#you may not have revealed a plot spoiler

[dazais-guardian-angel]

Well, at least Fukuzawa got his wish granted, I guess.... he's finally inside Fukuchi <3

[felassan]

Dragon Age Day 2024 – Developer Reddit AMA (Q&A session) – compilation post

Introduction: “Happy Dragon Age Day! John Epler and Corinne Busche are here to answer your questions for the next ~2 hours. Looking forward to chatting with everyone. We won't be able to get to all questions, but hoping to get to a good mix!”

I gathered the questions and answers from the AMA together in this post, as the AMA has now concluded. The rest of this post is under a cut due to spoilers and length.

Q: "If you could’ve developed DLC, what — and/or where — would you have wanted to explore? Would it have been a new locale with a complementary, self-contained story or something that adds to the main plot and teases the future?"

Corinne Busche: "On the gameplay side, I had a thought about adding a new class option, which is directly related to the environments and story. I've always wanted to revisit the Bard, and I've long felt in the context of Veilguard the best way to handle player-controlled blood magic would have been to build a unique 'Blood Mage' class for it."

Q: "Can we look forward to more lore-supplementary material, for example World of Thedas vol.3?"

John Epler: "With all of the lore reveals in DATV, another World of Thedas is something we'd absolutely love to do. That said, they're complex beasts and require a lot of work from a lot of people, so I can't really promise anything, but it's something we're interested in, at least."

Q: "1. How exactly did Solas's blood magic manipulation of Rook work? Did he only alter Rook's perception to make them think that Varric was still around, or did the blood magic actively prevent Rook from reacting to Varric in a way that would have given up the ruse to the other characters? 2. What is the state of Southern Thedas after the events of DAV?"

John: "Solas' magic caused Rook to see Varric when he wasn't there. Originally, of course, Solas wanted Varric to keep Rook more off-balance - but the thing about the Fade is that things don't always work the way you expect or want them to. As for the state of Southern Thedas - it's been pretty radically altered. The balance of power has shifted, but even those who rode out the storm of the Gods' blight better than others are still reluctant to start anything as the whole place is in rough shape."

Q: "When looking back on DAV, is there any part you wish that you could have spent more time on?"

John: "For me, it's about the Antaam and their split from the rest of the Qunari. There are elements of that story in both the Crows content and in Taash's personal quest, but in a dream world, having the Ben Hassrath as an additional faction (albeit, one you don't know if you can trust) would've been nice."

Corinne: "And for myself, I certainly share some of the desires the community has. Going deeper on romances, and more choices to import. I love our choices and consequences in the game already and maybe we could've added a few more on the scale of the Minrathous/Treviso choice, that significantly alter the remainder of the game. I think we learned how to make that work within our gameflow and content structure, so I look forward to being able to lean in on these beats more heavily. That said, no artist or creator is ever going to be completely content with their work, and even so when I take a step back and look at the game as a whole, I'm extremely proud of what were able to accomplish."

Q: "Can we get confirmation on what happened to the other Evanuris? Will we get any more lore? Shame we didn't hear a whole lot about them besides essentially being behind the previous Blights."

John: "We haven't been SUPER specific about this, but at best the other Evanuris are a shadow of their former selves, and at worst they're dead. The death of their Archdemons, particularly when they were still trapped in the Fade, caused enough magical feedback that it broke their minds and bodies. A couple may have survived as shells, but they aren't in the same state as Ghilan'nain and Elgar'nan."

Q: "Will we get at least anything post launch that via free updates that further expands some story elements? Will rook continue to be the main protagonist going further??"

Corinne: "We've been continuing to improve upon the game post-launch through various bug fixes, balance updates, and quality-of-life improvements. Notably new character creator options and armors for DA Day and N7 Day, and some cool features like Photo Mode filters. Beyond this focus however, we largely view this story as complete and are not planning for further story content. Whether Rook will return in the future, well it's just too early to say :)"

Q: "The marketing for the game claimed that choices not imported from prior games wouldn't be overridden. However, certain dialogue from characters like Harding seemed to establish certain canon events from previous games that were not locked in. Is the intention that a hard canon is being established from DATV forward?"

John: "Ultimately, there's still no intention for there to be a hard canon going forward. These games have been going on for 15 years, though, and with all of the previous games to remember, as well as developing this one, there are absolutely places where we unintentionally suggested there was a hard canon (the one I've seen specifically is that Isabela is always assumed to have joined Hawke's party). I'd say those are oversights and not part of a deliberate strategy. While there are definitely some smaller decisions we will likely never revisit, I want to keep those other choices alive and relevant in the future, and with the state of Thedas the way it is at the end of DATV, I don't really think there's a way forward that DOESN'T involve bringing some of those bigger choices back to the forefront."

Q: "Was there anything at risk of being cut from the game that you fought tooth and nail to keep in?"

Corinne: "Oh, absolutely. There are always those things in game dev that are at risk due to scope and deadlines. There were 3 big ones that immeadiately come to mind: The Transmog feature, the Lords of Fortune Hall of Valor, and Haunts questline. I'll throw in Photo Mode as well, but that was one that we always knew we'd like to do, and had to dig deep to find the time and resources for it."

Q: "Is it set in stone that we will not be getting DLC?"

Corinne: "Correct, our focus was to tell a complete story with the release of Veilguard. Beyond the quality of life improvements and a couple new armor sets we're doing to support the game, we won't have any new story or gameplay content coming to the game."

Q: "Are there any plans to try and increase character saves on console to more than 3?"

Corinne: "This is something we've investigated, but because this touches our save file architecture there are no plans at this time to increase the limit."

Q: "Are you planning to make another Dragon Age after this one ?"

Corinne: "There are so many more stories yet to be told, and threats to defend against, within Thedas, but that's all we can say for now as we don't have anything new to announce."

Q: "With the polarizing nature of this iteration of Dragon Age, how did the media attention affect the team as a whole and the morale leading into and post launch?"

Corinne: "This is a tough one to answer, because it's so personal and specific to each member of the team. So let me say this, we've seen that with each Dragon Age release there has been a passionate, and sometimes polarized, response. When you consider how invested the players are, the nature of reinvention in the franchise, and the commitment to inclusivity, it makes a lot of sense to see the broad array of reactions. What I can say is that the team is really proud of what they have built, and the positive critical reception it's received. Within the team, we've been sharing all of the wonderful letters, fan art, and anecdotes from the players, and listening closely to the constructive criticism. That's really where we focus our attention."

