#yes i'm talking about the play

[hectorthedoggo]

chat i need your opinion.

i literally have written that man. once. so uh. it won't be my best work I am the es milgram expert and I have written other character's POVs 3 times. but uh yes or no?

[tuttle-did-it]

You know, it's genuinely sad to me that aging favourite character actors no longer have any fun murder-mystery tv shows to guest-star as murders on.

[autisticandroids]

FAMINE: That's one deep, dark nothing you've got there, Dean.

[youtube with closed captions]

dean and his father. dean and his family. dean and how bad it is.

(via @closetoyou1970)

[boviform]

Okay, sorry but is anyone else going insane over the new longform on the latest Patreon livestream?? I absolutely love the dynamic of weird mortician and lonely assassin - literally 'me and the bad bitch I pulled by being autistic'. And the whole confrontation at the end!! I mean, can you imagine what could've been if Pyotr had agreed to give up his ways?? They could have been so happy! I want them to go on holiday around Europe and hold hands!!

[thepersonperson]

I can’t believe we got an infodump on simple domains AGAIN over a Sukuna backstory.

More complaining under the cut.

Usually I am one to give Gege the benefit of the doubt and will read heavily into what little information we are given. But I can't defend this chapter themes or character wise.

Even if this turns out to be a fakeout, going in painstaking detail over a show-not-tell battle in a way that lacks characterization and heartfelt emotion sucks to read. Even if the new shadow style and simple domain debacle goes somewhere, having it the main focus after an extremely traumatic battle instead of characters processing their emotions sucks to read. Even if Gojo is alive and that's why they're this chipper, everyone ignoring his sacrifice and efforts along with Choso's sucks to read.

I'm happy Yuta and Higuruma are alive but why was their revival off-screened? Yuta was so defensive over Gojo and everyone treating him like an object just 8 chapters ago. What happened to that? Why is everyone treating this battle like it was no big deal? (Also why the fudge did Kusakabe tell Yuji, a 15 year old, to his face he should've been killed while disparaging Gojo for protecting the life of a child???)

After the Shibuya Incident, there was a whole segment dedicated to how this affected the average person. The Culling Games ended and there are still bloodthirsty freaks running around. What happened to them? Is Angel hunting them down and that's why Hana is missing? Infodumping on anything except the battle would've been better.

I doubt we'll get any more info on Sukuna, Kenjaku, and Tengen at this point. We'll be lucky if there's a funeral for even Geto's body. Shoko was absent this entire chapter which makes me thing she's still trying to save Gojo or she's preparing their bodies for a funeral.

Anyways. This is the worst JJK chapter for me hands down. My hopes for the final 2 are mostly dashed. Crunch and poor working conditions really do ruin art my goodness.

[souenkun]

Pokémon Masters EX spoilers ahead!

Kabu likes to play TAG with his pokemon... and he's shown to have a much softer side beneath his strictness in pokemas too... he's so grandpa-shaped to me 😭💖

[teaandinanity]

I love my character in The Golden Rose so much. His stat screen is basically like

[nevertheless-moving]

“The other day,” Skar added, “he was talking about what he’s doing there. It sounded an awful lot like he was learning how to read.” The men shifted uncomfortably. “So?” Kaladin asked. “What’s the problem? Sigzil can read his own language. Storms, I can read glyphs.” “It’s not the same,” Skar said. “It’s feminine,” Drehy added. “Drehy,” Kaladin said, “you are literally courting a man.” “So?” Drehy said. “Yeah, what are you saying, Kal?” Skar snapped. “Nothing! I just thought Drehy might empathize.…” “That’s hardly fair,” Drehy said. “Yeah,” Lopen added. “Drehy likes other guys. That’s like … he wants to be even less around women than the rest of us. It’s the opposite of feminine. He is, you could say, extra manly.”

Different possible explanations for this scene, to be taken up depending on which headcanon would be the funniest for a given fic:

While being gay is more broadly acceptable than being unmanly, conflating gender roles with sexuality is not uncommon; the other guys have just gotten more than one drunken lecture from Drehy about how he hates being treated womanly just because he likes dick. Kaladin was obviously working those nights.

Under Vorinism, Gender roles are rigid, but a range of sexualities are perfectly fine. The ardent who visited Kaladin's hometown was just a freak who hated gay people so much it was unreal, and took great pains to explain to the boys of this isolated rural town the unhinged idea that marrying a man was OBVIOUSLY womanly and therefore Bad. He mostly unlearned that shit after joining the army but is a bit confused. It doesn't come up often.

