characters, with the primary mechanic being making choices which influence elements of how the story plays out. None of this is new to the genre, or even Life is Strange. But the execution was clearly planned out, focused, and designed with more caution and care than games like this typically get.

A smaller dev team working with a budget has to make calls on how to allocate that budget. With True Colors, you will experience much fewer locales and environments than you will in Life is Strange 2. Fewer locations than even Life is Strange 1, by my count. But this reinforces the game's theming. I suspect the biggest hit to the game's budget was investing in its voice acting (nothing new for this series) but specifically in the motion capture and facial animation.

You have a game about a protagonist trying to fit in to a small, tightly knit community. She can read the aura of people's emotions and even read their minds a little. And the game's budget and design take full advantage of this. You spend your time in a small main street/park area, a handful of indoor shops, your single room apartment. It fits within a tighter budget, but it reinforces the themes the game is going for. Your interactions with characters are heightened with subtle facial cues and microexpressions, which also reinforces the mechanic and theming regarding reading, accepting, and processing emotions. And you get to make some choices that influence elements of this - influenced by the town, influenced by the emotions of those around you, which reinforce the main plot of trying to navigate a new life in a small town community.

When I think about these types of games, the conclusion is always a big deal. In a way, it shouldn't be, because I usually feel it's about the journey, not the destination. And as an example, I actually really dislike the ending of the original Life is Strange. I think it's a lot of bullshit in many ways. The setpiece is amazing and epic, sure, but the actual storytelling going on is...really hollow for me. Yes, the game does subtly foreshadow in a number of ways that this is the big choice it's leading up to, but the game never actually makes sense of it. And the problem is, if your experience is going to end on a big ol' THIS or THAT kind of moment, it needs to make sense or the whole thing will fall apart as soon as the credits are rolling and the audience spends a moment to think about what just happened. When you look at the end of Season 1 of Telltale's The Walking Dead, it's not powerful just because of what choice you're given, but because through the entire final episode, we know the stakes - we know what is going to ultimately happen, and we know the end of the story is fast approaching. All of the cards are on the table by the time we get to that final scene, and it works so well because we know why it's happening, and it is an appropriate thematic climax that embodies the theming of the entire season. It works mechanically, narratively, and thematically, and 'just makes sense.'

The ending of Life is Strange 1 doesn't do that, if you ask me. The ending of most games in this genre don't really hit that mark. When I get to the end of most game 'seasons' like this, even ones I enjoy, I'm typically left frustrated, confused, and empty in a way.

The ending of True Colors, on the other hand, nails everything it needs to. Handily, when compared to its peers.

If you're somehow reading this and have not played this game but intend to, now is probably where you should duck out, as I will be

discussing SPOILERS from the entire game, specifically the finale.

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Firstly, since I don't know where else to put this, some criticisms I found with the game. And honestly, they're all pretty damn minor compared to most games of this type.

Mainly, I just wish the whole Typhon thing was handled a bit more deliberately. It's a bit weird to do the 'big evil corporation' thing (especially when a big corporation like Square Enix occupies as much as or even more of the credits to this game than the people who actually MADE it?) without offering more explanation and subtlety. The game certainly makes some efforts but they're mostly small and mostly optional, like background chatter or a handful of one-off bits of documentation/etc. you can find in the environment. I feel like Diane in particular needed to be fleshed out just a little bit more to really sell us on how and why things like this happen, why corporations make decisions that cost people their happiness, security, and lives and they just get to keep on doing it. I think just a little bit that is unavoidable to the player that puts emphasis on maybe how much the town relies on the money/resources Typhon provides would've helped. Again, this is minor, but it stands out when I have so little else to critique.

I would've liked to get more insight on why Jed is the way he is. No, I don't think we really needed to learn more about his backstory, or even really his motivations. I think we get enough of that. I just think it would've been great to somehow highlight more deliberately how/why he's built up this identity overtop of what he's trying to suppress. Maybe even just having Alex internally realize, "Wait, what the hell, Jed has been hiding these emotions and my powers haven't picked up on it?" or something to that effect could have added an extra oomph to highlight how Jed seems to be coping with his emotions by masking/suppressing them. Also really minor complaint, but again...there's not much else here I can think to really improve on within the confines of what's in the game.

The game doesn't really call Alex's power into question morally. Like. Max has an entire meltdown by the end of her story, second-guessing if she's even helped anyone at all, if she has 'the right' to do so, how her powers might be affecting or expressing her own humanity and flaws...this story doesn't really get into that despite a very similar concept of manipulating others. There's like one bit in a document you can choose to read in Alex's 'nightmare' scene, but that's really it. I feel like this sentiment and how it's executed could have easily been expanded upon in just this one scene to capture what made that Max/Other Max scene do what it did in a way that would address the moral grayness of Alex's powers and how she uses them, and give players a way to express their interpretation of that. Also, very small deal, just another tidbit I would've liked to see.

When I first watched my wife play through Episode 5 (I watched her play through the game first, then I played it myself), I wasn't really feeling the surreal dreamscape stuff of Alex's flashbacks - which is weird, because if you're read my work from the past few years, you'll know I usually love that sort of shit. I think what was throwing me off was that it didn't really feel like it was tying together what the game was about up until that point, and felt almost like it was just copying what Life is Strange did with Max's nightmare sequence (minus the best part of that sequence, imo, where Max literally talks to herself).

But by the time I had seen the rest of the story, and re-experienced it myself, I think it clicked better. This is primarily a story about Alex Chen trying to build a new life for herself in a new community - a small town, a tightly knit place. Those flashbacks are specifically about Alex's past, something we only get teeny tiny tidbits of, and only really if we go looking for them. I realized after I gave myself a few days to process and play through the game myself that this was still a fantastic choice because it reinforces the plot reasons why Alex is even in the town she's in (because her father went there, and her brother in turn went there looking for him), and it reinforces the theme of Alex coming to accept her own emotions and confront them (as expressed through how the flashbacks are played out and the discussions she has with the image of Gabe in her mind, which is really just...another part of herself trying to get her to process things).

By the time Alex escapes the mines and returns to the Black Lantern, all of the cards are on the table. By that point, we as the audience know everything we need to. Everything makes sense - aside from arguably why Jed has done what he has done, but put a pin in that for a sec. We may not know why Alex has the powers she does, but we have at least been given context for how they manifested - as a coping mechanism of living a life inbetween the cracks of society, an unstable youth after her family fell apart around her (and oof, trust me, I can relate with this in some degree, though not in exactly the same ways). And unlike Max's Rewind power, the story and plot doesn't put this to Alex's throat, like it's all on her to make some big choice because she is the way she is, or like she's done something wrong by pursuing what she cares about (in this case, the truth, closure, and understanding).

When Alex confronts Jed in front of all of the primary supporting characters, it does everything it needs to.

Mechanically: it gives players choices for how to express their interpretation of events, and how Alex is processing them; it also, even more importantly, uses the 'council' as a way of expressing how the other characters have reacted to the choices the player has made throughout the game, and contributes to how this climax feels. We're given a 'big choice' at the end of the interaction that doesn't actually change the plot, or even the scene, really (it just affects like one line of dialogue Alex says right then) and yet BOTH choices work so well as a conclusion, it's literally up to your interpretation and it gives you an in-game way to express that.

Thematically: the use of the council reinforces the game's focus on community; and the way the presentation of the scene stays locked in on Alex and Jed's expressions reinforces its focus on emotion - not to mention that the entire scene also acts as a way to showcase how Alex has come to accept, understand, and process her own emotions while Jed, even THEN, right fucking at the moment of his demise, is trying to mask his emotions, to hide them and suppress them and forget them (something the game has already expressed subtly by way of his negative emotions which would give him away NOT being visible to Alex even despite her power).

Narratively: we are given a confrontation that makes sense and feels edifying to see play out after everything we've experienced and learned. We see Alex use her powers in a new and exciting way that further builds the empowering mood the climax is going for and adds a cinematic drama to it. No matter what decisions the player makes, Alex has agency in her own climax, we experience her making a decision, using her power, asserting herself now that she has gone through the growth this narrative has put her through. Alex gets to resolve her shit, gets to have her moment to really shine and experience the end of a character arc in this narrative.

Without taking extra time to design the game around these pillars, the finale wouldn't be so strong. If they didn't give us enough opportunities to interact with the townspeople, their presence in the end wouldn't matter, but everyone who has a say in the council is someone we get an entire scene (at least one) dedicated to interacting with them and their emotions. If they didn't implement choices in the scene itself, it would still be powerful but we wouldn't feel as involved, it'd be more passive. If they didn't showcase Alex's power, we might be left underwhelmed, but they do so in a way that actually works in the context through how they have chosen to present it, while also just tonally heightening the climax by having this drastic lighting going on. If they didn't have the council involved, we'd lose the theming of community. If they didn't have the foil of Alex/Jed and how they have each processed their emotions, we'd miss that key component. And if we didn't have such detailed facial animations, the presentation just wouldn't be as effective.

Ryan/Steph are a little bit like, in this awkward sideline spot during the climax? Steph always supports you, and Ryan supports you or doubts you conditionally, which is unsurprising but also ties into the themes of Ryan having grown up woven into this community, and Steph being once an outsider who has found a place within it. They're still there, either way, which is important. The only relevant characters who aren't present are more supporting characters like Riley, Ethan, and Mac. Ethan being the only one of those who gets an entire 'super emotions' scene, but that also marks the end of his arc and role in the story, so...it's fine. Mac and Riley are less important and younger, as well, and have their own side story stuff you have more direct influence on, too.

But damn, ya'll, this climax just works so well. It especially stands out to me given just how rarely I experience a conclusion/climax that feels this rewarding.

And then after that we get a wonderful montage of a theoretical life Alex might live on to experience. Her actions don't overthrow a conglomerate billionaire company. She doesn't even save a town, really. If the entire council thinks you're full of shit, Jed still confesses either way - because it's not up to the council whether he does this, it's because of Alex, regardless of player choice. Honestly, even after a playthrough where I made most choices differently from my wife, there weren't really many changes to that montage at the end. It'd have been great if it felt more meaningfully different, but maybe it can be. Even if not, the design intent is there and the execution still works. It's a really nice way to end the story, especially since it's not even a literal montage but one Alex imagines - again, her processing what she's gone through, what she desires, expressed externally for us to see it. And for once, the actual final 'big decision' in a game of this type manages to be organic, make sense, and feel good and appropriate either way. You choose to either have Alex stay in Haven Springs and continue building her life there, or you can choose to have her leave and try to be an indie musician, with the events of the game being yet another chunk of her life to deal with and move on from (I haven't really touched on it, but music, especially as a way to express and process emotions, is a recurring thing, much like photography was in the original game, or Sean's illustrations in LiS2). For once, a climactic 'pick your ending' decision that doesn't feel shitty. It's pretty rare for this genre, honestly.

I could - and already have, and likely will - have so much more to say about this game and its details, but I really wanted to focus on touching upon a main element that has left me impressed: the way the entire game feels designed. It feels intentionally constructed but in a way that reinforces what it is trying to express as a story. It's not just trying to make people cry for the sake of 'emotions.' It is a game literally about emotions and it comes to a conclusion in a way that is clearly saying something positive and empowering about empathy and self-acceptance.

Storytelling is a craft, like any other, and it entails deliberate choices and decisions that can objectively contribute to how effective a story is for its intended audience.

A good story isn't something you find, after all.

It's something you build.

[horansqueen]

Stuck With You - Chapter 21

Chapter 21: Tell Me

🡪chapter 1  🡪chapter 2  🡪chapter 3  🡪chapter 4  🡪chapter 5  🡪chapter 6   🡪chapter 7  🡪chapter 8  🡪chapter 9  🡪chapter 10  🡪chapter 11 🡪chapter 12 🡪chapter 13 🡪chapter 14 🡪chapter 15 🡪chapter 16 🡪chapter 17 🡪chapter 18 🡪chapter 19 🡪chapter 20

College Enemies To Lovers AU

characters // masterlist // instagrams // mood board

Tell me what it's like to be with you Remind me of the things we use to do And tell me that this time will never end Tell me what it's like, tell me again

Everytime you stay It never feels quite the same And everytime you go It hurts a way you'll never know

Everything I fear Shows itself everytime you're here And everything I know (I know) Leaves with you everytime that you go

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NIALL

                                               It was not easy to ignore her. I had spent days doing exactly that but now that she had pushed me away, I couldn't do it anymore. I felt like a creep whenever I'd find myself staring at her for a bit too long. How could I just forget about her and pretend that nothing had happened between us? How could I just pretend I didn't care about her anymore? That I didn't think about her all the time? That I didn't have feelings for her? It felt completely stupid to go on with my life as if she hadn't been the most important part of it in the last few weeks... as if she was not still a big part of it.