Q: "Could you comment on current logic of Lucanis romance? Him leaving PC because of a certain choice does not make sense, because right after that he picks up the romance arc with Neve, who did exactly same choice. Was it intentional, or are we dealing with a broken plot flag or oversight?"

Corinne: "Lucanis is a deeply passionate individual, and rightly or wrongly, can't overlook that it was Rook's decision as the leader of the Veilguard to support Minrathous, when so many lives were bound to be lost in Treviso. It hasn't dimmed his passions, which is why he ultimately still pursues Neve, but it does come at the cost of the fledgling romance with Rook. As with all people, Lucanis is complex in the way he internalizes his experiences, and this is one he couldn't look past."

Q: "Are there any comics or books planned that are set after the events of DAV?"

John: "Ancilliary media is always tricky but personally I'd love to do more in that space. I think the ending of DATV leaves the world pretty well open to a number of different stories and exploring how the dynamics of Thedas have changed after the events of DATV is, IMO, a really fun path to go down."

Q: "Can we see Sandal in the future Game/DLC?"

Corinne: "That's an interesting possibility to explore. Especially given what we've learned in Harding's quest line and the awakening of her powers through her connection to the Titans. It's a really fascinating side of lore, but like we've mentioned already we don't have any new story content coming to the game or anything further to announce."

Q: "I want to give a shout out to John, Corinne, and Trick in particular. What a great group of people who clearly love this series! Would love to know about their canon Rooks/romances and their playthroughs" 

Corinne: "At this point I've done so many playthroughs it's difficult to keep them all straight! If there was one that I'd say is my "canon" however, I'd say it would be my Shadow Dragon Qunari Rogue, named 'Rin'. She was a Veil Ranger who was always a bit quick on the draw, chose to save Minrathous, selected Maevaris for Archon, and romanced her one true love: Taash! Ultimately Rin and Taash agreed that Taash should honor their life as a Rivani, before we defeated the gods, redeemed Solas, and sent him off into the fade to be with his own true love: The Inquisitor. <3"

John: "Qunari mage Rook who's romancing Harding. He's the handsomest Qunari in Thedas, and that's a burden he bears every day. I'd also just add that while I appreciate the kind words, a game like this couldn't come together without a tremendous number of people, far more than are active on social media. So shout out to the whole team for the hard work they've done."

Q: "Can we hope to see something related to Awakened Darkspawn in the future that the franchise has? (As in prequels or new instalments.)"

Corinne: "Difficult to say. I've always been a fan of the rare cases of Awakened Darkspawn, but if they were to turn up, it would need to be because they were right for the story."

Q: "My question is - what are your plans for upcoming patches? Do you expect that they'll mainly be bug fixes, or is there a possibility that there could be content patches? And if so, any chance for more interaction between Rook and the companions, since that's top of many of our wishlists for the game right now? (Lucanis in particular for me :) but every one of us has their own favorites!)"

Corinne: "I'm so glad you enjoyed it!! I believe we've responded to another question about the post launch plans, but let me include some of that information here as well. We're currently focused on various bug fixes, balance updates, and quality-of-life improvements. Notably new character creator options and armors for DA Day and N7 Day, and some cool features like Photo Mode filters. Beyond this focus however, we largely view this story as complete and are not planning for further story content."

Q: "Where does Andraste and the Maker fit into the world of Thedas given all that was revealed during Trespasser and Veilguard. We obviously know the whole story about the Evanuris and their role in shaping the world as it is, the Black City, the Blight, etc. Is The Maker just a human mythology that sprang up to explain this? Does The Maker still exist?"

John: "That's a weighty question. I do think there are some questions we should never (and likely will never) answer completely - I think the moment you reveal everything there is to know about a fantasy universe, you start to lose some of the mystery that brought people into it in the first place."

Q: "Are you going to add new armor or skins as you added the Mass Effect one?"

Corinne: "We actually just dropped the new Hawke-inspired armor, face paint, and body paint, as of today in celebration of Dragon Age Day!! Really hope you enjoy! I know for me personally, it's going to be my go-to transmog armor from now on."

Q: "What features/storylines were left on the cutting room floor? Followup if you're feeling generous: How was the development of Veilguard viewed internally, and was the majority of the studio satisfied with the time given to develop the game?"

Corinne: "Tightening up content and making cuts is a tough but typical part of game development. A few of the biggest cuts we had to make were trimming down the Faction story arcs, and letting go of a few explorable spaces. There were also a few areas, like blighted Weisshaupt that we could've returned to and explore. In both cases however, I believe we rightly opted to let go of these quests and areas in favor of increased focus on the quality of the existing Faction quests and exploration areas and shipping a high quality performing experience."

Q: "After reading the Dragon Age: The Veilguard book I noticed the jurassic tortoises didn't make the cut into the game, they were also teased in the initial teaser trailer from a few years ago. Any particular reason they were cut?"

John: "It's less about them getting cut and more that they just never moved far enough ahead to be a part of the game with full animation sets (combat, locomotion, etc)"

Q: "Is there any hope that you'll be announcing official mod tools, or a toolset like Dragon Age: Origins?"

Corinne: "No, we don't have any plans for official mod support."

Q: "My question is >! where does Solas/where do Solas and the Inquisitor go off to at the end if he’s redeemed? Back into the prison he made or just the fade in general?"

John: "We're leaving that ambiguous on purpose, but given that the Fade is shaped by dreams and thoughts, I think it's fair to say that the section of the Fade that Solas and the Inquisitor end up in is a lot nicer than the Fade that Solas gets trapped in with the other two endings."

Q: "How do you think Veilguard sets up the future of the franchise? Where would you like to take it from here?"

Corinne: "I'm sure it won't surprise you when I say we riff on this topic a lot! What really captures my imagination now that we've resolved some of the mysteries pertaining to the blight and the Elven gods, is exploring the aftermath of this crisis in a deeply destabilized Thedas. As you can imagine, given a blight of this magnitude, and the revelations of the Elven gods, it's going to have long lasting geo-political implications, and there will be those eager to take advantage of the situation. Not to mention, there is so much yet to explore in the nature of the the Dwarves and Qunari, and their relationship to the Titans and Dragons respectively."

John: "To riff on what Corinne is saying - I think, for myself, I'd love to look at taking it down from 'end of the world' to 'the world is changing, how do you adapt and react'. The balance of power has changed, and the Sword of Damocles that is the Evanuris and the Blight is no longer hanging over the world. What does that look like? Who's on top now? And with all the revelations brought up in DATV, what does that look like for the Dwarves, or the Qunari?"