There was one (1) elderly queer couple in heartstone growing up, and one of the men was super gnc, which made people uncomfortable but his parents always told him that you shouldn't shame people for harmless joy. so, yeah, Kaladin just sort of figured that in a relationship between guys, one of them is the woman. He assumes Renarin is gay and I mean. He's not wrong. Part of the reason he never accepted friendly offers of soldier companionship. Not that there's anything wrong with it. He never asked Drehy who was who, because its none of his business and he didn't want to know.

the only times Kaladin has personally ever noticed being attracted to another man is when the guy was doing something womanly. Is it a kink? Is it an extremely dense man needing someone to stand on top of clearly marked social signposts and wave their arms for him to even register them as a sexual being? who knows! not Kaladin! he doesn't have time to unpack any of that. anyway he assumed that all same sex attraction worked the same way and obviously never actually talked about it with a living person. actually I'm expanding this to cover all of Kaladin's sexuality just to make him extra stupid. first time he noticed Tarah was when she punched a dude.

[miraculouslbcnreactions]

Sorry if this seems confrontational, but for the life of me I can’t get into your “Chloe has no growth” point when the show itself retracts growth from everyone and is inconsistent with everyone. You saying “The show just lays down basic character traits in Chloe” doesn’t make sense when her basic character traits are supposed to be her being selfish and spoiled.

S2 built off of that and despite what you say, had Chloe doing things that in S1 she wouldn’t have done. She apologized multiple times to the people she wronged, she willingly put herself in harm’s way to help the people she cares about and she was openly vulnerable to Ladybug in “Malidiktaor”. Something S1 Chloe wouldn’t have done. If there’s a distinct difference between a Chloe back in S1 and a Chloe in S2, then growth HAS taken place. But it doesn’t stay because of the formula (and the writers just don’t want her to keep that growth)

So what I’m asking is…what do you mean “Chloe doesn’t have growth”?

I can understand the “No arc” argument because an unfinished arc feels like there’s no arc at all (even though they are fundamentally not the same)

I wouldn't say that the show retracts growth from everyone. It's more that no one is ever supposed to grow. Every episode resets the cast. That's just how pure formula shows work and Miraculous is being sold as a pure formula show. The characters are meant to be static (one of the writers literally compared Miraculous to Dora the Explorer).

That static nature is why pure formula shows normally avoid giving their good-guy characters major flaws. It's the wrong medium for that type of thing specifically because the characters cannot change in meaningful ways throughout the show. They can learn little lessons that don't really change them and maybe have big change between seasons via a special or movie, but that's about it. Thus things like the season four conflict working so poorly. It's just a terrible choice for a formula show! The conflict is literally not allowed to develop properly because of the chosen format.

But sure, let's talk about Chloe and why I will die on the hill that she never demonstrated meaningful improvement even with the issue of the inconstant writing. In fact, seasons-one-to-three Chloe is one of the most consistent characters in the show. For this discussion to work, we need to start off by discussing character development and the two main forms it can take: character establishment and character growth.

Character Establishment

When the audience meets a character, they know nothing about said character. It's up to the writer to guide the introduction process. To choose when to reveal already existing elements of the character's personality, skills, and backstory. This is called character establishment. It is the writing telling you who the character is on a baseline level. Those reveals don't need to happen at the start of the story, though. They can be - and often are - held back for when the time is right.

When these reveals are delayed, it's important to remember that these elements were always part of the character. The reveal isn't changing who the character actually is. It's just changing how the audience views the character.

For example, we spend a good chunk of season one uncertain why Gabriel is doing what he does. Then, in Origins, we learn that it's all for Emilie. This is new information that adds depth to Gabriel's character, but it doesn't change him in any way. This is who he always was. We just know him better now and can recontextualize past events with our new understanding of his motivation.

Character Growth

Character growth is when writers take a character's personality or world view or even just their skills from point A to point B, allowing the audience to watch the character change and become a new better - or lesser - version of themself. This is usually part of a larger character arc where all the moments of growth add up, but it can take the form of small moments of growth that don't fit into a bigger picture, too. I'd probably still call that an arc, but we'll use the word "growth" a lot in this post, so let's just call it growth to be consistent.