I looked at her as she walked out of our class, laughing with Daxia and Asher about something I didn't hear. She raised her nose up in a grimace and giggled a bit more but I just pushed my hands in my pockets, remaining motionless as she left. She was better than me at pretending, and if I couldn't remember the way she had kissed me in the elevator, or the way she had looked at me when she found out I paid half her rent, I would believe her. Luckily (nor not?) I could clearly remember all of it. The way she had ground on my thighs as we kissed deeply and how she had whimpered when my cock had swollen between her legs... The way she let me touch her, the way she sucked on my tongue when we kissed in our room... but most of all, the way her eyes fluttered when I placed soft and slow kisses on her lips after my claustrophobic crisis... the way she had looked so hurt and sad whenever I left for whatever reason... the way I could hear pain in her voice every time I rejected her. It was all those things that kept hope alive inside me. You can't just forget about someone like that, right? Not someone who had that effect on you, no, I didn't want to believe it.

I waited, hopeful that maybe she'd glance back, giving me just enough fuel to keep hoping for something, but she didn't, and I ended up walking back to my room only to grab my guitar and my notebook. I scribbled a few words quickly, the first things that came to my mind when I thought about Devon, and found a melody just as fast.

I stared at some of the words written and felt my eyes flutter as I breathed in. I tried to stop the tears and swallowed them hard before clearing my throat and rubbing my eyes. It couldn't be the end, I didn't want it to be, and now that Devon was ignoring me the way I had ignored her, I couldn't help but hate myself, knowing it was what I actually put her through, and probably even worse.

I took my phone and snapped a picture of my notebook and my guitar, wondering how Devon would have taken the picture and knowing it would definitely have looked better than the one I was now posting on instagram, but it didn't matter. Somehow, I wished she would see it and realize it was for her, but I knew there was only a tiny chance for that. I hesitated but added a few words from the song I had just written in the description part and blinked a few times staring at it, wondering if it was a mistake.

"Every time we get this close, It's always pulling us apart."

--

Turns out Devon didn't like the picture or commented on it. I was not really expecting it but I was hoping for it, but if I knew one thing about Devon now, it was that she was really stubborn. It was not what emanated from her the most, in my opinion, and it wasn't as important as her intensity, her feelings, her fiery, her empathy and her sensitivity, but it was still a part of her that I couldn't deny. I couldn't blame her, most artists were stubborn, I was slightly entitled myself, but her stubbornness was strong and I liked it, even if it caused a problem at that exact moment.

When Lewis invited me home to watch the game, I almost refused. I wanted to see Devon, but she had asked not to see me, and it would have been wrong of me to go to her place, knowing she didn't want me around her. I wanted to respect her and what she wanted, even if I was desperate for a conversation with her. I knew I couldn't force her to have feelings for me, or to act on them. It was on her, and begging her or harassing her wouldn't change anything. In fact, it would make things worse and anyway, it was not the kind of things I did. If Devon ended up giving me a chance, it would be her decision, the same way it was my decision to push her away and not take all the chances she already gave me. A bad decision, but it was all mine.

I finally accepted when Lewis told me Devon was leaving for the evening and even if I was disappointed, I didn't show it or mention it. I couldn't stop wondering where she was going and with who as I drove to my friend's and when I parked. I stayed for a few minutes, sitting behind the wheel, trying to stop the erratic beatings of my heart. I hadn't felt like that for so long. It felt like a heartbreak all over again, except this time, the whole break up was my fault and the problem was me. I leaned my forehead on the wheel and sigh until I heard someone chuckle.

"Are you napping before the game?"

I sat up and leaned my head on the bench before sighing loud enough for Louis to hear.

"You’re here for Devon, I'm guessing." I just let out without enthusiasm, not even looking at him.

"Nop, I'm here because Lewis invited me to watch the game."

It made me frown and I turned my head his way as it was still leaning on the bench. "What?"

"Ya head." Louis shrugged, glanced at the door of the building before looking back at me. "I thought Dev was going to watch it with us."

I raised my eyebrows and started my car again, shaking my head slightly as Louis got closer. "Hey, mate, where are you going?"

"Devon doesn't want me near, I'm certainly not going to spend the evening in her vital space and make her uncomfortable." I explained, putting both my hands on the wheel.

"Dev doesn't want you to avoid her."

I sighed again and turned my head only to meet Louis' eyes. "She was pretty clear."

"You know she likes you, right?" Louis raised his eyebrows. "She wants you in her life."

"But she made it clear she didn't want me around. I can't just go with your words, okay? I have to go with hers."

I couldn't pretend it didn't feel good to hear from her best friend that Devon actually liked me, but I was also aware that Louis wanted me happy. He had been taking care of me ever since that story with my ex girlfriend. I didn't know if it was out of guilt or pure friendship but either way, I couldn't deny that he was there for me, no matter what. I had been blabbing and complaining to him every single day since that stupid blind date at the restaurant and even if he was annoyed by all the shit I threw at him, he remained calm and collected, which was a first for him.

"You're right." Louis admitted, taking one last pull at his cigarette and throwing it on the ground. He pushed the smoke out of his lungs on the side to make sure it wouldn't come in my face and licked his lips. "You do give up quite easily though don't you think? She came back every time you pushed her away." he pointed out in a gentle tone.

"No, she didn't." I shrugged a shoulder. "We just ended up being locked together in random places."

"Maybe Lewis' apartment can be that random place."

I moved my head closer to the window and looked up at the building before sighing. "If I have an inkling of a feeling that she's uncomfortable, I'm leaving."

"Good."

I ended up in the elevator with Louis, rubbing my hands on the back of my jeans. I was more and more nervous as we got closer to his apartment and when Lewis opened the door, I felt like my heart was going to jump out of my chest by my throat.

I didn't ask about Devon but she didn't seem to be there and we all sat in the living room with a beer. There were a few guys from some of my art classes too, sitting on the floor, but I decided to sit next to Louis on one of the couches. I finished my beer quite fast and got up to grab an other in the fridge. My heart skipped a beat when I closed the door after grabbing a beer and my eyes got slightly bigger.

"Hey, Devie." I let out in a low tone, swallowing hard as my eyes roamed on her. "Uhm you-you look great."

"No need to lie, Niall." she shook her head with a sigh. "I don't know why I let Daxia convince me to wear things like that, this is so uncomfortable."  She pulled on the bottom of her dress roughly but all it did was show part of her bra. She was leaning a bit and I let my eyes roam on her cleavage for less than a second before looking away.

"You shouldn't do that." I pointed out, clearing my throat. "It's- it's pulling it at the top."

She looked down at her breasts and groaned, letting her head fall back on her shoulders. I had to admit I didn't remember her with that much cleavage and I licked my lips.

"Are you.. are you wearing a push-up bra or something?"

She looked up in my eyes with surprise and her lips parted slightly before she moved her head slowly from left to right. "How did you..." she didn't finish her question and shook her head faster. "That's it. That's enough. I'm getting changed!"

"No wait!"

I grabbed her wrist, two of my fingers and my thumb wrapping around it loosely. She stopped and breathed in, and I wondered if it was because she was annoyed that I stopped her, or annoyed because of that electric feeling that probably crossed her body the same way it had crossed mine at the contact of our skin.

"Devie, you look amazing." I admitted in a low and soft tone as she turned around to face me. I hated thinking she was going on a date, and all the scenarios in my head made my heart sink in my chest, but I couldn't lie to her. I would never lie to her again. "You really do. You look beautiful."

She bit her bottom lip and nodded as I let go of her wrist and she pulled on the top of her dress again to cover more of her breasts.

"I'm sorry, Devie. I know you're leaving but, if me being here bothers you, I can leave."

She looked up again and her eyes met mine. She just shrugged and cleared her throat, looking back at everyone in the living room before turning back to me again.

"No it's okay, I know Lewis is your friend." she shrugged, grabbing her purse on the table. "I'm leaving for the evening anyway, so it doesn't really matter."

I remained silent and pushed my hands in my pockets, holding my breath. Was I allowed to look at her the way I was looking at her?

"A pair of shorts."

"What?" she asked with a frown.

"If you wear a pair of shorts under your dress, it'll bother you less that it's short."

"The problem is mostly that I hate my thighs but I guess you're not wrong." she chuckled, raising her eyebrows. "It's a good idea."

I waited patiently until she came back, walking by the kitchen and waving shyly at me. "Bye Niall, thanks for the tip."

It took me a few minutes to go back to the living room. No one had noticed I had left for a while except for Louis, who turned his head my way as soon as I sat next to him. "Did you tell her?"

"Mm? Tell her what?" I asked, staring at the tv as I leaned my elbows on my knees.

"That you love her."

I turned my whole body his way, now only focusing on him, and shook my head. "No, and I don't plan to." I explained slowly. "Louis, she hates me."

"She doesn't hate you and you know it."

I didn't answer and turned back to the tv for a few minutes and finally leaned my back on the couch. "You think she's gonna shag a guy tonight?" I asked low and a bit sad, looking down at my beer as I turned it in my hands.

"No."

"Why not."

"I know Dev, she's not like that." Louis explained, letting out a sigh. "Would you shag a girl tonight? A girl that's not her?"

"What does it have to do with anything?"

"Dev is a lot like you." he finally confessed. "I'm sure you've noticed before. You two react the same way, you've been through the same things... both of you gave up on love and both of you are completely in love with each other. You stopped having sex with Mandy because Devon is all you think about. Trust me, you're all Devon thinks about, too."

"She told you that?" I asked, closing my eyes and swallowing hard.

"She'd kill me if she found out I told you."

---

An other week without Devon, an other week getting drunk and complaining to Louis. I had missed a few classes and always ended up in the music room to write songs on the piano after everyone had left until very late at night. I would probably get denied the access to that room if they found out I was drowning my pain in vodka, beer and rum while I was composing but I didn't care.

On friday night, Louis had begged me to join him in class. He had asked for the keys to classroom to finish his work and apparently, he wanted me to write a song for him that he'd use. I had never written a song for kids before but I was always ready to try new things. Besides, Louis had been there for me a lot in the past few days and I felt like I owed him at least that.

The days were getting shorter and it was already dark outside. Weirdly, the hall was barely lighted but I noticed the open door of a neon-lit room. I walked in and noticed Louis, sitting on one of the desks. His lips curled when he saw me and I realized I hadn't seen a small classroom like that before.

"Neil, hey, I'm glad you're here." he raised his eyebrows, jumping off the desk and walking to me. "I really need you."

"Yea, of course." I frowned, looking around the room. "I mean we could have worked in my room, or yours?"

"Mm no, we couldn't." he replied, wrapping his arm around my shoulders and bringing me closer into a weird hug. "It really had to be here."

"Okay, you're being weird. It sounds like a bad horror movie. Are you gonna kill me or something?"

Louis chuckled as I looked at him and he took a few steps back, throwing his arms in the air.

"I'd never do that, Niall. You're my best friend!"

I took a step closer when he reached the hall and he moved his hand in front of himself, making me stop immediately. "Wait here a minute or two, okay?"

"Alright."

I sighed and sat on a desk, my guitar on my lap, and let my fingers slide on the strings gently. It's only when I heard a voice in the hall that I looked up and frowned. My heart skipped a beat when Devon walked by the door, her eyes covered with Louis' hands but I frowned and raised my hands up when I noticed Lewis, slightly behind them, who was telling me to keep quiet with a finger on his lips.

"Lou, I hate surprises, you know it." she let out, nibbling on her bottom lip.

Despite all the stress my friends were putting me through, I still found myself thinking about kissing her as my eyes fell on her mouth and I held my breath.

"Keep your eyes closed until I tell you to open them, alright?"

"Mmhm."

Slowly, he removed his hands from her eyes and I stood there, not really knowing what the hell they were trying to do. Devon didn't want to talk to me, she didn't want to be around me or hear about me, and bringing her here was not going to change anything, I knew it. It's only when Louis closed the door and I heard the lock that I understood.

"No!" I Iet out, jumping off the desk as I gripped my guitar tighter. "NO!"

I hit the door a few times without looking back at Devon but I knew that by now, she had understood what was happening. Our friends had decided to lock us in a room without our consent and I could feel myself get dizzy at that thought.

"It's not funny guys! I'm claustrophobic!" I yelled, hitting the door again with the side of my fist. "Let me out!"

"The room is big enough and there's like, five windows, Niall!"

"Yea!" Lewis agreed. "Feel lucky, at first we had thought about the janitor's closet!"

"Guys, it's not cool!" I begged, leaning my forehead on the door. "And it's useless."

"No it's not!" Louis let out as I closed my eyes and groaned low. "Solve your shit! I'm tired to hear both of you talk about each other!"

"Plus, we stole your phones." Lewis let out with a laughter. "I took Devon's when she was not looking and she just thought she lost it. Louis stole yours a few minutes ago."

I frowned and my hand reached for my pocket, realizing he was right and I just rolled my eyes. My heart was beating so hard I was wondering if it would just stop completely at some point. It was not a claustrophobia crisis though, it was just the fact that once again, I was locked with Devon somewhere but this time, the roles were reversed. She was the one who was avoiding me.

"Neil, tell her, okay?"

I didn't answer him. I just licked my lips and turned around, scared of what was going to happen. Devon raised her eyebrows at me and pressed her lips together, her arms wrapped around herself. She tilted her head and I had to swallow the lump in my throat.

"Tell me what?"