Q: "1) I've seen people that they believe Andraste was a vessel for Mythal because of a comment Morrigan makes about a previous vessel falling in love with an Almarri Chieftain. Is this the case or was she talking about Flemeth? 2. About the Executors, is their manipulation more on the level of leaking information to select people to guide events, or is it more along the lines of "Loghain suspects that Cailan wants to ally with Orlais, let's stoke his hatred by having him see/hear events that remind him of what they did." 3. Lastly, are there any plans to let us visit Kal Sharok proper in any future games? It was great getting a small glimpse of the Dwarves from there and see an outpost but would love to see the actual city!"

John: "I think I'm going to have to keep the first question a mystery for everyone. :) For the second, it varies. The Executors are very mysterious and, more importantly, incredibly risk averse. They attempt to manipulate events in the most subtle way they can manage. Sometimes that means leaving a particularly inflammatory document on the right desk. Sometimes it means stoking existing fears and doubts. Not everything they try is successful, in part because of how unwilling they are to put themselves at risk. For Loghain, it would have been incredibly subtle. He's smart, strong willed and, in his own way, loyal to Ferelden to a fault. For others, it would've been different. I'd love to do more with Kal Sharok as there are some interesting stories still to tell that involve them, but we don't have anything to announce as it relates to future games."

Q: "If you could make one of the faction leaders a party member in the next game, who would you choose?"

Corinne: "For me, it would absolutely be Evka and Antoine (you have to bring them as a couple, right???). They've come to have place in my heart, and I would love to know what the future of the Wardens looks like. That said, a couple of runners up: Maevaris Tilani, and a reprised companion role for Isabela, would make me very excited!"

Q: "Did you expect so many players to be so thirsty over Emmrich? He is the best player in the game for me, thank you for his lovely presence."

Corinne: "I mean, we definitely had our suspicions. Within the dev team, we are also fans of the game, and what we found was that some of us were very drawn to, and quite vocal about, our resident necromancer. There's something so endearing about his gentle demeanor and that juxtaposition of necromancy as a force for good and reverence, that makes him really compelling."

Q: "I wanted to start out by saying I love this game, but one of my major questions is: What happened with the Lords of Fortune? They have significantly less content and reactivity than the other factions with Rook not even commenting on things that they would already know like Isabela explaining what "Pulling a Barv" is. Similarly, the Lords don't have a theme for the Lighthouse OR colorways or even a real faction quest line like the others have. Were they intended to be a different faction (a qunari/tal vashoth one maybe) and it got swapped late? Where they just added late when time/budget was already running low? Was it determined that fewer players would pick that faction so less resources were allocated? I feel like there's a reason as to why since the difference between playing as a Lord and playing as any other faction feels really extreme."

Corinne: "We always knew that some of the factions needed to have a larger presence in the overall story than others, so when we approached our content planning, we took that into account. They are inherently assymetrical. That said, I think there is a lot of interesting material to now work with in regards to the Lords of Fortune and the Rivain Coast if that's right for another story."

Q: "What was the motivation behind writing the Inquisitior's missives and the ultimate fate of southern Thedas? Is that an area you are likely to revisit in future games? T his question is the result of a lot of discussion that's been had in the fandom as of late and one to which there's no definite answer, but I'm curious: as developers and writers, what features and qualities do you believe make up Dragon Age's core identity?"

Corinne: "Around the time we approached Alpha, we realized that this blight, and the impact of the gods on all of Thedas was so much bigger than what the player would see in the north. We felt this was a natural opportunity to have the Inquisitor serve as that connection to the events happening in the South, to show that the entirety of Thedas was impacted, and the Inquisitor was not one to stand idly by. Sometimes I daydream about exploring the parallel adventures of the Inquisitor in the south while these events are unfolding in the north. That could be a really fascinating tale and perspective. Regarding Dragon Age's core identity. Well, that's a big question and one that will mean different things to different people. I can tell you that internally we've always stood-by the mantra that 'Dragon Age is an experience about people'. That is to say, the setting serves as an opportunity to really explore the depths and motivations of characters during times of crisis, joy, and companionship. Another that I reflect on frequently is how Dragon Age has become a franchise where each game has been different in its approach, and while it can make these titles challenging to develop, it also creates an opportunity to keep the franchise fresh."

Q: "What was the reasoning behind only making Dock Town an explorable area in Minrathous, rather than a combination of areas of the city, such as where the upper class lives?" [I think this comment was edited at some point after posting hence some of the answer below seeming unrelated]

John: "Given the state of Thedas at the end of DATV, Minrathous has become the diplomatic hub for the entire continent. While we could, to some degree, avoid references to the Divine and Ferelden's leader by virtue of this game taking place in Northern Thedas, I don't think that would be possible (or satisfying) going forward. There will, as always, be some choices that we won't reference, but others are, I think, going to be required to tell a coherent story in the future. Focus, more than anything. We originally had a few areas in Minrathous but rather than spread our resources thinly across multiple areas, we chose to focus on Dock Town and make sure it felt coherent and cohesive, as well as doing our best to stamp out any bugs we found. If we ever revisit Minrathous (which I'd love to do), I think we'd spend more time in the other districts. Both Harding and Davrin have specific, non-quantum reasons for being willing to sacrifice everything to stop the gods. For Davrin, he saw Weisshaupt fall - and he had his own opportunity to heroically sacrifice himself taken away. For Harding, she's been on this quest for nearly a decade, and she saw Varric, her friend and mentor, fall. Neve/Lucanis could have worked in either slot but that multiplies the complexity even further - and Neve already was earmarked for the wards."

Q: "During development, did you plan for a cameo of any companion from previous games that ultimately got scrapped? If so, may I ask who? And on this topic, has an appearance of the Hero of Ferelden on the table at any point? Is there a reason they haven't appeared since Origins?"

Corinne: "Thank you so much for the kind words! Glad you enjoyed! While not a companion, for a long while Charter had a role in the game. Ultimately we felt this wasn't the best fit and decided to move away from her appearance. In some cases, the opposite was true, where we added former Companions. Bringing back Isabela was a relatively late call, but we did feel we had the right role for her to fill within the Lords of Fortune. I often think about the role the Hero of Ferelden might play. It's a challenging one due to the choices the player may have made, not to mention how we handle giving them a voice that matches player expectation given they were a silent protaganist. But I do think there is something there, and I would like to explore it, if we can find the right story to tell."

Q: "If an elf were to, say, exist in the Fade for an extended period of time, would they regain the elven magic (if not already a mage) and immortality? 👀 And if, hypothetically, they one day returned to the physical realm, would those qualities persist? (Tried to be as unspoil-y as possible!)"