Miraculous doesn't really have either arcs or growth because - once again - formula shows don't allow characters to meaningfully change, so I'm going to have to make up an example here. I'll use one that illustrates how character establishment and character growth can and do intertwine as that's an important thing to acknowledge to help guide this discussion.

Let's say that we have a character who lost their family at a young age. We'll call this character Mary. Mary's loss guides her character throughout the entire story, but the other characters and the audience are never told that this is what's going on. We just know that Mary acts in seemingly illogical ways at times and that she trusts no one.

Throughout the story, Mary learns to trust her costars, leading to a big, dramatic scene where she finally tells them - and the audience - about her past. This big dramatic scene is both the culmination of a character arc and a piece of baseline character establishment that allows us to understand Mary's character better no matter what part of the story we're reading.

Because these combo growth and establishment moments are so common in stories, it can feel like character growth when we learn new things about a character in a dramatic moment, but that's not always what's happening. Sometimes dramatic moments are just there to reveal what was always there by forcing a character to act differently than they usually do through the power of extenuating circumstances. These extenuating-circumstances moments are not character growth because, once the moment is over, the character resets to their normal self. The moment wasn't there to let them grow. It was there for the sake of the plot.

This is actually a really important thing that writers need to know how to do. Figuring out what circumstances will make a character say or do a thing they generally wouldn't say or do is part of how stories work. I have started stories with characters acting wildly "out of character" because I put them in the a situation where the behavior suddenly was in character!

Oh, you don't want to talk to this total stranger because you're an introvert with social anxiety who has yet to learn how to love yourself and open up to others? That's nice. Your leg is broken now and you're stuck in the middle of nowhere. What you gonna do sucker? Lie there in the dirt or talk to the nice lady who wants to help you? Your choice! (Spoiler: he talked to the nice lady. He even let her physically support him when he'd usually never let a stranger touch him!)

As soon as that scene was over, the character reverted because it wasn't growth. He didn't become a more open person. He just did something he normally wouldn't do because the situation demanded it. It was extenuating circumstances so that the freaking plot could start.

This is what happened with Chloe in season two. Everything that people call growth is really just extenuating circumstances that reset by the end of the episode or even by the end of the scene.

Let's Talk About Chloe

Chloe does not have a character arc, aborted or otherwise. She is never taken on a journey where we watch her change. All we get is delayed character establishment via extenuating circumstances, but it's given in ways that make some people feel like she was being given an arc. Let's talk about why that is.

Season one Chloe is a one dimensional mean girl. She has almost no depth. She's just here to be petty and cause akumas. She is not a fully realized character.

Season two takes those traits and keeps them, but also gives Chloe a lot more depth to round her out and make her feel like a real character. She's just as petty and mean as she always was, but we're finally allowed to see her in some moments that make her feel like a well of potential to become something more, which the writers basically had to do if they wanted to let her be a hero. The audience needed to feel like Chloe could be good in the right situation.

The feelings evoked by her newly discovered depth are why people go "oh, she had a character arc! My feelings about her changed in a big way!" But she didn't have an arc. You just got to know her better by seeing her in moments where she was forced to be vulnerable. That's not growth. Growth is meaningful, lasting change, not situational change. Everyone changes based on the situation! It's why the "True Selves" stuff is such nonsense. It implies that there's one set way that we're supposed to act in order to be authentic and anything else is some kind of lie which just isn't how the world works.

Let's look at some examples to drive home what I mean.

Season one established that Chloe idolized Ladybug. It's why we get things like this moment from Evil Illustrator:

Ladybug: Fine! You stay! Later! Cat Noir: What do you mean later? Ladybug: I mean, you're the one who wants to protect her, so you don't need me. So, later! (swings away) Chloé:(looks over balcony) Ahhh! Ladybug! Text me! OK!

And this confession from Antibug:

Ladybug: [Chloe] pretended she was me?! How often does that happen? Armand: She idolizes you.

So Chloe adores Ladybug and wants to impress her/be her best friend. Cool. Got it. That never goes anywhere in season one because season one doesn't see Chloe and Ladybug interact much. The most we get is Ladybug saving Chloe from akumas, which doesn't allow for deep conversations. I don't think that they're ever alone in a moment where they can actually talk.

That changes in season two. In season two, they get to interact a lot and it's often in moments where there's a big threat and no one else is around, letting us see a new side to Chloe. But that's not Chloe changing. It's just the writers revealing that Chloe has more to her than the mean girl stuff because of course she does! Pure mean girls don't exist. Everyone has depth. We simply never saw that depth before because Chloe was never put in a situation where she needed to be open. We can't say that season one Chloe wouldn't confess things to Ladybug or chose to sacrifice herself to let Ladybug win because she never had the chance to do those things!