-

Request

[mistresseast]

can you explain in more detail why you think the PT weren't good friends for akiren? i'm not asking out of hate or to start drama, i just never interpreted things that way and i'm genuinely curious. i don't think them being brainwashed by maruki makes them "bad friends", but i don't know if that's what you meant either. i'd love to read a proper explanation on this that isn't just people arguing in the notes of that post.

Hi! Yeah, I know the ~discourse~ climate is pretty touchy and not a good place to exchange ideas, so I’ll do my best to put my thoughts on this matter into words. 

Settle in, bc this one is long.

I’ll start off by saying I don’t dislike the PT, nor do I think they’re bad people, and honestly I think they love Joker a lot! Ryuji calling Akira after his fake death and talking about how his ideas on what makes a hero have changed because of Akira genuinely makes me emotional, along with dozens of other scenes with the thieves! They’re good kids who could be really good friends to Akira but that’s not what’s shown in the game. I don’t think it’s controversial to say Akira’s relationships with all of his friends are transactional. That’s kind of the point, all of his confidants arise out of deals, give and take, and in the metanarrative of the game, that’s how it works. You as the player help these characters solve their problems, and through ranking their confidants up, you get access to more gameplay perks. So it’s pretty even!! But like,,Akira, the character, isn’t the player. There’s no in-story mechanic by which he can cash in friendship points for being-good-at-killing-things prizes. Yes, he uses those abilities to not die in the metaverse, but there is no literal, in-universe way to explain how hanging out with someone translates to [insert gameplay perk here]. So you have to look at what is physically happening in the story. Akira hangs out with the PT, stands there while they have drama with another irrelevant character, and then one way or another their problems get solved and they swear to be Akira’s blood brother or whatever. Akira is a crutch for these characters, and they say multiple times that they wouldn’t have been able to do what they did without him. So all of their shit gets handled and Akira gets?? Like actually gets?? What? Inquiries about his well-being? Offers to help him? Questions about his life, his interests? No,,,not really,, But he gets access to a super powerful persona!! Yay!!! Bc everyone knows he’s just a little shadow-killing machine, right? And even the relationships he does get something tangible (as in separate from the mechanics of the game) out of, like Kawakami’s, are built on the notion that if Akira stops providing for whatever reason, the relationship will end. So essentially, Akira is under the pressure of filling whatever role his friends need him in for however long at any time, and he’s been led to believe that if he stops or fails, he will stop receiving any reciprocal care and acceptance.

(And I know this is all gameplay stuff, I know it has to be like this to codify the complicated process of human relationships, I know all of that, I’m just trying to find a deeper layer bc that’s what I do.)

This whole thing comes into pretty clear focus for me during the third semester when you visit everyone in the false reality. Everyone is happy to see him, of course, but they’re clearly wrapped up in their own happiness. Which is understandable, again, I’m not saying the PT need to be attached to Akira to be good friends, but it all still feels off to me.

If they know Joker, then they’d know it’s weird that he just shows up and starts asking these pointed questions while they’re in the middle of something. All of their other interactions with him have been led by them. Yeah, Joker approaches them bc the player has decided to hang out with them, but the other character always chooses the activity and leads the discussion. Akira showing up out of nowhere and asking them to “remember” and “move on” and whatnot should be raising some major red flags. And it clearly does, since their memories do start to return, but they’re all too scared of losing their happiness that they nope out of the conversation as soon as possible, without stopping to consider why Joker might be trying to reach out to them like that. They’re his friends; they should know he wouldn’t just be trying to hurt them or make them unhappy. After all, their entire relationship with him up til that point has been exclusively about Joker trying to help them. This doesn’t make the PT bad people, running away is a totally natural reaction in that situation. They’re just kids, and their minds have been manipulated to a point, but it’s not like they don’t remember Joker or the way they’ve grown since meeting him. In fact many of them mention how much they’ve matured recently, but they never actually relate that back to Akira, despite him being the primary driving force behind most of their personal arcs, even though they definitely remember him. Translation vagueness or deliberate nod to the idea that the PT don’t actually credit Akira with all the hard work he did after their initial lip service? Hmmm. Anyway, their failure to recognize that Joker is struggling just demonstrates to me what was set up all throughout their confidant links, that their relationships are transactional and that they don’t necessarily consider Joker and his individual needs outside of what he provides for them. And when they no longer need him bc that hole has been filled, he simply doesn’t occupy the same place of importance in their lives. 

Makoto’s flashback in particular stood out to me, bc it was from a moment where she was specifically talking about feeling like she finally found a place to belong with the Phantom Thieves (and by extension, with Joker), but then she desperately tries to brush it off. Obviously that sense of belonging wasn’t meaningful enough to her for her to want it back. And I’m not blaming her, of course, any teenager would choose to have their father back over being in a vigilante group lmao, I just thought it was telling that the devs decided to show us a scene that was originally meant to be heartwarming as an example of the harsh reality Makoto wants to forget. All of the flashbacks are from defining moments for the thieves, but that one specifically got me like *thinking emoji*

So his friends are hesitant, despite the fact that they must know something is wrong. It’s understandable, they all stand to lose a lot if someone messes with the status quo. I genuinely don’t think I would react any differently. But there is someone who reacts differently and against his own self-interest. It’s Goro, the one who has arguably the most to lose, who doesn’t turn away from Akira. He seeks Akira out and teams up with him to uncover what’s really going on, even though he has every reason to believe that prodding too deep will literally mean the end of his life. He forces Akira and himself to face the truth because he knows anything else would just be an insult to what they’ve suffered so far. He’s the only one who never flinches, and that, more than any of his friends’ come-to-jesusing (which Akira still has to initiate) is what Akira needs in that situation. For the first time (outside of the brief instances in the tutorial levels), we see a situation where Akira is actually the dependent one, the one who needs help, who needs support. And the only one who has ever provided that, unconditionally, without demanding anything in return, is Goro. I could go into how Goro’s confidant blows all of the others out of the water in terms of building both himself AND Akira as characters, but it’s been said already and by smarter people than me. But basically, despite competition being a core theme of their relationship, Goro is the only character who is portrayed as Akira’s equal. Their contests are all in the name of improving not just Goro, but Akira too. Goro is the only character who expresses an interest in Akira’s inner life and development, and as such he knows Akira better than anyone else. So when Maruki tries to trap them all in a gilded birdcage, Goro won’t stand for it and he knows Akira won’t stand for it either. That’s why he’s so betrayed if you choose to accept the dreamworld. You’re negating the basis of your entire relationship with him and going against your own principles. Out of every character in the game, the one who knows Akira best and refuses to abandon him even when that could mean his own death is Goro Akechi.

I want to reiterate: I do not hate or even dislike the PT!! And tbh I don’t really think they “abandoned” Akira. That post, imo, is supposed to be kind of hyperbolic. Unless it’s referring to how many of them literally sprint away when he comes to talk to them lol. I look at it more like a commentary on how thoughtlessly the PT act as soon as their wishes are granted. I know it’s set up linearly for story purposes, but isn’t it kind of sad how no one checks up on Akira in the week he’s going around talking to people? Especially after he’s been acting so comparatively weird? It’s not unusual that they might be caught up in other stuff, but while you’re going around and visiting everyone, you don’t get a single text or call from ANY of the thieves, for a whole week!! Goro even comments on it directly with his pointed little “I’m sure you’re just as close as you were before” comment. God, he’s such a bitch. Ultimately, the PT do get their acts together, and it’s partially out of the realization that Akira is struggling alone against something and needs their help, which I love and appreciate. I think they are good friends who want to support Akira, but they can’t understand him past the role they’ve placed him in, and until they do, they’ll never be able to be what he needs. Akira loves his friends and knows he can rely on them in most ways, but those relationships will always be dogged by the pervasive fear that he must constantly earn the right to have the relationship at all. What he needs MOST is someone he doesn’t have to perform for, and from what we see in the game, none of the thieves fit that bill. Except Goro. 

I know this was long and rambly and probably pretty disjointed but I wanted to be as thorough as possible and all of my thoughts just sort of gushed out. Obviously ymmv about all of this depending on how you interpret the game, but this is what I arrived at thanks to my analysis so this is what I have for you! Thank you for coming to my Ted Talk

[flowerslightning]

Have you heard about PFA and MFA?

or the full name is ‘Psychological First Aid’ (PFA) and ‘Mental Health First Aid’ (MFA)

Can we relate it with Cloud Strife? As we all know, Cloud had mental illness and was struggling alone. Let’s take a quick look on this topic then and see if characters in FF7 ever give PFA/MFA to Cloud or to each other. This is going to be a looooong post although I tried to simplified it, so, yeah. Good luck reading this !

Disclaimer : I’m not a psychologist. I’m still a student and psych is not my major field. During my intern, other than we got exposed a lot about psychiatric disorders and ways to deal with them, we also got trained psychological first aid in emergency department. If it wasnt because of this quarantine, i would have finished my training in emergency field. There might be false interpretation here or there, forgive me for that and pls correct any mistake in this post

This will probably trigger LTD. Sorry, but I had to, Pls read this post with open mind. Keep in mind I like both Tifa and Aerith, i have no grudges agaisnt Barret, Vincent, Nanaki or Cid so I am not being bias with any of them. I forgot a lot of stuff in OG (I played it when I was really really small), so I will be using lots FF7R and AC references here (and a bit from OG, depends whatever I remember)

Good to go? Allow me to rant. Read it slowly and if u skip some of it, u’ll probably mislead my actual words, and u’ll be triggered af. Don’t come at me with madness if u dont read the whole post properly

What is PFA and MFA? Generally speaking, if Basic First Aid is about covering the wound to prevent further bleeding, then PFA (Psychological First Aid) and MFA (Mental Health First Aid) is like applying a bandage on ur mental to avoid u continue being distress. 

Usually, PFA is often associated with disaster event or terrorism, where large number of people got affected. Meanwhile, MFA focus in one person who is developing mental health prob or already in mental crisis due to certain traumas, such as vehicle accident, house burned and etc

 Pls note that, certain people NEED MFA while the others may NOT NEED it. It is important to respect their needs/wants. Some victims may refuse verbally but they ACTUALLY NEED it (CLOUD STRIFE) and maybe some victims look like they dont need it, but they want it, and its super fine to give it

PFA/MFA not only done by the professionals and it is not a professional counselling, although necessarily training is needed if u want to approach deeper in this field. PFA/MFA is also not a psychological ‘debriefing’ - in which MFA/PFA doesnt need to involve a detailed discussion of the trauma event with the victim, but instead, it is an alternative way to psychological debriefing that helps for long-term recovery. (unless if ure a pscyhiatrist, then u have to forget about MFA and ask detailed questions regarding the events to help the patient to recover)

MFA and PFA both almost the same, but I will mention more about MFA here.

MFA (Mental Health First Aid) is not just about comforting “Oh, are u alright. I’m sorry for what u’ve been through”, but it is also about assessing their needs and concerns, protecting them from harm, provide practical support and support them feeling able to help themselves and others.

The main key for these two term is RESPECT - respect victim’s dignity, respect both parties safety and respect victim’s rights to make decision. Even without the PFA, we should respect these three in whatever circumstance we are in. 

A lot of us honestly were born with natural skill of MFA bcause of our own empathy, instinct or experiences and some got trained professionally. Some of them already had MFA due to high common senses they have.  

Some of the Do’s and Dont’s when giving MFA include;

Do’s : 1. Be trustworthy | 2. Respect their decision | 3. Be aware of and set aside ur bias | 4. Make it clear to them u are available for help even they push u away | 5. Respect their privacy and personal space | 6. Do remain calm and soft when the person in distress | 7. Listen and don’t interrupt their talking | 8. Help in terms of basic needs | 9. Create connection the person with others | 10. Give hope to them | 11. Provide private place to talk about the event | 12. Respect their strenght | 13. Advice small necessary matters or give simple words of encouragement | 14. Acknowledge positive features of what victims have done

Dont’s : 1. Rush in whatever the thing theyre doing with u | 2. Be dismissive | 3. Make promises u know can’t keep | 3. Ask anything in return for helping them | 4. Exaggerate ur skills | 5. Force help on people, being pushy | 6. Pressure them to tell their story | 7. Judge that person | 8. Put the person in risk of harm as result of ur actions | 8. Force them to accept ur idea/Listening to ur rant | 9. Talk rough | 10. Being bias with the people | 11. Touching that person too much | 12. Talk with the person in negative terms | 13. Abandon the person’s feeling

To simplify, there are 3 ways for MFA to begin, and I will only talk about one of them, the one that is the hardest to do, that is when u notice someone looks distressed and ure concern about them, and leading u to approach them first without them noticing ur concern. [Am I putting the right words here?]

In Cloud’s case, who do u think the first noticed Cloud behaved oddly and went to help him first ? - yeah Tifa. U probably would say “OFC she went to help him, she met him first at the train station. That guy looked sick af, who wouldnt ask if he was alright. If Aerith/Yuffie/Jessie met him first, they would do the same”. Okay guys, that was not my point. 