John: "I think, at this point, no one really knows what's going to happen to an elf who spends an extended time in the Fade. In part because the Elves of today and the Elves of Solas' past are not really the same at all. But also, the Fade has changed since Solas was a spirit. So while he may have theories, he can't say anything for certain."

Q: "Throughout the game there are many hints at a new storyline involving the past of the Qun, The Devouring Storm, and the involvement of The Executors. In what capacity can we expect this new narrative thread to be explored (novels, comics, next game)?"

John: "I think that if these story elements aren't at the core of any new material, they're at the very least going to exist on the periphery. The story of the Evanuris is done - the gods are dead (or imprisoned) and Thedas is in a state of flux and uncertainty. I imagine that whatever happens next is going to be a surprise to everyone, including the people of Thedas."

Q: "I was wondering what happened to the forgotten one and why was he scared of the eye does that mean something or is it just him say that he is scared of going back into the fade"

John: "When Anaris is defeated, he's sent back to the Void. What's there isn't something anyone really knows, but if you read the other Codex entries scattered around Arlathan, it's clear that Anaris has touched something far darker and more dangerous than he expected, and now it has his scent, so to speak."

Q: "Compared to previous installments, Dragon Age: The Veilguard makes an effort to de-centralize the moral complexities of Thedas (i.e. the softening of the Antivan Crows, the lack of slavery seen in Tevinter, etc), instead focusing on choices based on character arcs instead of politics and/or morals. Is this shift an intentional one? If so, should we expect these kinds of character choices to be the new standard for Dragon Age games?"

John: "What worked for DATV isn't necessarily what's going to work for the future. Particularly with Thedas left in the state it's in - the balance of power has shifted dramatically. The South is suffering and the North isn't doing much better. Even those who may have forgotten past prejudices and put aside their differences in the name of stopping the gods are now being faced with a very different world than when they began this fight."

Q: "What other player choices from Inquisition and/or Origins & DA2 would you have liked to have implemented if you had more time and resources? Also, what characters would you have wanted to bring back?"

John: "Well of Sorrows. I think that's the biggest one - and we had some ideas for what we wanted to do with it. Unfortunately, making games is rarely a straight line endeavour, and some of the challenges we ran into required us to scrap that choice. I'd have liked to do more with the Divine as well, though with how little we touched on Andrasteism in this game I think it would've been a bigger challenge than expected. I think Fenris is the easy answer, but it's also the real one. Given his history, his relationship with Dorian and Mae could've been fun to explore, particularly depending on how you left him in DA2. That said, the challenge always does come down to 'quantum' - if a character could be dead, you can't make them load bearing, so they end up relegated to a cameo."

Q: "Is there a canon reason (maybe in some supplemental stories) that explains what happened to Fen'Harel's agents? Are some of the Dalish clans still working for Solas? What are the Arishok and the rest of the Qunari doing while the Antaam are conquering parts of Thedas? Does their absence in veilguard imply that they secretly approve of their actions or are planning on using them to their benefit? The faction of crows we interact with is very heroic and often puts aside their role as assassins in order to protect Treviso's citizens. Does their altruism create fiction between them and the other factions, who might see them as weaker or idealistic? What are some of the other factions like?"

John: "Solas' experience leading the rebellion against the Evanuris turned him against the idea of being a leader. You see it in the memories - the entire experience of being in charge ate at him and, ultimately, convinced him he needed to do this on his own. And his own motivations were very different from the motivations of those who wanted to follow him - he had no real regard for their lives or their goals. So at some point between Trespasser and DATV, he severed that connection with his 'followers' and went back to being a lone wolf. There are Dalish clans who are sympathetic to his goals, but even there, there's an understanding that he's too dangerous to have a more formal connection with, and that he will, ultimately, sacrifice them to his own ends if necessary. The Antaam no longer recognize the authority of the Arishok. Part of why they've split into warring factions of warlords is that they felt his adherence to the Qun (which he still adheres to, even now) was holding them back, so they organized what I'd describe as less of a coup and more of a 'choosing to ignore his orders' and launched their own attack on the mainland. Absolutely. I don't recall if this exchange made it into the final game, so apologies if not, but it's very clear that the faction of Crows you interact with is the 'idealists' of the bunch. The rest of the Crows, on the other hand, are far more pragmatic and willing to work with whoever emerges on top of the pile. Illario's far more representative of the average Antivan Crow than either Teia or Viago, and it's only Caterina that kept him in check this long."

Q: "What led to the player Quanari appearance compared to the Antaam, who look like Quanari from the previous game. Was it an armor modeling issue or just a design choice?"

Corinne: "To be honest, it's both. First let me say that when you have a character creator with the breadth of sliders and options for both head and body, that does create some constraints that you need to work within. We felt this was ultimately a good trade-off for the player, to ensure they could get the full range of face and body sliders that the other lineages were afforded. Also, we viewed the player-created Qunari as a continuation of the style of player-created Qunari in Dragon Age: Inquisition, which in both games, differ from some of the other forms of Qunari we've seen."

Q: "Having reviewed some of the game files, I'm curious about what the "dreamer" mechanics would've looked like? Would there have been dreamers on every map? Would it have just been a dialogue or would we have been able to see/experience the memories/dreams the dreamers are stuck in?"

Corinne: "We explored the idea of Dreamers at several points in developement. I believe the instance you're referring to was a mechanic in which you could encouter a Dreamer in the world, and then also encounter their corresponding consiousness in the Crossroads. We would have used this as a way to encourage a "back-and-forth" set of optional quests and mysteries to encourage exploration and discovery. Ultimately we abandoned the concept because mechanically the Crossroads Gates and corresponding Champions were providing a similar experience in driving the player from the Crossroads, out into the world, and then back to the Crossroads again."

Q: "The hair physics in the game are incredible. When did the studio commit to improving the hair options/physics, and was there any conversation/debate over that? Bad hair has been a staple of the franchise, so this was a delightful change to see."

Corinne: "Thank you so much! We heard the fans loud and clear, when it comes to character customization, that we needed to step up our hair game. This tech was something our engineers, character artists, and technical animators were all deeply passionate about (as you can tell!). So all of that combined it was a relatively early decision to invest in."

Q: "Some of the companions’ questlines left me craving more lore! For example, how did Valta end up as the Oracle and how does her gift differ from Harding’s? How did Zara manage to get Lucanis possessed as a rogue? Are there any other Forgotten Ones like Anaris actively trying to make their way back to the world? In short, might these questions be answered in the next Dragon Age game or additional media, or are they purposefully left open?"