In fact, I'd go so far as to argue that season one Chloe probably would have done the same things as season two Chloe because season two Chloe doesn't really contradict season one Chloe. Antibug showed us that Chloe was pretty desperate to be loved and welcomed the way that Ladybug is loved and welcomed:

Chloé: Jagged Stone! Jagged: (thinking she's the actual Ladybug) Ladybug! What are you doing here? Chloé: Um… when I find out you were here, I knew you'd wanna see me! I had to come say hello. (Sabrina waves at Jagged)

and Chloe has always been a stubborn girl who stands up for what she wants even if what she wants is something bad. Antibug also showed us that Chloe can be genuinely nice to the people she cares about. Her and Sabrina's relationship is shown to be complex with them often having a lot of fun together.

Similarly, Origins sees Chloe showing her father genuine affection after she's saved from Stoneheart:

[Image description: Chloe and Andre hugging and looking very happy to be together]

Origins is the baseline episode that tells us who the characters are on day one, so I never once doubted that Chloe loved Andre, but Andre didn't get akumatized because of Chloe's actions in season one. He didn't even get akumatized for something that Chloe had nothing to do with! His first akumatization is in season two, so it's not shocking that we don't get a Malidiktaor type scene until Malidiktaor.

Chloe was vulnerable with her personal hero when her beloved parent was in danger, but not before? Shocking! Who would have guessed?

Me. I would have guessed. I didn't even realize that people were reading it as some sort of character growth because it clearly wasn't. Malidiktaor didn't feel like something new for Chloe's character. It just felt like the writers were leaning into things that we'd always known about Chloe and using them to better establish her character as someone who genuinely cares about select people. She just doesn't show most of the time.

The same thing goes for Chloe's sacrifice and apology in Zombizou. Chloe only sacrifices herself when there's no one left but her and Ladybug. When the choice is to let the terrorist win or take the hit and let you personal hero save the day. Brave? Sure, but also not growth. Chloe is team Ladybug for all of seasons one, two, and three! She wants Ladybug to like her! Plus even a petty brat can have moments of goodness where they pick a hero over a literal terrorist.

This honestly would have been a damming moment if Chloe didn't sacrifice herself. She functionally had no other choice here. The entire episode builds itself to the self-sacrifice moment so that Chloe is forced to make that choice even though she's been her petty bratty self throughout the whole attack. It's genuinely solid writing.

Then, in the heightened emotions directly after the Zombizou win, we get this:

Miss Bustier: But I hurt a lot of people... Chloé: No... I did... I forgot your birthday, once again. And when I saw everyone had prepared a gift for you, I totally lost it. Because I, too, would've liked to offer you something. I'm sorry, Miss Bustier. Miss Bustier: Thank you, Chloé. Those words are the best possible gift you could ever give me. (hugs Chloé) (Chloé hugs her back, forgetting herself for a moment.) Chloé: Huh?... Uh, yeah. Okay then, we're all good.

A brief moment of vulnerability that quickly ends and does not stick around because Chloe's change was situational, not true growth. The next scene of that episode starts with Chloe being her usual self:

Chloé: Me? You want me to apologize to the entire class? Ridiculous! They should be thanking me for saving everybody.

And ends with the reveal of Chloe's gift to Miss Bustier, which was given in private via a note.

Once again, nothing new for Chloe's character. She acts as she always has, being mean to everyone while having moments of vulnerability when things get tense. Remember that hug between her and her father that we talked about earlier? Same concept. She had just almost died from an akuma attack and so she needed some emotional support, leading her to act more openly loving than she usually does when he's around. Once the moment is over, she reverts to the petty mean girl default.

Giving gifts to placate people is also something that we've seen before. A pretty similar thing happens at the end of Evil Illustrator, it's just played less sympathetic towards Chloe because the writers weren't giving her depth back then:

Sabrina: Too late. Chloé and I are doing the project together. Marinette: You mean, you're doing the project? Sabrina: Well, of course! After all she's been through... Marinette: Ughhh.... Nice new beret, by the way. Sabrina: I know, right! Chloé lent it to me. She really is my BFF! Chloé! Your geography homework's ready!