Let’s focus one by one characters and see what Do’s and Dont’s MFA (Mental Health First Aid) they’ve done to Cloud and other charas. Keep in mind, none of them know what Cloud had gone through, but Cloud had showed some obvious sign he was unwell and only a few of them noticed that and took action for it. 

The symbol [X] means the Dont’s in MFA and ( ✔) means the Do’s in MFA.

Biggs Jessie Wedge -

I know there’s a thing about man helping man’s psychology and Jessie being flirty with a guy.They [X] thought Cloud was like how they saw Cloud. and they considered it as normal. They didnt see Cloud under distress so they dont have the need to concern his mental status. The good thing about them was, the three of them (✔) respect Cloud’s strenght, giving Cloud the confident to be in action. But, Jessie [X] had zero respect on Cloud’s personal space

I wanna highlight about Biggs. Biggs had an attitude of overthinking stuff, but it wasnt so bad that would cause him harm, he just cared too much about his friends. So I believe Biggs was the type that would notice immediately when his friend being strange and would give MFA (Mental Health First Aid) with his own instinct even without the person asking it.

During the Sector 7 Plate attack, where Biggs was severely injured, when Cloud said he was not a fan of kids and Biggs said Cloud had so much in common (in common of what? Cloud with the kids or Cloud with him?), Cloud gave him ‘a sad look’ and Biggs reached out his hand to Cloud’s head. Biggs (✔) remain calm and soft when dealing with Cloud’s feeling (who faced traumatic event but Biggs didnt know about it) on that moment despite his current physical status. And also he (✔) wished goodluck to Cloud, leading to prevention distress on Cloud

Marle -

Marle [X] judged Cloud for someone who had no skills, but she entrusted Cloud to take care of Tifa’s well being. Not knowing who Cloud was, Marle noticed Cloud looked glum, she (✔) offered her ear for Cloud to rant and knew right away he was not having enough sleep, then (✔) advising him to sleep more . Lol, she was [X] biased with Cloud and Tifa. Not her fault, she only knew Tifa’s story, not Cloud’s. After the Sector 7 plate fall, we saw her being the most active member to help with the remaining citizens there. Marle without a doubt had given the citizens there PFA (Psychological First Aid) , by helping them with their (✔) basic needs, (✔) create connections, (✔) put away bias, (✔) remain calm and soft. 

Barret Wallace -

Barret was the same like Biggs Jessie Wedge. I’m sure Barret thought Cloud was just fine. Barret saw Cloud as a mercenary with stinky attitude,[X] judging him like that causing Barret to gave him the same attitude too. But overall, he (✔) respected Cloud’s strength a lot

However, after the Sector 7 plate fall, Tifa and Barret were the one that hurt (mentally) the most, Tifa as usual locking her emotions, there we could see how Barret comforting Tifa by (✔) giving words of encouragement and proceed on (✔) hugging her to show his empathy. Barret also (✔) remain calm and soft spoken when talking to the survival victims of Sector 7 citizens. He also (✔) acknowledged what the citizens had done to survive

Vincent Valentine - 

Don’t be surprise Vincent was listed here. This guy here was like another version of Cloud but more mature. In addiction, they both kinda share the same pain. So, I personally think Vincent understands Cloud pretty well. In AC, where Cloud was mentally ill, Vincent saved Cloud from Kadaj and brothers and (✔) took him to safer place. That was a common thing to do. But let’s go deeper, Cloud never told him about himself, but Vincent already  (✔) aware of Cloud’s trouble with the geostigma stuff and Cloud’s current mental status. Vincent, (✔) calm and soft like always (✔) didnt hesitate to asked if all of these were just about ‘fighting’ and it made Cloud to ‘re-think’ further about his problem. He (✔) didnt pressure Cloud here, instead he was (✔) helping Cloud to understand the condition he was facing, and this lead Cloud to avoid distress.

Aerith Gainsborough -

I know Aerith was special. She was an important character and devs created her to be ‘loved’ by the fans so that her death would be tragic. Aerith did almost all the things that shouldnt be done when giving MFA to mentally ill person. Some of u may say “Duh, Aerith didnt know anything about Cloud thus she had no intentions of giving him MFA”. Yup, ure right. Aerith didnt know about Cloud’s mental status but so as all the other characters in the series. 

Aerith was [X] being pushy with Cloud, in lots of ways, from making him as a bodyguard for free to forcing him to wear a dress. She [X] forced Cloud to accept her idea about meeting Andrea, dance and gown. She also [X] forced Cloud to help picking the flowers. Aerith [X] didn’t let Cloud to have his own decision [X] neither giving him a chance to talk,  and [X] abandon his feelings (cough..uhm, Aerith resolution). She also had [X] no respect on Cloud’s personal space and [X] too much touching and leaning to him. Aerith also [X] put herself in danger and that worried Cloud.  She [X] looked down on Cloud in someways too

However, at the Sector 5 slum, where the hooded man appeared, Aerith noticed Cloud was having trouble with himself, she (✔) encouraged Cloud to keep himself together. Also, throughout the entire game, Aerith always remind the team to (✔) have hope in everything. Her positive vibrant attitude was what (✔) made everyone able to believe in themselves. She also (✔) ensure Marlene’s safety and protected her. She was able to (✔) remain soft and calm when approaching Marlene. Remember Betty? Aerith took her time to helped her out and she even (✔) respected the little girl’s strength, (✔)slow and steady when saving her and (✔)soft spoken

Tifa Lockhart -

Tifa met Cloud at the train station, saw him being ‘not-so-fine’ state despite Cloud claiming he was completely okay. Tifa didn’t know what Cloud had gone through and  she (✔) didn’t pressure him to talk about it. She even helped him to (✔) find a place to sleep even when Cloud never asked for it. Tifa unconsciously was the first person to give Cloud MFA without knowing what Cloud had faced previously. And Cloud, on that moment, he really needed a help. Tifa also (✔) stated that if Cloud need anything, she would help him with it

Tifa (✔) remain calm everytime Cloud had sudden headache, she didn’t leave him alone and (✔) didnt put any pressure on him by asking question. During the (✔) Alone At Last, they had privacy Tifa asked about what happened after he left Nibelheim. She (✔) listened and didnt interrupt him, (✔) neither pushing him to talk more. Moreover, Tifa (✔) put a distance with Cloud, dunno if she was the one who was being uncomfortable or she actually (✔) respect Cloud’s personal space and privacy. Tifa (✔) didn’t force him to stay at Midgar, she asked him and was glad Cloud would stay for a while. Tifa was no doubt (✔) respect all Cloud’s decisions too. Also, don’t forget, Tifa also helped Cloud to help (✔) make ‘close connection’ with the Avalanche members and people in Sector 7 slums. She also (✔) didn’t do much touching with Cloud (Well, I mean, she didnt touch him in clingy way)

In AC, Tifa (✔) encouraged Cloud to have hope for Geostigma and the family

Tifa did [X] put herself in danger by becoming Corneos bride participant and that gave Cloud trouble (but Tifa ensured him she would be fine on her own previously) And btw, in OG, I read about the fans questioning why Tifa [X] didnt tell Cloud the truth. I would like to argue this matter. TIFA IS A CHARACTER WITH REAL HUMAN FLAWS, she too had her own traumatic event and was not really sure of herself on what to do. However, considering what Tifa had done for him, Tifa had helped with Cloud’s psychology the most.

I know Cloud was putting up a font, and that made him to have condescending attitude, and people couldnt see what Cloud was hiding behind the the bravery face. However, all of us as fans acknowledged the pain Cloud was suffering in the entire FF7 story. Some of the characters like Tifa, Marle, Vincent, Biggs noticed it and they took actions for it, while others, I do personally thing, they were hurting the Real Cloud’s mentality more. 

Long story short, Tifa was the one who gave mental health support the most to Cloud, followed by Vincent (AC), Biggs and Marle. Aerith did the worst with Real Cloud's mentality + she then died, mking Cloud be more miserable,

However, Aerith actually had the best way to give MFA/PFA to children, but maybe the worst to Cloud. While Tifa gave the best MFA to Cloud which helped him to get himself together through out the entire time

Alright thats the end of my talk. Thank you for being with meee

[clarasimone]

A perspective on the forewarning fascist iconography in GoT

Was it yesterday ? I reacted to a mind-provoking aesthetic analysis of GoT reblogged by @felixthemudnescat ... which basically no one reacted to (LOL) but... chatting with @scratchybeardsweetmouth and @ser-jorah-the-andal, I felt like revisiting it to add observations to my initial reaction. Even if it’s too heavy-meta for such a beautiful summer day. @felixthemudnescat pardon me for not using the reblog button cause I want to do this under the dot-dot-dot so as not to weigh down the usual degree of levity in our tumblr group ;-)

Also I only realized today that you actually reblogged without commenting and I assumed, maybe wrongly, that you adhered completely to what you reblogged. And that might not be the case, so I’ll alter my text accordingly...

So here we go... (my input comes at the end)

Anonymous asked:

Girl. Gurl. Who the fuck is Leni Riefenstahl? Y'all Sansa stans pulling the most elaborate nonsense out of your asses to justify shitty writing. Or you twist everything and make D&D sound as if they're the most brilliant minds the world has ever seen LOL

fedonciadale answered:

Hi there!

If you would have taken one moment to look up Leni Riefenstahl - and I assure you that it is not difficult to look her up - you would not have combined your question with a comment about the writing…. Look her up and learn a lesson about how tyrants manipulate.

The visuals of the show are alluding to famous/ notorious shots of Leni Riefenstahl. You would agree that the visuals are something that gives us hints? In addition to the dialogue?

Sansa stans have complained about the writing since season 5…. You all - I’m just assuming you are a Dany fan, correct me if I’m wrong - had no complaints about shitty writing in season 7?

Look I am not saying that the way D&D got to DarkDany this season was well executed, but the foreshadowing and the character development are there. And actually from all the things the show did Daenerys is one of the better from book to screen. The hiding of her path to ruthlessness by filming from her POV is well done in season 1 to 6, and the triumphant visuals are part of that.

Visuals are part of the foreshadowing. It did not come out of nowhere and it was always a major plot point - as has been argued by book readers for ages. That Dany blew up King’s Landing was always to be the culmination of her arc. And it was always meant to hit you in the gut. So, as you do nicely put it : get your head out of your ass as and realise that you have been duped. And ponder about why? Was it because Dany is beautiful? Was it because she had the occasional bouts of benevolence? Was it because you thought she was entitled to an ugly chair because she suffered? Was it because she was set up against people coded as villains, so that you don’t care about how she defeated them? Was it because she is a woman and woman can’t be evil?

Take your pick and learn something about yourself and your own bias, how we can be duped by a tyrant! If you do that you are doing exactly what GRRM intended his readers to do by writing Dany like he did.

une-nuit-pour-se-souvenir

(in fiction, all these logos meant to reference the nazi flag)

fedonciadale

Reblogging for @une-nuit-pour-se-souvenir ’s excellent additions. I could not have done that because that film is actually forbidden in Germany.

justacynicalromantic

Ohhhohohoho the last one - I am😏 at people who half a year ago threw stones at me when I argued that Dany has always had parallels with Hitler.

felixthemudnescat

Found this shared on Quora, had to re-blog!

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

Hi @felixthemudnescat​ long time no see !

I had not seen the original posting of this. My first instinctual reaction to this iconographic/aesthetics research is to object to the simple equation of Daenerys with Hitler. No fiction character will ever match the scope of evil (for lack of a better word) this man and his ideology represented. By ricochet and association, it makes every fan who was moved by Daenerys a potential Nazi sympathizer and that makes no sense. It’s also unnecessarily hurtful and insulting both to these fans and the real World (those who suffered and still suffer from The Holocaust). This said, the iconographic evidence you provided through your reblog has weight and is exactly what I referred to in some of my posts as the visual clues given in the show as to Dany’s *possible* arc, its *possible* finality (more on the *possible* further down); clues which scream at you if you have the cultural baggage to recognize them, and when you binge-watch the series 3 times in one month instead of watching it an ep at the time over 8-9 years. The middle seasons are especially ripe with these visual signs because they’re tagged unto somewhat repetitious narrative (Dany freeing/conquering one city at a time with little intimate character dev scenes). And @fedonciadale is right in wanting fans to look more closely into themselves; we shouldn’t close ours eyes on the shady ideological and moral symbols casting shadows on Daenerys throughout the seasons. But they were shadows. I don’t think they were meant to be the beginning and end to all things explaining the character.

@felixthemudnescat​ or @fedonciadale don’t you think D&D were building something much more subtle than the end result they opted for and which gives weight to your comparative iconographic essay ? For many seasons, the fascist references or foreboding reminders of Targaryen madness never outweighed the characterizations of Daenerys as a young woman who, regardless (or because ?) of her thwarted and abusive upbringing was trying to conjugate her own suffering and road to affirmation with the conquerer’s path given her. She might not have questioned the necessity/validity for her to conquer her way back to Westeros, as the only way she could get home, but she didn’t do it through simple rampage either. She did care to free the people she needed to build her armies. She did have a heart. This she did spontaneously; it came from a deep source within her, not a calculated one. Even if, of course, it turned out to be an astute strategy. And that sets her apart from the Nazis and its leader. At their best, D&D conjugated the two: giving us a rounded character build-up and evolution with ominous symbolic shadows lurking about her. @scratchybeardsweetmouth also made me realize, I who have not read the novels, that this humane aspect of Daenerys is brought even more to the foreground in the books. I quote @scratchybeardsweetmouth: “In the books (...) she repeatedly communicates firsthand with her freed people. She hears their opinions, is not afraid to mingle with them, always finds a way to protect them, even went out of her way to help heal some when a disease was about...” Without getting as much detailed info on her compassionate stance and actions in the show, it’s certainly the impression she indeed left us with, and it’s what her most faithful and steadfast companion, ser Jorah, sees in her and repeatedly says out loud, lest we forget it ;-) (“You have a gentle heart,” etc.)