Corinne: "I'm so glad these stories have their hooks in you! We have to leave some threads to tug on for future stories. ;-)"

Q: "(Spoilery question) Do elves or dwarves exist beyond Thedas?"

John: "That's a great question - and it's actually one that Bellara herself asks. I think 'what lies beyond the sea' is one of the most interesting spaces to explore in Dragon Age and whether the same people exist there is something that... well, I have some ideas, but I don't want to get into spoilers."

Q: "What happened to red lyrium? It feels like it was all but forgotten after DAI, even though it is blighted lyrium, and it felt like it would have made perfect sense to dig into its lore and workings a bit more since Ghilan'nain is the mother of the blight, and now knowing what the ancient elves did to the titans for lyrium.Red lyrium caused a lot of grief over the games that feels is just up in the air now, I'm curious if it was written out for the sake of a different narrative. Sortof connected to my previous question, if red lyrium is now not so significant in the lore/missing from it, why did the two gods need a specifically red lyrium dagger after losing Solas' purified red lyrium idol one? How does one purify something/someone of the blight itself?"

John: "Red lyrium is still present in DATV - it's how Ghilan'nain and Elgar'nan are able to craft their dagger, after all, and it ties directly into Harding's personal quest - but at a certain point it felt like it wasn't serving much of a purpose 'out in the world', so to speak, that the Blight wasn't already serving. It made a lot more sense in DAI, where you had the Red Templars who were directly using it to gain power, but without them in the picture, we chose to lighten the emphasis on it for DATV. Particularly in a game where the connection and threat of the Blight is so much more immediate, with the gods out in the world."

Q: "How did you get the hair physics to do all that?"

John: "A lot of tremendous work from character art, programming, tech art and tech animation. I'm sure I'm missing some groups but, yeah, the hair really is incredible. I've been on DA since DAO and I recall the (fair) critiques we got of our hair post-DAI. It was incredible to see it come together."

Q: "Where does Emmrich sleep? He’s the only one without a bed in his room lol"

John: "He sleeps standing up, like a horse."

Q: "which of the three/four endings do you find the most thematically satisfying? in regard to solas and/or rook (because i’m not sure the answer is the same for both!) & why isn’t rook invited to the book club?? sorry this is my villain origin story, why is my beloved emmrich enabling this social ostracism. does rook canonically hate to read?"

Corinne: "As a Solavellan, I personally love the Redeem ending with the Inquisitor/Solas romance variant. I cried my eyes out at the end of Trespasser, and now that they can finally be together to know the joys of their love makes me so happy."

John: "I'm a big fan of Outsmart, largely because I think there's something deeply satisfying in outsmarting someone who is very confident about their cleverness and spends a lot of the game reminding you of it. That said, I will admit that the Solavellan ending is deeply moving, even for someone who, at one point, wanted to fight Solas like a Yakuza boss. As for why Rook's not invited - it's entirely an attempt to avoid forcing roleplay on a character that may not fit your idea of Rook. Some people's Rooks may not have the connection to the team that would let the book club make complete sense. That said, I totally get why people wish their Rook could be involved."

Q: "TLDR: ll some classes be buffed? Iirc in an interview corinne (i think? I dont remember where or who), said shield toss got nerfed cuz it was waaaay too strong. Having playing the game now with pretty much all classes, will there be some balancing changes? I definetely dont want shield toss to be nerfed again, i love it soooo much, but its definetely waaaaaay above everything else i managed to build so far."

Corinne: "We're definitely monitoring class balance, and have generally taken the stance of "buff not nerf". That said, we're finding pretty good viability for all of the specializations, with the right supporting skills, gear, and companion builds. So in terms of priority that's lead us to largely focus on addressing properties on skills and gear that were not functioning as intended. I don't want to dismiss your feedback here though - I'll take a moment to dig deeper into our Veil Ranger data and see how those builds are comparing specifically. Glad you're enjoying the shield toss builds. That playstyle was definitely one that we were very excited about supporting!"

Q: "Why did Assan have to die with Davrin in the Ghilan'nain choice?"

Corinne: "Turlum is a powerful bond. There was simply no way Assan would have given up on Davrin so easily. Hope is a powerful force when it comes to the people you love, and sometimes we risk everything for it."

Q: "Something that has me confused. When Bellara/Neve are blighted but help use the blight to stop Elgarnan and at the end when all the blight in the area died and they were cured of the blight. How did they get cured? Is the blight itself now curable? Also, how did Solas manage to cure the red lyrium idol of the blight so he could have it back to it being the normal lyroum dagger?"

John: "When Solas bound himself (or, depending on your ending, was forcibly bound) to the Veil, it severed the connection that the Blight had to the waking world. The reality is that the Veil has been leaking ever since the Magisters first entered the Black City, and the dreams of the Titans gave it its terrible and awesome power. Now that the Veil is fully repaired, the Blight lacks that motive force, and being so close to the epicenter of that change has stripped the Blight in Minrathous of its vitality. It's calcified now - dead - and Bellara/Neve no longer suffer its effects. If they'd been anywhere else, further from that epicenter, it would've likely been different and they still would be looking for a cure. But without that power behind it, it's less dangerous and deadly than it's ever been before. So while it isn't generally 'curable', it's less of a short-term death sentence than it has been previously. As for how Solas cleansed the idol - another ritual. This one was much smaller scale, but a lot more dangerous."

Q: "What lead you to the decision to step away from active conversations with the companions as in previous Bioware games, where you can initiate them at any moment and ask exhaustive questions?"

John: "For us, because of tech limitations, it became a choice between exhaustive investigate conversations, or letting the companions move more freely around the Lighthouse. With the kind of experience we were going for, one where seeing the team grow around you is paramount, we felt that seeing them interact in common spaces (and in each other's rooms) made more sense."

Q: "I have just one very important question: what are your thoughts on Solas and Rook as a pairing? Their chemistry and interactions were a highlight in the game for me personally and I need to be able to sass and then kiss that egghead."

Corinne: "Oh gosh, you and me both! I'm not sure any of us could have anticipated how notable that chemistry turned out. And what excites me is how this relationship is something that could be developed even further."

Q: "I was wondering if it would be possible to see Cassandra in Nevarra interacting with Emmerich or Zevran in Antiva interacting with Lucanis? I understand that there a danger of turning any game into a cameo fest that would only appeal to old school fans but I did miss them. Especially as we had Isabella and Dorian in Rivain and Tevinter. To make the question a little more general what are the chances of seeing pre veilguard companions in any future iteration of dragonage?"