For any of this to be character growth, we need to see Chloe act differently over time. For her to be put in similar situations and get different outcomes, but we don't see that in part because Chloe didn't change and in part because season one didn't do much to develop Chloe's deeper side. We rarely see her alone or in moments of extreme vulnerability, but you need those moments to show her depth. That's why Despair Bear had Chloe crying alone after Adrien threatened to end her friendship and not before. Chloe is very reluctant to openly show depth. You have to force it out of her, which perfectly fits the character we met in season one.

Even her standing up to Hawkmoth and rejecting the akuma isn't character growth in my opinion. Chloe has always stood up to authority and demanded whatever she wants. She has wanted to be Ladybug's friend and be seen as a hero since season one, so it's not shocking that her extremely strong will would allow her to defy a terrorist. If there is anyone in this show who can stand up to a terrorist on shear "no!" power alone, it's little miss I-always-get-what-I-want. I could see a variation of this happening at any point in the show, just change Chloe's reason for defying Gabriel to match the situation. Rework these lines to be about a party that she wanted to go to and I'd still totally buy it:

Chloé: No, Hawk Moth! I am a superheroine! I am Queen Bee! Ladybug will come and get me when she needs me! I WILL NEVER JOIN YOU! (throws her photo onto the ground as the akuma exits it... and pants)

Chloe acted like a hero here because she wants all the perks of being a hero and can't believe that Ladybug would actually bench her. That's impossible! Ladybug wouldn't do that!

As soon as Chloe accepts that she won't be a hero again, Chloe stops acting heroic because acting heroic wasn't growth. It was her playing a part the same way she played a part in Despair Bear. She was doing what she needed to do to be Queen Bee again and not because it's the right thing to do. This would only be real growth if she rejected the akuma after accepting that she wouldn't be Queen Bee again, but that's not what happens. As soon as she accepts that she's out, she no longer has any reason to play nice. She never grew into a character who did what's right for the sake of doing the right thing. It's always been about getting what she wants or being seen how she wants to be seen. Until that changes, she hasn't changed.

So no, Chloe didn't have an aborted arc. They didn't start to redeem her and then change their minds. All they did was make Chloe one of the most complex characters in the show only to then not do anything with the character they wasted our time establishing, ignoring the complexity they gave her while also cranking her mean dial up to the point of absurdity where she's not even fun in her original role anymore.

I get why it feels like she had an aborted arc. The fact that the character establishment was delayed makes it feel like something shiny and new about Chloe. There's also the fact that the character establishment we get in season two is the kind of character establishment that you'd do if you were setting up for a redemption arc, but that doesn't change the fact that it was all establishment work. None of it was a true arc where we watched Chloe grow. We just saw her put in situations that revealed hidden depths.

Her showing depth is not her growing because when in the world does she show off this supposed growth? She only acts differently in the type of scenes that we've never seen her in before or around characters that we've never seen her truly interact with before. When she's around the established teen characters or in her usual scenes, then she acts the same way that she always has. We never see her be genuinely nice to Marinette or something like that. She's only nice to Ladybug and she's still rude to Chat Noir. That's not character growth! That's character establishment that can then be used to guide character growth!

Same thing goes for the stuff in Despair Bear. We learn that Adrien can push Chloe to be better, but he never does it again and she reverts as soon as he lets her off the hook, so it wasn't character growth! It was just Chloe establishing that she can play nice when she needs to. This means that she could grow if the story chose to take her down that path because we've established that she knows what being nice looks like. Fake it til you make it plot go, go, go! But the plot never went, went, went so meh?

Add in the fact that season one was a bit of a test season with lots of elements that got dropped and the fact that characterization in this show has always been wildly inconsistent from episode to episode and I'm really not seeing a strong argument for Chloe having an intentional arc that somehow got aborted. People just saw the potential for her to have one and argue that potential is the same as an aborted arc when it really, really isn't.

To give an analogy, Chloe's story is like walking into the kitchen and seeing grandma laying out the ingredients for her famous chocolate chip cookies. We get excited because, hey, cookies! Then we come back an hour later and there are no cookies. Nor is there some other sweet that uses the same ingredients. There's just ingredients, sitting unused in their original packaging, making us wonder what the heck grandma was up to. At the same time, she never really started making cookies. She just set out ingredients. They're still there, totally unused, waiting to be made into something, so we can't call them a failed cookie attempt. That implies a level of commitment that was never there. She didn't even say that she was making cookies! We just assumed she was because we, understandably, wanted cookies and wanted to believe that grandma had a purpose to her actions.