So I thought it was IMMENSELY daring of D&D (or the novelist I’ve not read yet) to give us that scene where Daenerys is called Mhysa/Mother by the slaves she freed because the scene was inhabited with so many conflictual signs: I was all at once moved and sooooo worried as to where this could lead. Moved because, bottom line, these slaves are freed, actually freed, it’s the start of something. Dany has always given those she freed a choice to leave if they so wished… Moved because it’s a woman effecting the freeing, not a man… Moved because it’s Dany, the girl who suffered, who was a slave of sorts, that does the freeing, not her mentors…. Moved to see a culture refer to their freer as “Mother” (what a great homage to mothers, to women in general) / buuuuut also worried to see a culture refer to their freer as “Mother” because it seems to infantilize them on screen. 

Here we could also open up a whole debate about the malaise one can feel in seeing an Aristocratic White Woman free Third World People but I urge you to go read @khaleesirin‘s meta writings on the subject. She makes a great case for us NOT to see Daenerys in this fashion. Regardless of her looks and lineage, the novels (and GoT, I insist in my chats with @khaleesirin ;-) shows her to be like the people she frees: an Other. She like then is homeless, uprooted, migrant, disenfranchised. If we fail to see it in Essos, the show really drives this home once Daenerys sets foot in Westeros where NO ONE welcomes, understands or appreciates her. (Which suddenly complexifies our rapport to Sansa and the Northerners we grew to love and respect since they seem not to be above xenophobia, and racism.) 

But to get back to the Mhysa scene. Once the worrying starts, I can’t seem to stop it, even as I am moved to tears. Literally. Because of the above-mentioned qualities of it, and also possibly because of the Christ-like iconography it uses to celebrate Dany (”Let the little children come unto me” - if I may paraphrase the New Testament -- and thanks to @ser-jorah-the-andal for the reminder). And I’m always partial to feminizations of Christ; I love it, I think it’s sublimely subversive :-) But I’m also kicking myself for liking this because I fundamentally don’t want a Messiah saving the Third World, I want the Third World to save itself... and I’m worried. I’m really worried as I watch Daenerys triumph in this scene because we know she’s lacking important elements in her “psycho-affective and socio-political tool kit” (regardless of the quality and loving care of advisers now on hand, *cough* Jorah -- in the books @scratchybeardsweetmouth tells me she needs no advisor to keep her moral compass straight) and, so, will this get to her head ? Will she get drunk on her Messiah complex (and of course she does at the end of season 8) ? And what will happen if those she freed disappoint her (again flashforward to the end of season 8) ? And how will she rule them exactly (ditto) ? And, finally, yes, worried because, the fascist iconography is there and I’m going: omg where are they going with this ?

Here I want to open another parenthesis, also brought on by something @ser-jorah-the-andal wrote me: “if this is what they meant in the first place, they sure as hell didn’t bother to tell anyone in the cast so they could act accordingly, tho a case could be made that Dany never saw herself as the villain so that’s why they didn’t tell Emilia.” Indeed I’m sure the cast, or at the very least Emilia Clarke, were never told about the endgame, or never cued to the quoting of fascist iconography in some of Daenerys’ triumphant scenes. Clarke’s shocked reaction upon reading the last screenplays is a testament to her profound surprise... and this raises ethical questions, doesn’t it ? I mean in the ethics of creative partnership. It’s a recent debate possibly because there are so many tales of directors manipulating actors into giving them the performance needed to embody and communicate the discourse they want to leave us with. But the professional in me cringes here a bit. You’d hope they would trust actors enough to let them into what it is exactly they’re supposed to be creating...

This said, up to the moment before “the bells” scene in season 8, I had nonetheless seen D+D and EC give us a woman struggling morally with her choices. That’s important to state. And to get back to the above demonstration of fascist parallels, well, please, let’s point out that the Nazis and their leader never did struggle morally with what they were doing (or if they did, History bears no markers -- I’m talking about the Nazis here, not the German people as a whole). And I was prepared to see Daenerys fail because she never healed, she never achieved psycho-affective soundness (shall we get into the chapter of her misconstruing what love is ? Her relationship arc with Jorah speaks volumes) but I was expecting her to feel remorse if she did succumb to true fascism; remorse to the point of self-execution if you will, because that’s the kind of moral person D+D had been building for 7 years.  But after D&D sent her over the edge, they erased all the previous nuances they had built into her, and I believe, tried to explained it away with a broken heart, megalomania and madness…. 

So if their plan was truly to make us see her as a fascist leader of the scope we’re talking about here, the way the above visual essay seems to suggest, they would have fleshed out her character’s arc accordingly throughout the seasons, and they didn’t. There were clues as to the possibilities -- yes, Dany stepping out for her final speech is absolutely shot like Triumph of the Will by Riefenstahl… but it’s also infused with other iconographic references. That image of her merging with Drogon’s wings belongs to the fantastic, and makes her into a formidable and powerful Id, which can be construed as a positive subversive marker. And some of us do celebrate WrathfulDany for this reason.... 

The reality of GoT is that there were no actual scenes developing her fascist ideology. So let’s not confuse allusions to fascism with actual fascism. With all D+D’s failings towards the end, Daenerys remained a more nuanced and contradictory character than that. She is NOT Hitler, please...... 

The iconographic research you provided in your reblog @felixthemudnescat show us one important aspect of Dany’s subtextual arc but not the full picture. It’s missing the heart and the suffering behind the soul who fell from grace.

I hope you don’t construe this long winding reaction as a slam. I know you come from a very specific place in regards to Daenerys. I just thought the excellent research you provided deserved to be reblogged, but with an added perspective ;-)

[moltensmusings]

Okay heavy spoilers as I talk about final thoughts in regards to veilguard now that I've completed my initial run.

Under the cut because it's long:

I think it is the best dragon age game and while that may be controversial let me explain.

It takes the best parts of each game for me and compiles. Similarly it felt like it took inspiration from Mass effect 2 and 3 in tone and outcome, however the endings we get for Veilguard leave me a lot more satisfied than they did with 3.

I think it's devastating that you can't come out of the game with all 7 companions. That Harding or Davrin has to die. But I also can acknowledge that this outcome is one that made the ending and messaging work. It made the threat of facing gods feel much more realistic and added importance to the decision to work through the game to get the best outcome.

I love all the companions and their interpersonal relationships. How so often in the game you get to resolve differences and mediate and we get to see how rooks words effect things. I loved each companion getting their own room that changed over the story and the devs choosing to have them move around the lighthouse for interactions which isn't something done in previous dragon age games but was something they did in Andromeda that I liked.

The decision to have companion quests be a constant appearing thing over the game is also great. It really helped me get a feel for the characters and enjoy them more.

Surprisingly I don't actually mind the change from 3 to 2 companions on a quest. Banter felt like it happened so much more and not having to focus on healing them made it so that I could still enjoy their conversations while running around.

The outfits and visuals were great and Rook felt like the most full of life main character we'd gotten because of how smooth the animations and lighting was for them.

The environments in inquisition were my favorite in any DA game until this one. I loved how lived in the cities felt. The maps were large and great for exploring which meant one of the things I liked about inquisition carried over without it feeling overwhelming for other players.

This was the first time I actually cried playing a bioware game. Varric's death, coupled with the loss of a companion, actually got to me. And they let you sit with it. You get to say goodbye to Varric. You get to see him off.

Elgar'nan and Ghilan'nan felt like terrifying and compelling villains. Incredibly memorable especially after Corypheus. All the while pairing it with the tense dynamic between Rook and Solas it fully left me wanting to rush through the story to see more of them. It's so clear care and thought was put into designing the main antagonists of the game and I'm appreciative of it.

I'm eager for the next game. Wanting to see how things will connect with the new big antagonist and who our protagonist will be. They have big shoes to follow once again but I have faith.

With that said, I want to add some notes on things I wish had been included. I say these with the understanding of why so much of it wasn't/asking everyone to be aware I still enjoyed and intend to replay the game.

I wish more inquisition choices got carried over because I would've loved to see inquisitor show up with everyone left in the innercircle to assist rook. They wouldn't be in the main battle but more just them getting a side appearance before the final fight starts. Maybe if we got a party scene they'd show up then.

While I fully think the choice they went with made the story more compelling, the "well drinking" not mattering at all is a bit disappointing. I get why they removed it but if inquisition ever got remade/remastered I hope they just remove the option if it didn't matter.

The romance scenes felt very few and far between. We had a few flirt options and a small handful of proper romance scenes so (at least for Taash) I just didn't get as invested in it as I do for other da games. I wish there were a few more.

I wish we had a celebration party scene for the characters. Lucanis mentions it to Bellara while fighting to get to Elgar'nan and I was so excited only for it to not happen.

All in all: I would recommend this game to people. I'm an andromeda and Inquisition enjoyed which I know is controversial in the fandom, but I feel like this one is actually a game I could see a lot of people liking.

[irageneveart]

there are so many things a 16 years old person should be doing beside throwing hate, BUT HERE YOU ARE BEING A BRAT

@bfmyers I really can't take this anymore, are you really that full of hypocrisy to scream TOXIC left and right while you yourself use your free time to only spread hate? I don’t usually do this and I try to stay away from useless discourse but you're just kicking on my nerves way too much

under the cut cause boy I have a lot to say. (really, it’s long. I needed to point out everything)

I'm going to kindly tell you to fuck off artists' backs.

you have 0 fucking knowledge of what you're talking about yet you're making callouts and worse, people agree! the same people who supported the artists before by reblogging and liking their art are now shitting on them and "ihh no more reblogs from them" only because you write a lengthy shit in which not only that you threaten a human being, you don't even know how to argue. a link to a picture and screaming "toxic" ISN'T A GODDAMN ARGUMENT

people of this community, PLEASE use your fucking brains and don't bow your head to what every nameless kid has to say. you don't have to believe me either, just use your fucking brain and heart and do the decision making yourself

Now, you did a callout post on @dbd-omija pointing out how toxic they are!!! omg gasp animal death? abuse?? HOW IS THAT pOsSIbLe

where have you been until now because this is a horror community:

in the TCM universe inbreeding is mentioned multiple times

in the Halloween movies Michael kills two dogs and eats one of them

omija clearly stated they went with the 1978-2018 timeline BUT NO YOU KEPT SCREAMING BECAUSE HOW DARE THEY SAY SOMETHING AGAINST YOU

on that matter: in the halloween movies Michael's cult makes him rape his niece, in another movie Laurie, before jumping to what it seemed her death, kisses Michael's mask lips. GASP, when will you sue the directors?

after he escaped, Max literally slaughtered every living creature in that farm. put the DBD devs on your "I need to sue them cause I have something to say against this horror game!!!" list

If there’s something I can agree with you on, it’s about tags. Yes, these are triggers, yes tagging is important, but let’s not forget that being in this community IS about being surrounded by triggers. out of courtesy sure, we should tag our stuff accordingly, but to go all out to say “omija, if you’re reading this, i’m going to pee in your mouth.” HOW. IS. THIS. ACCEPTED?! HOW

HOW THE FUCK PEOPLE WHO REBLOGGED THAT CALLOUT THOUGHT YES THIS IS GOOD?!!?!

now you said that Omija's making all of these seem cute and that’s the real problem. this is where you are sooo wrong and let me explain:

a round head doesn't instantly make everything cute. there are many many details that the human eye perceives as cute, things that artists go to when they want their art to be seen as cute. from the color chosen to the way their eyes and mouths are drawn, to the very line work they’re using. yes, shapes count too, but this is not the case and we should get out of our tiny box and see the big picture. Their comics are not meant to be cute, actually much respect to them for being brave enough to approach well known subjects that are not explored. But that’s it. If YOU see it as cute then it’s your problem really. Art and fiction is prone to interpretation

If anything, how much cute stuff we have in the community should be the anomaly, not that someone draws anxious Bubba

omija's Amanda and Bubba art is problematic! someone asks why, you: because is toxic!!!

really? I actually think that, given their individual personalities, omija portraits the ship’s dynamic really well. Amanda is not dealing well with her feelings and with humans and Bubba has problems understanding things in general. they are two deranged people finding a way to cope and to accept another human presence nearby. "Amanda is picking on a disabled person how can you say it's well!!!!" let me remind you that his entire family is picking on his disabilities and the fact that he loves but also FEARS his family is a big theme in Leatherface's story and personality

Also, another argument of yours was about “the power play” and how that’s problematic. I’m...honestly surprised you even thought of this argument because the entire slasher fandom, the movies, everything slasher related IS BASED ON POWER PLAY. Have you read what they wrote for Laurie/Michael to say the ship is based on power play and it’s wrong? No, me neither, cause I don’t care, but you seem to care enough to vomit about it. Go read some things and tell me how problematic the writing is, you need to call out writers too after all

Btw, surprise! I don't ship neither of the mentioned ships, but I can use my brain enough to see what omija does is actually well made and well thought, sick, weird in some instances, but well thought. kudos to you artist. I can also see those who ship Laurie and Michael are still nice people

But just like you and many others I have my own morals (do you now? Exposing yourself like that to NSFW content while so many people are scared for their life because of people like you? hmmmm) and I can’t really stand explicit pedophilia. I’ve read so many books or seen so many movies where it was mentioned, it’s a trigger factor, it’s taboo, therefore is normal to be used in darker works. It all depends on the circumstances and the way it is presented, cause it’s a piece of fiction. Nobody attacked George R. R. Martin for the controversial things he had written in his books right? I wonder why

Because, another surprise, fiction is different than reality and only this argument alone should be enough, but some monkey brains out there will come to scream at me how fiction affects reality. Someone who writes a murder mystery isn’t actually killing people when they put pen to paper. People who play shooter games do not wish to shoot people in real life. Someone who writes about rape will not welcome the rapist in their arms nor do they wish to rape someone. So on, it’s simple, again, we just need to use our brains.