John: "I think the joy of the kind of 'fresh start' that the end of The Veilguard gives us is that, if we do make another game, we're no longer spending so much of the early game not only onboarding players into a new story, but also onboarding some of them (namely, those who didn't play DAI or don't remember it) into the story that leads up to this story. And part of what that allows you is more opportunity for returning characters who are meaningful, because their past is less likely to be narratively load bearing to the story. People who recognize them will have a moment of recollection, and people who don't won't be any more confused by the experience."

Q: "How did Jowin achieve the rank of First Warden? Was he ever deserving of the kind of respect Davrin seemed to have for him?"

John: "By the time you meet Jowin in DATV, he's become a political creature more than anything else. Which makes sense - after what happened to the Order in Origins, I think there was an internal realization that they had to spend more time making nice with the leaders of the various countries so no one would ever do to them again what Loghain did back then. But he didn't get that position entirely due to his connections. He was a fearsome warrior and a brave Warden in his own right, saving people and winning against impossible odds time and time again. He's older, though, and is still fighting the last war in his mind. Internally, we always described him as the general who was a brilliant tactician back in his time, but war has changed so dramatically and he refuses to keep up. I think he was deserving of that respect, though - and if you choose to talk him down (which very few of you seem to have done) you'll get a glimpse of the man he used to be."

Q: "If Solas ritual succeeded, what would have happened to the elves? And to the human? The art book make it look like they just drop dead but solas dialogs don't seems to go in that direction"

John: "I think the reality is that even Solas couldn't properly answer that question. In his mind, there would be some pain and suffering, for sure, as everyone adjusted to the raw magic now pouring into the world and the demons everywhere, but eventually everyone would live surrounded by magic and possibility. Immortality would be possible as well, and you can't make a world saving omelette without breaking a few eggs. I also think Solas is a gifted liar to everyone, including himself. Deep down he knew that the ritual was going to result in large scale casualties, but he saw it as an acceptable price to pay to fix what he saw as his mistake."

Q: "Unlike the last game, there were 2 fewer Companions, a rouge, and a warrior less, if it was up to you what sort of characters would fill up those two spots? and also if you could have a character from earlier games temporarily join you for a single quest who would you choose? with the exception of Bioware games which RPG game is your favorite"

Corinne: "Oh gosh, well I'll answer some of questions 1 & 2 together... I would have loved to bring back Fenris, either as a cameo or to fill that Warrior slot. As for the Rogue role, I do think something akin to the Saboteur Specialization would have been an interesting style for a Companion. Favorite RPG outside of BioWare games, well I'll give you three in order: Baldur's Gate 3, then Xenogears, followed by FFXII."

Q: "What happens to the lighthouse and the crossroads after the end of the game? Do the Veiljumpers claim it?"

Corinne: "Good question! I actually daydream about this one a lot! Does Rook, assuming they survived, continue to reside there given what they'd been through with Solas? Is stewardship returned to the Elven people? One thing has always been true for me: The Lighthouse existing as it does is intrinsically linked to the Caretaker, and I doubt we've seen the last of them."

Q: "My questions are mainly centered around the game's lore. Dragon Age Veilguard seems to have established a very elf centric past for the world as well as the races populating the world. Current state of the Titans, the Blight, the Old Gods, and some other things I may be forgetting, they all have links and origins to the Evanuris and the rest of the elves. In future installments, can we hope for other races to get more attention with respect to this? Because right now, it feels that most of the biggest mysteries of the universe as well as circumstances leading to the present state of the world, are a result of the elves... T o me, the magic system in Veilguard felt very different from the other games in the series. When Bellara mentioned stuff like 'recalibrate the matrices', 'readjusting energy flow', etc., it felt more scifi than fantasy. None of the past Dragon Age games had this kind of talk and it felt too big a leap for going from Southern Thedas to the North, especially considering none of the Northern characters in past Dragon Age games spoke like this either. This was one of the few instances in the game that felt immersion breaking to me. Can you guys help reconcile Veilguard's magic system with the magic of the past games?"

John: "I do agree that the elves have had their place in the sun at this point. We're never going to stop telling stories about the elves, but I think there are plenty of interesting stories to tell in Thedas where the Evanuris are tertiary characters at most. I think that's a fair reaction, but I'll answer the question in two parts. First - Bellara assumes she knows everything about magic. She probably knows more about the way ELVEN magic works better than anyone else in the world who isn't an Evanuris - but that doesn't mean she actually knows how magic itself works. The thing about the Evanuris is that, ultimately, they were able to take a very specific type of magic and shape it into doing what they wanted. But even their understanding of magic was only skin deep. Bellara and Emmrich get into this a little bit in their banter, but so much of the rest of the world - the magic of death that the Mourn Watch wield, for example, or the magic of the deep Fade that Bellara feels when she does some of her experiments in the lighthouse - is not the same as Elven magic. Even the magic that Tevinter wields, the magic of the Southern mages, is different from what the Evanuris used. The magic of the Evanuris is powerful but it's sterile, and it's constrained. So while the Evanuris have made magic work in a way that's more predictable and understandable, it's not the only kind of magic out there, and even then, I'd say they understood it at a very surface level. People were confidently describing how the natural world worked back in the 16th century. Very few of them were right."

Q: "I need to know about companion approval! I understand how companion bond rank works as it is well explained and visible in-game, but I cannot seem to find a good explanation for approval. Are the two linked? What effect does approval/disapproval have in the game? Is there something I'm missing in-game where current approval level is visible and I just haven't found it yet? PS: Spellblade Supremacy"

Corinne: "Yes! They are linked! Approval does contribute a small-to-moderate amount of progress towards your Bond. Disapproval is a small negative, but it's important to note that your Bond cannot de-level. Overall however, the surest way to advance your Bond is by helping the Companions with their personal quests. Also, really glad you enjoyed Spellblade as much as we did! The gameplay team really outdid themselves with that Specialization."

Q: "I'm mostly wondering if/how the griffons can be saved as a species since there's only one surviving clutch. It seems like a lack of genetic diversity would doom them to re-extinction, but I'm hoping there's a lore-friendly way to overcome that."

John: "It's funny you say that because I keep thinking the exact same thing. I can't remember exactly how much genetic diversity you need to have to make a species viable but I am sure it's more than just the clutch of eggs you saved from the Gloom Howler. But in a setting with as much magic and mystery as Dragon Age, I think that's probably the least of the problems the Griffons are going to face going forward."

Q: "With the ending showing a cured Neve/Bellara is that implying that the Blight outside of the Fade has been cured? If so, do Wardens no longer hear the calling, and what does that mean for the Kal-Sharok dwarves? Especially curious about this since DA:I implied the HoF was searching for a cure to the calling. In the concept art book it seemed like there were plans to show us more of Minrathous/Tevinter than just Dock Town. Curious to know what changed and if we will ever have an opportunity to return to other areas of the city?"