[three-dee-ess]

I know it sounds dumb coming from the 3DS blog but it's fine to follow or interact with my blog and not play on your 3DS or not mod it!! or not even own one at all! Yes, I love the 3DS but I spend more time on tumblr than I do playing it. I spend more time playing games on my PC than on my 3DS. I love my 3DS, but I don't always carry it with me, I'll go months without playing it. It's a toy, of course you'll want to take breaks from it! Life also gets in the way from time to time. It's fine. It's okay :3c

[nostalgia-tblr]

i know i didn't used to tag fics as 'one shots' because i remember i started doing it after what felt to me like an increasing number of "is there more of this?"/"what happens next?" type comments, and prior to this i'd thought that unless something was marked as unfinished it would be assumed to be complete, but also i feel like it actually was? we didn't even have to call things 'one shot' they were just fics and the outliers were the 'longfics' (which everyone complained about the lack of). and people subscribe now to what i think of as obviously finished fics. (this did a number on my brain for a while as i thought i had somehow just forgotten how to end a story.)

i don't know if anything did actually change (in the past 3-4 years?) in Fandom In General but it feels like it did.

[wishfulsketching]

I could stare at Viktor's new design every day. And so far, I have!

[rosenfey]

🌿💀 say what you will but veilguard gave me emmrich and manfred and they made me feel like I'm not weird for the person I am so that's a clear win to me 💀🌿

[gdsplicer]

Playing with that "red string of fate" like it's a goddamn strawberry lace

[beanghostprincess]

I've been consuming a lot of Danganronpa content lately and this has been my whole attitude

[blackjackkent]

Jaheira's office does indeed look completely overgrown, which is apropos to be honest.

There's several notes in here from various people regarding her investigations into the cult and the shadowlands prior to her departure to Last Light. Also a note from the Flaming Fist indicating that Rion and Jord have been helping to "settle street disputes" in a fashion the Fist disapproves of, and a clipping from the Baldur's Mouth Gazette relating to the Beloved Ranger statue (which was actually Minsc) disappearing.

There's a button operated by the pin Tate gave us on the side of her desk; it opens a pathway down into "Jaheira's Hideout" beneath the house.

Whoa.

There are quite a number of these traps set up. The Narrator informs us, on a passed arcana check, that these are attuned to the druid who set them - Jaheira - but that they can be overwhelmed by being hit with the same element.

I trust you implicitly, Jaheira, and also I can't figure out what pressure plate you're talking about. So I hope you're right. XD

At the bottom of the hill is... well, a sort of paradise.

A gorgeous green lagoon rounded with trees and plants and a run-down but sturdy house of wood and thatch. Next to it is a badger, labeled "Postmaster Badger", and several "Messenger Rats."

"The only patch of wilderness this city permits me," Jaheira says wistfully. "There ought to be supplies here to aid us."

"You know this place, Boo?" Minsc says indignantly. "Hmph. Minsc has never been invited."

Everything inside the house is trapped. XD I quicksaved aggressively while disarming everything because I was very afraid of exploding Jaheira's sanctuary by accident.

In disarming the traps, Hector finds a hidden door behind a bookshelf.

Jaheira reaches out and puts a hand on his arm before he can proceed. "Keen eye," she says quietly. "But if it's supplies you seek, weapons to aid in our fight - you won't find them behind that door." He can hear a sudden effort in her voice, one he knows all too well - the struggle against sudden emotion. "There is nothing back there of worth to anyone but me."

Hector looks at her thoughtfully. His curiosity is piqued, certainly, and it is a powerful force on its own - but more than that, he has been fascinated, over this past hour or so, at seeing beneath the brittle shell that Jaheira always presents to the world. "If it matters to you, it matters to me," he says earnestly.

She looks away from him, her eyes flicking rapidly around the room. "On my word," she mutters. "All you will find inside is dust, and the mouldering keepsakes of a much younger woman."

"Jaheira," Minsc rumbles gently. "Our friend has put their trust in us. Boo thinks it only right to return the gesture, no?"

For a moment, Hector thinks she is going to lash out, defensive-- but then she hesitates, and smiles ruefully. "You so rarely make a habit of being right, ranger, that it puts me ill at ease when you are." She sighs, looks back to Hector and nods. "Pass, then. Go on. See what it is a foolish old Harper thinks worth hiding away."