If you have bullying-related or a family related or any thing related trauma and you see a Michael/Laurie fic or Quentin/Freddy or whatever other ships or subjects you have seen around, and decide to click on it, and then you have a negative reaction, that fiction is not harming you. Your unresolved trauma is harming you. Your decision to read something when you know it triggers you is harming you. The past actions of yourself and those who inflicted harm upon you are harming you. All of those things – your trauma, your real-life bullies, your actions – are real, and have the ability to harm you. (the italic bits are from @dracfics who said it better than I ever could put in words. Thank you)

next on your "who am I going to shit on today" is @renlvbon

not gonna lie, for the omija callout I read everything searching to see whenever you are right or not. I don’t personally know either of the artists but I could read enough to see you’re just a self entitled person with something to say regarding everything. for ren's callout I simply skipped after I saw your argument.

you're not doing gods' work by opening people's' eyes that they can or should portray the characters the way they are, disabled and gross. no, you're just picking on someone's art style

Can we stop this toxic nonsense???

don't get me wrong, I agree that we shouldn't make them supermodels and we shouldn't erase what they are, fucking ugly and gross killers, but saying people who don't draw them a certain way are cowards or calling them out or whatever else shit is TOXIC and ANNOYING. We all change them more or less, we have to because none of us are the original creators! We’re just thirsty people making them to be what we want and what we imagine because they’re fucking fiction

I’ve seen people agreeing with you saying the artist should consider real people with disabilities or on the heavier side (“like me” they pointed out). I’m so sorry if this comes out as rude but if you search or need validation in a horror community that’s not a good thing at all! Body positivity and a healthy approach to disabilities should. not. be. searched. in. a. horror. community or any community on tumblr for that matter. You want some positivity on that? In a real case scenario with them we all would die, no matter how you look like

Going back to the artists, some people don't have experience/ are insecure/ are uncomfortable drawing body hair or fat bodies or whatever. That doesn’t make them fatphobic or whatever shit I saw you writing in your tags.

Drawing a black character less than the color YOU think is good? Have you ever tried to color skin? There are so many ways to do it, there are so so many colors you combine and you play around with + lighting and shading that alters everything. and yeah maybe some people pick a different color, a lighter one, or a more yellow one than they should for asiatic people, or whatever. but these tones are NOT easy to get well (you can always put a brown color down and to call it a day, but maybe people won’t want that. They don’t want to be disrespectful, exactly cause there are predators like you that don’t know how to help, only how to fucking scream). Or maybe they simply don’t know how. Every artist has their own range of comfort zone, be it about subject - composition - colors - etc. I don’t do well with neon colors for example, it happens. Hell even the screen you’re using alters the colors

How about giving actual tips, support and explanations instead of rude call outs? And don’t come at me with the “color picker” shit cause color picker from a real life photo is hell and if you don’t know some color theory your art is going to look dull and lifeless regardless

The only time I can agree that whitewashing is wrong is when white-supremacy, nazi and other ugly shits like these are coming into the topic. But it’s not the case here

some young artists don't have the skill to draw certain body shapes, or body hair, or even a non-anime face. some others think putting a scar on the character’s face make them 'uglier' and ‘scarier’ and for them that's enough AND THAT'S ALRIGHT

drawing something that's supposed to be ugly but still having anatomy and proportions and a functionable mouth or eyes placement or whatever ISN'T EASY. ofc, you can go all out if that's what you want, but personally I want things to still be working because at the end of the day every single one of them is human. I'm not drawing dark fantasy in this fandom, I'm drawing slashers

NO ONE IS DRAWING FOR YOU. NO ONE IS USING THEIR SKILL TO MAKE YOU FEEL GOOD. art and writing, especially when is made in the free time of the creator, is made FOR THEMSELVES. If there are people enjoying it? Yay, that’s a win, but no one expects everybody on this planet to like what they’re doing. We’re getting back to that golden rule, DON’T LIKE: MOVE THE FUCK ON/ BLOCK AND LIVE YOUR LIFE. EASY. no one uses these unnecessary callouts for anything, if you have something to say do so kindly, if you can’t, just vent to your friends

So now let’s wrap it up cause IDK how many of you even make it through this point

can we fucking stop making young artists and writers cowards for drawing or writing how they can and however they fucking want? Please and thank you

this shit going on with "the best artist/writer for x y z character" or "conventionally drawing ugly Bubba uwu" will just destroy the confidence of whoever wants to keep drawing or writing or joining the fandom. There’s no competition who draws Bubba the ugliest nor who writes Michael the best. if you can do things a certain way, do it, and let the rest draw and write whatever they can WITHOUT FEARING THEY'RE NOT GOOD ENOUGH.

now I'm waiting for your very "well" argumented reply but I hope you'll understand that what you're doing is TOXIC and you should stop or at least change your way to address things. You’re talking to other human beings, not a void when you can throw any random thought you have in the morning. I don't care about you to be honest, but there are so many people out there following your words mindlessly and the creators are suffering and it's not fair.

don't forget to tell me to go kill myself. have a nice day

[cruddyborderlandstheories]

Fl4k Fl4k Fl4k Fl4k Fl-

i didn’t die i just fell in love with that skill tree creator and have done nothing for the past few days but make skill trees and sleep for 3 hour intervals. im very excited for the gameplay on Wednesday but oh man oh me oh my i gotta catch up on a lot of posts lol

tl;dr: Fl4k is a badass. Stop misgendering them or I’ll show up at your home at 3am local time every time and then eat your spine. Bonus: Mr. Chew being an ‘Eridian skag’ is probably due to some funky mutation from eridium/slag/eridian stuff. Kinda like how Threshers have the ability to make singularities because they are native to Elpis, which is a big ol’ Eridian base (which i totally addressed in this post lol). I also gave my opinion on Fl4k’s skills in general, if you’re interested in that. Overall, a very awesome trailer! Definitely lived up to the hype.

i said it before, this trailer was one of the best ones. definitely #2 for me, Zane is still at #1 because i actually laughed during it. the music in this one is definitely the best out of all 4 tho. seems like they’re all variations of the same song, i like this one best. I need this soundtrack sooo bad.

also i know probably no one else following this blog watches one piece but like

that first footstep with the studded boot and the sound effect immediately flung me back to katakuri. god katakuri was a badass. i was so excited to see that fight animated.

mr chew spinning around is my favorite thing ever. i love that you can tell the personality of the pets just from watching the intro. 

i know fl4k is like a real badass in this trailer, but i get the feeling they’re going to end up being at least a little soft for their pets. i mean... they have stuffed animals of them ffs.

so... we’re near Sanctuary-III in this trailer? I gotta keep my eye out then. i also want to see if that one claptrap area guess i had is correct or not... this looks like an entryway for the garage so im guessing i wasn’t, but let’s seeeee

there is a raised bit up and to the left

also im wondering if this means we’re going to have to rescue ellie from the CoV.

hmmmmmmmm

hmmmmm i don’t think the signs match up.

mr chew is the goodest boy. im so glad we can pet/interact with him!! i want to know what the names of the other pets are

also, a bit off topic but

i could have sworn fl4k’s jabber was cryo/shock. it was blue, wasn’t it? i wonder if they changed it or if it’s skill upgrades change its color. i thought the upgrades just gave it better guns.

yeah it was! i guess possibly upgrading it with the guns gives it a new color scheme? maybe? this could be the gunslinger upgrade!

it looks like their jabber went through the most design changes out of all of the pets. that or this is yet another upgrade (since each pet has 3 states). maybe this is the beefcake version.

‘bitch’. i love how expressive fl4k is with just the eye. very well done.

ohhh you know what that building is in the back?

[we’re near the intro to the game!]*

and tbh i don’t think this place has the building for Ellie’s Scrap in it... i don’t see it anywhere. maybe this is the actual scrapyard and the building is on the other side?

not quite sure tbh. but at least we know this place may also be near sanc-iii, just maybe not the same area as the actual Ellie’s Scrap.

i mean... there IS a shitload of cars everywhere. i wouldn’t surprised if it’s near her garage cause it looks like a scrapyard.

but also where in the fuck are all these ‘normal’ looking cars coming from?? it’s not like we see them being used on pandora. all the ones we see in bl1/2 are clearly dilapidated and rusting. big thonk. at least the vans/busses kinda make sense.

oh yeah that is definitely the same building. [it’s the recruitment center!]*

this scene with the rakk is my favorite out of all the trailers. so fuckin cool

i do hope the jabber goes back to being blue at some point. i like the red design too, don’t get me wrong, but i much prefer the glowy blue. it’s my favorite color and you guys know i love glowing things 👀

<Huge Selection!!!> lol

cat/doggo/monkey. mr chew is my favorite pet but i love the jabber panting like a dog lol

i never knew this is where spiderant mouths were

i always assumed they were below that... f r e a k y

“he likes to chase cars”

fl4k probably took them to the scrapyard for this exact reason ngl. fl4k being a big softie to their pets confirmed

(also, notice how fl4k uses ‘he’ for mr chew. it’s almost as if they understand the concept of gender, chose their own pronouns, and your argument that they only are nonbinary only because they “don’t understand yet” is invalid! Fl4k is canonically nonbinary and uses they/them/theirs pronouns as confirmed by both SungWon Cho and their in-game skills. 

Now that you know, use they/them/theirs for Fl4k or get off my blog. Because by not doing so, you are disrespecting the devs’ wishes for this character AND the nonbinary people who find representation in them and I won’t support that. if you feel like arguing your reasons to purposefully misgender them even after knowing this, please DM me so I can block you. thanks! 

For those of you out there actually making an effort: mistakes happen, especially if Fl4k is the first NB person you’ve learned about. Just make sure to correct yourself then move on, and we’re okay. Everyone has to learn sometime and it’s better to put in the effort than not care at all. It will become second nature.)

Fl4k is such a badass, they really are way different than i expected (personality-wise), but i am not complaining. gearbox knows me better than i know myself, so i know i’m going to end up loving Fl4k anyway. ProZD did such a fantastic job, i honestly did not recognize him at first! i can tell with certain words now, but wow i am blown away. 

i hope we’re able to climb that bird’s nest lookin’ thing in the back. it would be perfect for sniping and/or placing ur clone for maximum coverage.

seriously, what a badass.

idk i feel obligated to give my opinions of Fl4k over here since they were recently released. I am digging them 100%, tho i was kinda surprised (not in a bad way) they’re not as... i guess soft as i was expecting from their character design with the plushes and the face on the backpack and the smiley face pin, but i imagine that’s different when they’re interacting with their pets. im super curious to see how this VH group’s dynamic is going to go. 

mechanically, their skills seem perfect for people who loved sniper Zer0 and in general Mordecai, with a splash of Salvador tossed in for good luck. I am a dirty melee Zer0 main and i prefered Phasewalking over Bloodwing (altho i still play mordy bc he’s best bl1 VH) so, while I am definitely going to give Fl4k a go, they’re not my main bl3 Vault Hunter, that’s reserved for Zane and his lovely ability to befuddle enemies and run around. Funnily enough, I’m not even a fan of pet classes, so Fl4k being second in my play order is pretty funny. Tho, yeah, Amara being last is also pretty weird. I guess I don’t necessarily enjoy melee, I just enjoy messing with the bad guys lol

ohh, also, I am most interested in the upgrade for mr. chew that gives him the ability to create singularities and is called ‘Eridian Skag’. 

so I’m not saying my theory that the threshers on the moon were connected to Eridians was right, I’m just saying they’re the only form of wildlife we know that has a singularity ability (outside of Mr. Chew, apparently). 

im just saying gearbox, you should hire me to write your deep lore for you cause i’d do it for free

im wondering if we’ll be seeing skags with wormhole abilities in bl3. maybe the constant exposure to slag is starting to mutate them further beyond just elemental bonuses (on badass skags). We know Maya’s phaselock has a singularity ability (so does Amara’s phasegrasp), and that is sorta ‘occurring naturally’ (you know, as natural as siren powers can get) unlike the singularity grenades we encounter which use our known technology. plus, uh, whatever happened to the destroyer’s eye in TPS that made it create a singularity/wormhole by injecting it with a fuckload of slag. that probably has something to do with this as well.

but geez i really hope mr. chew is okay with being all slag/eridium-ed up. i guess being badass elemental skags doesn’t appear to hurt them, just make them more powerful, unlike humans. maybe that has something to do with sentience, if slag/eridium/eridian stuff actually is driving bandits crazy. could explain why/if the jabber doesn’t get an element like the skag (eridian skag) and spiderant (fire) do, since they’re described as semi-sentient...

anyway.