John: "The Blight is forever changed. It's less perilous and less virulent than it was before, and whatever motive force was coming through the Veil to empower it at the end of the game has been severed. That said, it still exists in some form, and not everyone is going to be cured in the same way. Beyond that - the Wardens no longer hear the whisper of the Calling, but right at the edges of perception, they're hearing something. What is it? Great question. With how long this game's been in development, there are things that have come and gone over time as we shift the project's scope and direction from one type of game to another. Originally we did have more of Minrathous built out for the player, but we chose to focus on making Dock Town feel meaningfully full of content instead of creating more areas just to put nothing in them. I will say that, for me, I want to revisit Minrathous in the future. I don't think we gave it enough time and there are multiple other stories that can be told both in it and with it. Particularly with the way the game ends, its importance in the world has only gone up, as it's become the diplomatic hub of Thedas, and thus a place of even greater importance in the world."

Q: "Maybe someone else can answer this question but why does Mythal’s essence relieve Solas of his guilt in the romanced Inquisitor ending when in his memories, she’s objecting to what he’s doing? Since winged dragons are female, does that mean the Archdemons/Old Gods are female? I noticed they’re labeled as male on the wiki and was unsure if it’s not updated or Old God followers assumed or were told they were male. I understand if this might pose as a logistical nightmare but would the devs consider polyamorous and/or open relationships instead of monogamy if they haven’t already? Given how diverse sexuality is in Thedas, I’m surprised there aren’t more instances of poly/open relationships. I miss going to brothels too"

John: "People grow and change over time. Mythal's essence - and in particular, the fragment of her spirit that Morrigan carries, that she got from Flemeth - is not the same Mythal who he knew millennia ago. Centuries of living in this world and being around the kinds of people Flemeth found herself around - the Hero of Ferelden, Hawke, the Inquisitor - changed her views, and made her realize her own culpability in turning Solas into the kind of person he is now. Correct, all Archdemons are female. Elgar'nan, of course, doesn't really care what reality is, only what HIS reality is, and so he's quite happy to see Lusacan as simply being an extension of himself and, thus, male. Something about Elgar'nan that we only really show in the ending is that he is, in truth, just as scarred and blighted as Ghilan'nain, but he uses a portion of his magic to always look handsome and regal, because his ego really is that big. Polyamory is something we've talked about doing before, and it's something that I know the writing team was into, but rather than simply turning it into a 'you can have multiple romances' toggle we wanted to be sure we did it respectfully and properly."

Q: "Does Solas know about the Executors and will he ever appear again in future games (similar to Morrigan)? Was there ever a point that the Inquisitor was considered as the main or secondary protagonist for this game? It was interesting to have a person with no knowledge about Solas–a cunning, ancient elven god–try to track him down especially when that anonymity did not work in their favor anyway (Solas knew about Rook for a year prior to meeting). Was 'rook' initially an alias for the Inquisitor, which they'd utilize to stay under the radar in the north, away from Solas' agents eyes and able to track him down because they knew him well (ex-companion/friend/lover)? Like was this idea ever discussed at the table or suggested by writers but trunked for xyz reasons? Idon't know if Trick Weekes will see this but I just wanted to tell them thank you for writing Solas-- in a HEA ending, what do you think they're upto in the prison? (besides the obvious)"

John: "Solas knows more about the Executors than he's let on - in fact, he knows more about the Executors than any other living being, including the other Evanuris (though I suppose they're not technically living beings anymore). But even he isn't entirely sure what they're up to or who they actually are. Their paths have crossed before, though - beyond the Tevinter Nights story that they briefly show up in. As to whether he appears again - I think it's fair to say Solas' story is done, at least for now. Even back in early development, the protagonist for this game was always going to be someone other than the Inquisitor. I don't recall if, in those early days, we ever discussed the possibility of bringing them back - the struggle with having the same protagonist game after game is that you really do paint yourself into a corner. Either it becomes prohibitively expensive to account for branching, or you ultimately underserve the very people you're bringing them back for. Rook was always the protagonist, though in very early days Rook had a number of other potential monikers including Shrike and a number of other bird names that I do not remember."

Q: "Why aren’t the Tranquil ever mentioned or depicted in the game? Correct me if I’m wrong but I’m pretty sure the word tranquil isn’t used even once. Have they been retconned? During development was there ever a conversation about potentially including a Solas wins ending? Where he succeeds in tearing down the Veil either because you let him or because you fail to stop him? I know I’d be curious to see what Thedas would look like afterward."

John: "Tranquility still exists. While not unheard of in Tevinter, the reality is that it's a far more common punishment in Southern Thedas than it ever was in Tevinter. In Tevinter, in particular, it's used more of a tool of political vengeance - but generally, only against a mage who is utterly without allies or political power. All the Tevinter mages you encounter in DATV, including Maevaris, still have some clout and subjecting them to the rite would be a huge expenditure of political capital for very little gain. Better to leave them alive and stripped of their formal authority. We had a few conversations about some non-standard game over endings, actually - anywhere from 'player takes too long in the Prologue' to an out-and-out 'yeah you know what I think I'll help Solas' conversation choice early on. What we released in the game I'm happy with though, as there are already multiple different endings you can get depending on your choices in the game."

Q: "Any chance we're going to get any behind-the-scenes content? I CRAVE a high-quality video clip of Zach doing mocap for Assan."

Corinne: "You never know! We do enjoy sharing new content from the game on our social channels so follow along in case something pops up."

Q: "What was your favourite region/area to work on (whether that be writing quests, level design, or any aspect)?"

Corinne: "For me, it was definitely Arlathan Forest. The team had so much fun with the exploration, the environmental storytelling, and the strange magic manifesting in the area. In particular I remember the first time I saw people that had been twisted into trees showing up in the area, I was taken back by the inventiveness of the team in capturing that beauty in horror. I must say, I also found the sightlines in the area absolutely gorgeous. It was really fun to watch it develop."

Q: "What are these called? [link]"

John: "Tadpoles is the name we use internally."

Q: "are telemetry surprising you in any regard?"

Corinne: "The biggest surprise for me in the telemetry is that the Save Minrathous/Treviso choice is basically split 50/50. We were all anticipating that saving Treviso would be the clear winner, but I'm happy to see it's not so cut and dry."

Q: "Did you ever thought that players would be addicted to having Rook barrel through crates and chests? There should be an Achievement for non stop barrel rolls lol."