Hector holds himself still for a moment, giving her the chance to change her mind. He is curious, and he welcomes the chance to connect with her here-- but he will not push where he isn't wanted.

When she doesn't object, he leans over and pushes the bookcase aside.

It's an unassuming little area, really - no more than a dirt cave behind the house. A large chest, several display cases and crates and a table covered in scrolls.

-----

The table first, and the scroll on it:

"Rite of the Timeless Body," Hector says thoughtfully. "What's that about? I'd best ask Jaheira."

"I found a strange scroll in your sanctuary. Something about a 'timeless body'?"

She snorts. "The threat of spanking never kept the children from poking through my things. Why should it deter you." She glances at the paper on the table. "It is... a ritual. Or it describes one at least. Practiced by druids of certain esoteric circles. If they be learned and powerful enough, the practitioner of this ritual might slow their aging, extend their life well beyond its natural reach. In greener days, I might have been strong enough to do it. I might be yet, with the right preparations."

Hector blinks. "So you plan to do it?"

Jaheira hesitates, shrugs. "I make no plans. Only... contingencies." She scowls, seeing the expression on his face. "Do not look at me like that. I have been content to see the span of my natural years - a privilege far too few in this world can claim. I do not speak of clinging to life for its own sake. I just... look back on that life's work and I wonder... is it done?"

She lets out a heavy breath and leans against the wall of the building behind them. "The Dead Three plague the world still. The city still falls prey to small minds like Gortash or lost souls like Orin. It is every Harper's hope to be a light that drives out darkness. But I've lived long enough to see so many of those lights burn out, while the shadows cling stubbornly on. Knowing that, isn't it our duty to burn on if we can? To fight for as long as we are able?"

Karlach gives a sudden, sharp laugh at Hector's side. "You're preaching to the doomed choir, ma'am," she says sardonically.

Jaheira smiles sadly. "You've done more than your share of fighting already, Karlach," she says. "If there is one person I would trust to make the most of a longer life, it is you."

Hector knows he shouldn't ask, he knows it isn't fair with Karlach standing right there to hear him... but the words slip out anyway. "Would you live on at any cost?" he asks.

She quirks an eyebrow at him. "In truth, I had put this ritual from my mind - until Last Light. Trapped in that darkness, I turned to my research again. What if I was a little stronger? As fast as I once had been?" She shrugs. "Then you came, and made the question moot. But I kept this. Just in case, I told myself. A final resort. Perhaps you were not the savior you seemed. I had learned better than to think of life as some simple tale, after all. There is no guarantee of happy endings, or true heroes."

She looks at him thoughtfully for a moment before going on. "I believe that still. But when I look on all we have achieved since, I wonder... perhaps it is not heroes we need. Only people who are willing to try. I do not know what manner of story that makes. But I do know that, without an ending, it would be no story at all." She gives a short, sharp nod. "So I will accept mine, when and however it comes. As for this city's story, well..." She grins suddenly, pockets the scroll. "Well, that is entirely your problem now, cub."

He smiles slightly. "I'm honored you think of me that way."

"Hah. Do not thank me for slinging a weight around your neck," she says dryly. "I might start to feel bad." She huffs out a breath and shakes her head. "I do mean what I say - but I am also a Harper. In every honeyed word, there is a hook. But I do not plan on going anywhere just yet."

She pauses, and then grins with gallows humor. "And besides, you still have a tadpole in your skull. You are almost certainly going to die first."

Hector doesn't really think that's particularly funny.

-----

(A/N: Time for some incredibly self-indulgent headcanon - in this worldstate and in my particular headcanons for Jaheira post-BG2, you cannot convince me that she didn't obtain the information on that ritual partially for Rasaad, knowing she was going to outlive him by a century and not wanting to face losing another man she loved. Though I think the more altruistic explanations for her wanting it still also applied. (And perhaps Rasaad wouldn't have accepted it anyway even if she'd been able to figure it out.) She does say she put it aside for quite a while, until Last Light. Probably after Rasaad died.)

-----

Throwbacks!

There are two Very Rare quality weapons in the chest opposite the table:

This is a scimitar first found in a haybale near the Druid's Grove outside Trademeet, in Baldur's Gate 2.

This staff is obtained in Watcher's Keep in the Throne of Bhaal expansion. Caden (to my recollection) never went there during my playthrough, but that doesn't mean he didn't while I wasn't paying attention. ;) Cespenar also apparently can upgrade it in the pocket plane.