Fl4k is cool. Definitely a neat trailer- my second favorite for sure- and the skill tree drop blew me away because i was not expecting it. im expecting a lot of Fl4k mains in the first few weeks of gameplay because they look like a lot of fun!

EDIT: i was wrong, in the newest IGN vid, it turns out we ARE near the recruitment center, because that IS the recruitment center

they gave them little orange flags! good to know!!

[aion-rsa]

Ted Lasso and Other TV Bosses We’d Walk Over Hot Coals For

https://ift.tt/3ryGOvx

In the heady moments of celebration after England’s victory over Denmark in this year’s Euros semi-final, the sight of team manager Gareth Southgate prompted ITV pundit Gary Neville to comment: “The standard of leaders in this country the past couple of years has been poor. Looking at that man, he’s everything a leader should be: respectful, humble, he tells the truth.” 

The former Man U right-back’s words, directed at the political rulers of a country riven by Brexit, tap into a modern craving for decency. Fed a diet of self-serving narcissism from our public figures, we hunger for more wholesome fare: moral character, humility, honesty, kindness. In the year of horrors that was 2020, that appetite was temporarily sated on TV by fictional football manager Ted Lasso. 

Played in the Apple TV series by Jason Sudeikis (who, in true Ted style, wore a shirt to the Ted Lasso season two launch in support of the three young Black England footballers who received racist abuse after their team’s eventual loss to Italy in the final), Ted’s thoroughgoing decency won everyone over to The Lasso Way. He’s the gold standard of TV bosses – selfless, caring, wise, inspirational, and patiently dedicated to bringing out the best in his players and the team as a whole. He may not always win on the pitch, but he always wins in our hearts. And if those words make you want to heave, then you, friend, may just need a little more Lasso in your life. #Believe.

To celebrate his return, we present Ted’s TV peers, the bosses for whom you’d go any number of extra miles.

Leslie Knope – Parks & Recreation

There is no finer example set in the TV workplace than Leslie Barbara Knope. The Pawnee public servant leads from the front, the sides and the back. She’s the waffle-powered sheepdog of City Hall, yapping co-workers and townsfolk into shape with her relentless work ethic and bottomless optimism. Leslie’s a boss who cares so much that she’s already bought your Christmas gift. And your birthday gift. And made you a special hand-crafted gift to mark the half-year anniversary of the day you first met. She sleeps three hours a night, runs entirely on sugar (or should that be salgar?), has a binder for every eventuality, and always, always has your back. Her rubber-soled energy is so infectious that over seven seasons she even manages to motivate the lazy (Tom), disaffected (April), dumb (Andy), aloof (Donna), hapless (Jerry) and the downright obstructive (Ron). For a gal named ‘nope’, she’s a whole lot of yes. LM

Bertram Cooper – Mad Men

Technically, advertising firm Sterling Cooper on Mad Men has two bosses – Roger Sterling and Bertram Cooper. Coop, however, is the let’s say…more experienced of the two and takes on the role of boss. And what a boss he is! The eccentric office sage played by Robert Morse takes a decidedly hands off approach to managing the workplace. Do whatever you want in this Madison Avenue ad agency, as long as you take your shoes off when you enter Bert’s office. And if you’re nice enough he might show you his collection of erotic octopus art. AB

Jacqueline Carlyle – The Bold Type

The Editor-In-Chief of Scarlet magazine, the women’s title at the heart of ridiculous millennial wish fulfillment vehicle The Bold Type is part mentor, part mother figure, part fairy godmother to the three young women at the centre of the show. Jane is an intern when she first meets Jacqueline, who greets her with “Are you a writer? You look like a writer.” Because, yep, it really is that easy to get a job at a top magazine. The Bold Type is nonsense but it’s very good hearted nonsense which tries in earnest to tackle big issues while maintaining a sunny outlook. Be yourself, be passionate, be bold, the show says, and the world is at your feet. Sent a couple of tweets? Congratulations, have a promotion! Threatened with a lawsuit because of something you wrote? No bother, have a promotion! Fraudulently passed yourself off as a stylist when you’re not, thereby ruining a key relationship? Meh. Promotion for you! Promotions all round! Jacqueline is glamorous and wise, endlessly patient with her proteges and seemingly in possession of a bottomless budget. We all wish we worked for Jacqueline and she’s a wonderful (imaginary) role model. We’re just slightly nervous for any young fans of the show who ever get to work for an actual, real life Editor-In-Chief… RF

Mr. Krabs – SpongeBob SquarePants

Mr. Krabs is a good boss because he’s refreshingly upfront about what matters to him. Simply put: the crab likes money. As long as you’re putting in the hours and keeping the profit margins fat, Mr. Krabs will be your best friend. Sure, he takes advantage of SpongeBob’s naivete from time to time. But deep down, you know the guy has a heart as big as his enormous whale daughter, Pearl. AB

Supt. Ted Hastings – Line of Duty

Think of Ted Hastings, head of Central Police’s Anti-Corruption Unit 12, as Ulysses – a man sailing on dangerous waters but so determined not to be seduced by the sirens’ song that he’s tied himself to the ship’s mast and stopped his ears with wax. Except replace ‘siren’s song’ with ��bungs from criminal gangs’, and ‘ship’s mast’ and ‘wax’ with ‘sheer force of will, son’. Ted’s a colossus of integrity in a world of backhanders and turning-a-blind-eye. He does the right thing even when it’s the hard thing, and if you’re one of his officers, then you’re his for life. (Unless you’re a corrupt gangster plant, in which case, by Mary, Joseph and the wee donkey, he’ll never live down the shame.) Ted may have more decency in his side-parting than most officers have in their whole bodies, but he still has his flaws. The stock he puts in loyalty makes him inflexible, and his temper’s a thing to be seen, but the key thing about Ted as a leader is that when he makes a mistake, he owns up to it. We should all be so lucky to have a gaffer like him. LM

Ron Donald – Party Down

Starz’s brilliant comedy Party Down premiered around the same time as classic NBC sitcom Parks and Recreation. As such, Ken Marino’s perpetually stressed boss character Ron Donald didn’t get nearly as much attention as another boss named Ron: Ron Swanson. Let’s be clear, however, nobody would want Ron Swanson as a boss because that means you’d have to regularly interact with a libertarian. Instead, it’s far better to be in the good graces of Ron Donald. This Ron will support your dreams all the while telling you about his own to own a Souper Crackers franchise. AB

Read more

TV

Press Gang: How Steven Moffat’s First Show Shaped a Generation

By Rosie Fletcher

TV

Party Down: a US sitcom that richly deserves your time

By Louisa Mellor

Lynda Day – Press Gang

Bit of of a niche one – you probably have to be British and in your 40s to even know who this is – but Lynda Day, played by Julia Sawalha deserves a mention as the youngest boss on the list. Editor of the Junior Gazette, the after school newspaper run by pupils at the heart of Steven Moffat’s very first show she’s an erudite journalist, a ruthless news hound and a self possessed young woman who cares more about being right than about being liked. Lynda isn’t particularly soft or warm but she is a boss who would make you a better writer. You’d strive to please Lynda, want to live up to her incredibly high standards and know that the work you were doing on the paper could actually make a difference. Lynda is all about work ethic and integrity. Small of frame, sharp of tongue, you wouldn’t wanna mess with her, but you know she’ll get shit done. RF  

Captain Holt – Brooklyn 99

It says something about a boss when you wouldn’t just walk over hot coals for them, you would also do it for their pet dog. Cheddar the corgi is just one of many reasons to snap your sharpest salute to Captain Raymond “Do Not Call Me Ray Or Use Contractions In My Presence” Holt. Precinct captain of the 99, Holt is a walking yardstick of fine taste, good manners, linguistic clarity and grammatical coherence. Holt values simplicity and despises vulgarity. Do your job and do it right, and you will earn his hard-won respect, perhaps indicated by a very slight incline of the head if he is feeling frivolous. Holt has already earned your respect, for leading an exemplary career as an openly gay NYC cop since 1987, facing down racists, homophobes and the lowest of the low: people who use “What’s up?” as a greeting. Captain Holt’s impossibly high standards are a bar few reach, but to which we can all aspire. LM

Ian Grimm and Poppy Li – Mythic Quest

Mythic Quest creative directors Ian Grimm (Rob McElhenney) and Poppy Li (Charlotte Nicdao) are messes on their own. But when their personalities combine, they create one great boss unit who keeps things moving and keeps things lively. Granted, I wouldn’t want to work for Ian and Poppy as a programmer or dev on the Mythic Quest team because crunch is real (and I also have no such skills). They would make for a great boss team in just about any other industry though. AB

DCI Cassie Stuart – Unforgotten

Some bosses try to impress their status on employees by turning up the volume, but not DCI Cassie Stuart. Everything she does in ITV police drama Unforgotten, from case meetings to suspect interrogations, she does in the same controlled, low voice. It gives her words an intensity that shouting wouldn’t achieve and makes her cold-case murder team lean in to absorb the significance of what she’s saying. Usually, that’s on the theme of how they owe victims answers and are going to find them. Diligent and dedicated, she trusts her team, especially partner Sunny, and is the kind of boss whose praise really means something. A ‘good work’ from her and you’d be walking on air. LM

Conan O’Brien – Conan

This is technically violating the spirit of this thought exercise because Conan O’Brien is not fictional. What he is, however, is a boss…in both the metaphorical and literal sense of the word. No late night talk show host has ever reveled in being the boss of a staff as much as Conan O’Brien has on his shows like Late Night, The Tonight Show, and Conan. He views his role as boss as an opportunity to troll his employees like a corny father torturing his children with dad jokes. Many of Conan’s behind the scenes workers have become stars in their own right, like producer Jordan Schlansky or assistant Sona Movessian. And it’s all because Conan can’t help but want everyone to be involved and having a good time. Just like any great boss would want. AB

Captain Janeway – Star Trek Voyager

Anyone can be a good boss in a thriving workplace, but it takes a person of strong character to stay empathetic, decisive, and focused when everything goes to hell. In the very first episode of Star Trek: Voyager, Captain Janeway is stranded with her crew on the wrong side of the galaxy, 70,000 light years from home. She is tasked with getting not only her Starfleet crew home, but also the remaining members of the Maquis vessel Voyager was trying to capture when they were both pulled into the unexplored Delta quadrant. She does this all without the institutional support of the Federation, and without the certainty that they will ever make it back. It’s not always pretty, and Janeway makes some questionable decisions along the way, but it’s hard to imagine Voyager making it home without Janeway as their tough-as-nails boss. KB

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Ted Lasso Season 2 is available now on Apple TV+

The post Ted Lasso and Other TV Bosses We’d Walk Over Hot Coals For appeared first on Den of Geek.

from Den of Geek https://ift.tt/2VddvT9

[swampgallows]

some thoughts on Garrosh in HotS

Jade Martin, chief lead designer of Garrosh Hellscream in HotS, states in the CORE interview (~17min) that Garrosh's kit and character was based on the WoD Garrosh: 

Jade Martin: To me, that [WoD] Garrosh is kind-of this jerk but in the best way possible—he’s so mean, he’s so aggressive, he’s just in-your-face, leading the front lines, isn’t scared... of any fight and doesn’t back down... I didn’t want him to be the type of warrior who could easily escape, I didn’t want him to be able to just kind-of dwarf-toss out of a fight; I wanted him to be in there, in the front line, leading everyone. Not so much maybe always protecting the squishies, but being able to dictate where the fight goes, where the battles are...that was a lot of the inspiration for his kit.

Later, Martin adds: “Our goal was to make this orc who just really didn’t give a damn about anyone, he’s gonna throw you around, he’s going to stay in the fight for as long as possible, he’s going to be just in there all the time.”

Scott Johnson (of CORE podcast): So [Garrosh] is a pretty controversial character on the whole, to say the least. In terms of his lore, Warcraft players have a lot of feelings about Garrosh and his time on Azeroth and sort-of the impact and effect he had on the overall game, there. Because he means a lot of things to a lot of people, that’s pretty much, you know, an easy thing to say. People may love him, people may hate him—did you approach this character with any of that in mind? In other words, how important, or how not important is it that Garrosh is one of the most—let’s just say it out loud—one of the most hated characters, if you’re talking just about story, in the history of Warcraft. Did that affect any part of your process?

JM: I will say lore and fantasy always does affect our process. [...] I know there are a lot of “Garrosh did nothing wrong” lovers out there so I definitely want to do justice for those people... Garrosh was no exception to that. 

It’s a little comforting to hear where the devs were coming from regarding “which” Garrosh to represent in HotS (and also that “sha warrior Garrosh [was] never really on the table” is a big relief, to be honest). Iron star was considered as a heroic/AOE but Decimate was favored as an ult to “showcase Gorehowl”, hearkening back to the more “raw” Garrosh, as Johnson put it, than his Siege/WoD accouterments.

Essentially it seemed it was easier to condense his personality into that of his Iron Horde swan song rather than portray the problematic gray morality Garrosh is infamous for. But his role in the game is a warrior, and it cannot be denied that Garrosh is a warrior first and everything else second, be it Mag’har chieftain, Warsong Offensive overlord, or even Warchief of the Horde. Although, he does make references to his chiefdom, and the decision to play up his imposing brutal strength, bulwark stature, and martial tactics fit snugly with his roles in Warcraft and Hearthstone. 

Some were hoping Garrosh would play with more of the berserker rage signature to the name Hellscream and were disappointed. But in my opinion Garrosh’s playstyle is much like his personality and personal strengths: thinking on his feet to a point of reckless impulsivity, concentrated rage, and generally being a stubborn-as-hell stick in the mud. Upon hearing the early stages of his kit, this seemed to fit almost too well:

JM: In lane, there was very little enemies were actually able to do against Garrosh. He would basically be able to bully a lane and not allow people to hit their minions. If you were melee? Good luck—there was absolutely no counter-play to it at all. And it just felt disgusting to play against: it wasn’t fun, it wasn’t engaging; the Garrosh player wasn’t smart about his positioning, he didn’t have to think about it at all, he just had to walk up to a hero and throw them. [...] You would just end up snowballing the game, really. [...] Beau Schwartz (of CORE podcast): So if I understand correctly, it was to put a tier of skill and contemplation into the ability rather than make it click-point-click that guy and then move him over, right?

JM: Point-click was actually something that we had discussed[...] Because he has that Q, Groundbreaker, which leads very well into his Wrecking Ball, you wanted to be able to do that combo as fast as possible.[...] If I did that pull and then I had to click on them and then throw them where I wanted to, it ends up feeling a little clunky.

SJ: I kind of like the chaotic-ness of it. It fits with Garrosh’s, again, his whole vibe, of just like--rargh! And if he happens to pull a wizard and throw ‘em over there, all right, well, that’s what you get when you’re the chaos lord of Azeroth and you want to kill everything.

Regarding Garrosh’s taunt ultimate/heroic ability:

JM: It was mostly actually a fantasy thing for me[...] I just thought to myself, “What’s more badass than having Garrosh basically challenge everyone around him to attack him?” Right? He’s like, “I don’t give a shit”—excuse my language—”I just don’t care, just go ahead and attack me.”

SJ: [laughing] You’re excused.

[all laughing]

The combination of Garrosh’s taunt, armor traits, and maneuverability tactics are all successful representations of his core character. A point was raised about “tauntception”: the possibility of Varian, Garrosh’s foil, Taunting Garrosh during Warlord’s Challenge. Martin clarified that if an enemy Varian taunted Garrosh after he used his AOE taunt, it would create a sort of nesting effect: Garrosh would be forced into attacking Varian, but those in the AOE would still be attacking Garrosh. This is not the behavior of a berserker rage, swinging wildly and screaming; this is the fully-absorbed focus of an executioner and perfectly in line with Garrosh’s character, meting out death in a queue. As a warrior that claims to value honor above all (Theramore and other large-scale military assaults excluded), Garrosh relishes and provides the courtesy of defeating his enemies one-on-one, one by one. He will defeat Varian first, as he beckons, then deal with those who continue to fight him while his back is turned. So, come and fight him, whelps. He will get to you in a moment. Everyone will have a turn to die by his hand.

Garrosh’s Armor Up trait is also a perfect bait, as Martin mentioned. He will appear to be low health, baiting enemies toward him, but will be able to stand his ground and, in combination with Bloodthirst, be nearly impossible to take down with most basic abilities. With his Groundbreaker he will physically pull the enemies toward him, beckoning them to dare try, and then toss them like a ragdoll with Wrecking Ball. And Decimate is his most imposing of all: as his enemies try to flee, he steadily pursues them, each swipe of Gorehowl slowing them all the more, until he closes the distance and the kill. It is the antithesis to Varian’s Charge or The Butcher’s Ruthless Onslaught; Garrosh approaches at his own pace and asserts his will.

While I wish for my own self-indulgence that Garrosh were more sarcastic than boastful and hoped he would do more base damage for an intended “solo warrior”, I am overall pleased and impressed with Garrosh’s gameplay, representation, and overall implementation in Heroes of the Storm. He is definitely more warrior than assassin and is an asset to any team composition when played correctly, and an intimidating hero to fight against (especially when caught alone). His kit can force the composition and direction of a team fight, which is a robust and exciting mechanic, yet at the same time despite his viable threat and presence Garrosh is not much of a “team player” nor “lone wolf”. This is extremely evocative of his overarching character, less of Siege’s “I answer to no one” and more of WotLK’s “if they want reinforcements, then they shall have them!”, sending you to fight a lich by yourself.

Finally, some parting wisdom from the Twitch chat:

I’m not too proficient with the crispy boy yet, but I will keep at it. For H I M.

[wanderingstoryteller]

Path of Fire Thoughts - Act II

And the adventure continues! In case you missed it, you can read Part One of my little recap series here. Bear in mind: Spoilers for both Act I AND Act II are below the cut. Proceed at your own risk. 

I do have one non-spoilery thought about all this before we proceed, though. See, the direction the story took has left a lot of people in the community... unusually bitter. I’m not going to judge anyone for deciding they don’t like the where things went. While I personally can’t agree, I know that there’s no objective standard for this sort of thing. “Beauty is in the eye of the beholder” and all that, right?

But one complaint in particular has really been getting on my nerves. Specifically, this idea I’ve seeing that these lore-bombs are proof Arenanet “Doesn’t respect the story of the first game”. Maybe that criticism would have had a little more merit in 2013, but now? In this expansion? Really? 

In these new maps, my character can’t walk ten feet without tripping over at least three callbacks to the first game. I have been geeking out for four straight days over things 99% percent of our community neither knows nor cares about. Has anyone stopped to consider that maybe -- just maybe -- the devs who created Prophecies and Nightfall in the first place might actually be fond of their previous work?

If you personally don’t like this story, that’s perfectly alright. But please don’t run around saying silly things like this. It just kills the mood for everyone, and it’s clearly not true anyway. 

Anyway, enough heavy stuff. Time for some lighter news: The End of Days.

First thing’s first: Yay, actual Revenant lore! It wasn’t much, nothing more than an off-hand comment by Rytlock, but the implications are huge. Revenant legends are capable of contacting the living and teaching them how to harness these powers. Rytlock was taught by Glint -- because of course Glint wouldn’t let some minor inconvenience like “death” stop her meddling -- but what’s stopping the other legends from doing it? Because screwing with people from beyond the pale of death is Shiro Tagachi’s wheelhouse, too. 

I’d also like to say that this instance did wonders for Rytlock as a character. For just a second, we got a look under all that anger and snark. And what we saw was... guilt. “I failed them. I failed Glint.” I’ve seen a lot of people annoyed at Rytlock’s attitude this expansion, but it’s easy to forget just where that attitude comes from: a sense of deep shame, a feeling that he’s the reason Snaff and Glint died. Like Eir and Zojja, he has a pretty intense case of survivor’s guilt. 

The above definitely made me nerd out, but as it transpired, we were just getting started. Next stop: The Tomb of the Primeval Kings. Elona’s Primeval rulers always fascinated me, especially Nahlah and Dahlah, who were in charge when the Scarab Plague rolled through. I never dreamed in all of Guild Wars 2 that I’d actually be able to talk to them. Which I did. And it was amazing. 

But all of that -- Glint’s Lair, my audience with the Primeval Kings -- was all just the warm-up. Because we then hit the part that really blew me away... and the part that’s got all the controversy. So let’s talk about our audience with Kormir, why I loved it, and where it admittedly could’ve gone a bit better. 

Why I Loved It: 

I feel like so many people didn’t enjoy this scene because they expected Kormir or the other Six to help us somehow. If that’s the root of the problem, it would explain why I was fine with it -- because I knew they wouldn’t. The Six were pretty adamant about keeping out of human affairs since Nightfall, after we proved we could hold our own against a god-tier enemy. So the idea that they’re withdrawing from Tyria completely, abandoning even their Realms? Can’t say I didn’t see it coming. 

Her reasons for not interfering were also pretty sound. Because she’s right -- the last time the Six fought on Tyria, they created the Desolation and scarred it forever. But when we fought Abaddon in Nightfall, we never did any damage that couldn’t eventually be reversed. Basically, Kormir throwing down would be the equivalent of stopping a roach infestation by setting your entire house on fire. Sure, you killed the roaches, but there were better ways, dude. 

Finally... anyone else catch Kormir’s final words to Kasmeer? “You carry with you the blessings of all the gods. Never forget that.” See, when I heard that, it sent my brain on a bit of a journey, and I started putting some pieces together:

1. Kormir admitted that she was still an active (if incredibly subtle) force in the world up to that point. 2. Kasmeer has been a devout follower of the Six her entire life. 3. Kormir clearly had a special interest in Kas, if she “carries the blessings of all the gods”.  4. Kasmeer also has the inexplicable and blatantly supernatural power to detect any spoken lie.  5. One of Kormir’s most well-known titles is “The Goddess of Truth”. 

My conclusion? Kasmeer’s power is a blessing from Kormir, and I’m amazed I never considered that possibility before. Like, holy shit, you guys. This is huge. 

I’d also just like to add: Kormir’s Sanctum is awesome. I explored for almost an hour and I know for a fact I still haven’t found everything. I’m definitely going back when I complete the main story. It’s like Hidden Arcana all over again. 

Where It Could’ve Gone Better:

If you love something, you shouldn’t be afraid to criticize it, and I admit there were some things I found a little lacking. First, Balthazar. While it’s true that Balthazar being a temperamental asshole does have precedent, his motives are pretty disappointing. The writers could’ve made him a tragic figure, an honorable-but-flawed warrior that went off the rails. What we got is serviceable, but I wanted something more than that, ya know? 

Also, if this is really curtains for the Six on Tyria, I really wish Kormir’s Sanctum had done more to close a few loose ends -- especially where Balthazar is concerned. Because so far, we never did find out what happened to Menzies, or what happened to the Eternals, or even why he killed his father all those years ago. And if those questions aren’t answered here, I don’t think they’ll be answered anywhere. 

Am I the only one who really wishes Marjory were here? Because relationship stuff aside, it would have been very interesting to see her reaction to Kormir. Marjory isn’t one of the faithful. She’s the kind of person that would call Kormir out for the inaction of the Six. And seeing that unfold would have been fascinating. 

I know we’ve been talking for a while, but amazingly, we’re still not done. Because even more story stuff happened in the Riverlands. While I’m betting a lot of people found the search for the Lost City annoying, it was honestly one of the funnest parts of the story for me. Wandering around this massive map, following leads, narrowing things down... it made me feel like a real explorer. Plus, I think it was great for the pacing -- gave me time to process everything I’d just learned before I got to Kesho. 

In Kesho itself, I found a lot of cool stuff -- the revelation of Glint’s master plan was just the beginning. See, one of the pedestal recordings had a throwaway line that kind of shocked me: Joso mentioned, off-handedly, that the Elder Dragons weren’t always destructive. They used to be like Glint -- maintaining balance, redistributing magic, etc. Glint’s plan is just a restoration of the regular order. The implications for that are huge, and it opens the door for some very interesting story beats. 

I also love that we’re slowly learning more about the Forged. I think a big weakness for HoT’s storytelling is that I never fully understood what the deal with the Mordrem was. How self-aware were they, exactly? How did the process of corruption take place -- did the sylvari have to willingly submit, or could Mordremoth force the issue if it chose? Questions like that always bugged me, but the Forged don’t leave much room for ambiguity. We’re learning exactly where they come from, how they’re created, and what makes them serve Balthazar. The prototypes in Kesho were another piece of a puzzle that’s been delightful to solve. 

And finally... who betrayed who, Balthazar or Joko? Because I’ve been to the Desolation. Whatever alliance those two had clearly didn’t work out very well, if their respective armies are in a state of open warfare. Good thing it fell through, too, because turning Joko into one of Balthazar’s lieutenants would have been a great disservice to his character. Best to let him do his own thing. 

Final thoughts: The story hasn’t petered out like I thought it might -- at least, not yet. If anything, they raised the bar even higher. Can they stick the landing?

I’m off to Tarir to find out. Yes, time to see Aurene, a decision that will in no way go horribly, horribly wrong. See you after Act III! <3