I miss Cespenar. I hope he's doing well.

-----

Finally, at the back of the room is a slightly dusty-looking display case.

AHHHHHHHHHHHHHHHHHHHHHHHHH

Aw man, c'mon, I just teared up. You can't hit me with a throwback like that and expect me to remain normal.

AHHHHHHHHHHHHHHHHHHHHHH

This is the necklace that Khalid makes for Jaheira (if you help him) in the Siege of Dragonspear expansion between BG1 and BG2. He was incredibly cute about it and talked about how he declared his love for her for the first time. SHE was incredibly cute about it and talked about how lucky she was to have him. The item description was also incredibly cute and talked about how just wearing it revitalized her.

HNNNNGNNNGHHHH I NEED TO GO LIE DOWN.

*quiet wailing*

We can ask her about it further, too.

"About that amulet I found in your house..."

"Oh dear," she says, looking at him warily. "Should I brace myself for some fashion advice?"

She pauses, then sighs. "But I suppose you have earned better than glibness from me. It was a gift from my husband, Khalid."

He can hear the emotion that rockets through her with the single word. He is sure he sounds much the same when he speaks of Karlach.

"He was a Harper," she goes on. Her expression grows distant, lost in memory. "A better one than me, truth be told. Any idiot can swing a sword. But to believe in the cause, with the whole of your heart? A much trickier thing."

She draws a breath and lets it out shakily. "He died. Alone, in pain, and far too young. Murdered by a mage who craved immortality." A muscle works in her cheek. "I'll not grant it by naming him in the same breath as my husband."

[HISTORY] Recall what you know of Khalid.

Narrator: The quiet, unassuming shadow to Jaheira's strength, Khalid was another warrior who helped end the Bhaalspawn crisis. Shortly after, he was murdered by the mad mage Jon Irenicus.

Hector and Jaheira have spoken of this a little before. Jaheira first mentioned him in the context of Karlach's engine, and the impending similar loss that Hector faces himself. In that moment, and in this one, he felt and feels a sudden deep surge of connection with her, a terrible bond that steadies and reassures him even if he wishes neither of them had to bear it. He is not alone, and neither is she. He hopes his presence gives her similar solace.

"I'm sorry," he says quietly. "I hope I didn't bring up any bad memories."

She smiles weakly. "Nothing that wasn't already there, fear not," she says. "But I've lived many lifetimes since Khalid died. You, ah..." She trails off before the slight shiver in her voice can take root and blossom into tears. "You twine your life around the people you love. And when they are gone, you grow around their absence instead. It is just another way they shape you..."

She swallows, then goes on suddenly louder, faster-- "Which is my sage way of saying... I am in no danger of forgetting how my husband died. But I choose to remember how he lived."

(A/N: God, the writing in this game is gorgeous.)

Hector wonders, briefly, what Karlach thinks of this conversation, but he does not dare to look at her, or that same emotion will rise into his own throat and choke him. Instead, he focuses on Jaheira, listening intently. I choose to remember how he lived. "Tell me something about him no one else knows," he says, tone deliberately light.

She gives a slight laugh. "Most Harpers swagger and flash their feathers to catch your attention. Khalid was of a quieter sort," she says. "I have never known a warrior who would go so far out of his way to avoid a fight. Which meant the few he chose were usually the right ones." She pauses, and then laughs again, shakier this time. "And when we were married... on an upturned cart in the rainy Dalelands... he stammered so much, I've never been sure if our vows actually counted."

Hector smiles. "You seem an odd pairing," he says, gently teasing.

Her eyes narrow, taking on a sudden almost playful air. "The druid in me would like to say it was a thing of balance. The younger woman recalls rather more about a fine bottom-- and the habit not to speak unless he had something to say."

This comment is so unexpected that it startles a laugh out of Hector - and he's relieved to hear Karlach laughing too, behind him. Jaheira looks rather pleased with herself at the reaction.

"The songs make much of Khalid's meekness," she goes on after a little while, more seriously. "The quiet little Harper who had to keep a tight hold on his courage. But he had it when it counted. And more than that-- he had compassion. When you live a Harper's life, see all that a Harper sees, that is by far the harder thing to hold onto."

She looks down at the aquamarine pendant in her hands, then slips it around her neck. "But a bard can tell you all the rest," she says, turning away. "As for all the things they cannot... well. I shall just have to keep those for myself."