Corinne: "Oh 100% yes! In fact, originally wide-spread destructibles weren't really planned for as a part of the game. We found with our particular take on combat that it just felt reaaaally good to smash the few destructibles that we did have. I think I spent the better part of a year putting in constant requests to make more and more things smash and break apart - not to mention the ability to roll through them! I'm glad to see I'm not alone in my obsession. Let's go break things!!"

Q: "1) Was there any plan with Radonis during concept period? 2) What more about Neve's family can you share? 3) Is there a parallel in the way Solas sacrificed the world to restore the elven world and Celene burned Halamshiral to save Orlais from a civil war? (Trick Weekes p l e a s e)"

Corinne: "At one point we did toy with having Radonis make an actual appearance in the game. In fact, if Minrathous falls to the Venatori, we had discussed having his execution on display, but we ultimately chose not to pursue this."

John: "For Neve, I'll have to ask Neve's writer, as I don't recall off the top of my head. For the question about Solas - I think it's less a direct parallel and more that Dragon Age is a series where major players sometimes have to make incredibly difficult decisions that may NOT necessarily be the best decision, but it's the best for them at the time - true for both Solas and Celene."

Q: "I just want to know... do the other companions also think Davrin's a hunk? Do you think there are companions who were rooting for a Rook x Companion romance as it was happening?"

John: "I think the different companions have different relationships with Davrin. Bellara, for example, sees him as almost a big brother - someone who she has a unique connection that she doesn't share with the other companions. Neve sees him as a fellow professional, who hunts monsters in much the same way as she does, just that his monsters are a lot more literal. As for who's rooting for a romance - I think Bellara is just excited whenever people get together. She's a huge romantic and a believer in happy ever after, so she's going to fully support whoever of her friends get together."

Q: "Please humor my newfound Nevarran cuisine obsession - it seems, based on the menu at the Lords of Fortune bar, that Nevarra is majority vegetarian ("want it Nevarran-style? Ask to leave off the meat!" or something like that), and we know Emmrich is a vegetarian. But Emmrich also reveals his father was a poor butcher. So, my questions - Who is eating the meat produced by Nevarran butchers if Nevarra is vegetarian enough that other countries equate Nevarran = veggie? Do butchers largely cater to non-Nevarran immigrants or visitors? Are the Mortalitasi/Mourn Watch entirely vegetarian (would make sense, just because of being put off by being around corpses all day, and their reverence for said corpses)"

John: "While Nevarra is a primarily vegetarian country, that doesn't mean everyone who lives there is a vegetarian. Nevarra attracts plenty of students and scholars from around the world, given its unique connection to the Necropolis and the specific magic tutelage that the Mourn Watch offers. With that in mind, its cuisine is going to be pretty broad across a number of different cultures and regions - and for some of those cuisines, meat is absolutely a very big part of it."

Q: "My biggest question is this: if Solas had been released by Mythal before Inquisition started, would he have let go of his plan? Was service to her all that was motivating him? Or would he have decided to continue with his plan until the inquisition showed him that the modern world mattered?"

John: "The latter, I think. It took the confluence of everything that's happened to him in the time since he woke back up to get him to where he needed to be for the Redeem ending. Guilt and regret motivate Solas."

Q: "When I’m writing, I tend to listen to music that goes along with it. Did any of the Devs have songs they listened to that they felt tied into the game or the characters?"

John: "I can't speak to the other writers necessarily, but for Bellara I listened to a LOT of Aphex Twin. There's something about the ambient weirdness that really worked for me as I was writing her character (to the point that one of their songs is my most listened song in 2024)."

Q: "Are rivalry paths abandoned for Bioware games? What made you design approval/bond in a way that only goes up?"

Corinne: "Oh definitely not! Rivalry will continue to have a role when the story calls for it. In the case of Veilguard, we conceived of this threat being so large, that your companions would commit no matter the cost. This afforded us some unique opportunities, like being able to tie the progression of the Companions to your relationship with them."

Q: "What are you as a team most proud of and are there any plans for a NG+ Update ?"

Corinne: "Gosh, there are so many ways I could answer this. And I think the answer would differ depending on who on the team you were to ask. So let me just say this: The creation of any game of this scope, with a team this large, is kind of miraculous when you consider all the knowledge, coordination, discussion, and expertise required. So broadly speaking, what I'm most proud of is the way the team came together to pivot and be true to BioWare's roots of creating great single-player party-based RPGs, and delivered such quality and stablity. I'm also quite proud of how player-first the effort was; Everything from being Steam native, to no Denuvo, to no micro transactions. We mustn't take for granted what monumental task it was to make this happen. There are individual features and experiences that I know we are all proud of as well. The character creator, for example, was a really big one for us. We've long sought to put the control over player-characters in the hands of the fans, and this is the game where the team believes we've best done that. In fact, it was central to one of our creative pillars "Be who you want to be". As for NG+, that's something we discussed, but at this point we don't have any plans to support it."

Q: "Can you go into more detail of Spite’s role in Rook and Lucanis’s romance? Did you expect everyone to want to romance Vorgoth?"

John: "Spite gives Lucanis and Rook privacy whenever they're being intimate. This was, I'm sure you'll be surprised to hear, a consistent topic of discussion as we planned out some of our romance scenes - is Spite watching? But no, he wanders off and reads a book (or whatever demons do for fun). At this point I am not surprised about anyone y'all want to romance. Sentient fog bank? Sure"

Q: "Looking further, what parts of Thedas you personally want to explore more (regardless if that will or will not be implemented in the future games)? Maybe specific time periods?"

John: "I don't think it's any secret that I find the idea of 'what lies across the sea' to be fascinating. It shows up a lot in Bellara's content - what happened in the parts of the world that weren't Thedas? But Kal-Sharok is another place I'd love to spend more time in. It has a very unique relationship to dwarven culture, and particularly in a post-DATV world, it feels like it'd be super interesting to get more time with them."

Q: "What made you decide to remove greatswords as an option? It's one of The fantasy weapons. Why did you choose to have a "convergent" design, gameplay wise, of classes? What i mean is that all classes have a melee option, a "parry" of sorts, amd a ranged option, with warriors throwing a nonexistent shield when 2h. Usually, in an rpg, different classes have different capabilities and limits, to make them feel more diverse. What made you choose otherwise?"

Corinne: "Originally when we concieved the 2-handed weapon stance for Warrior we did want to include Greatswords. We moved away from it largely because the movement set when swinging a large blade diverges quite a bit from what you'd see with an axe or a hammer. Ultimately we felt, given the number of bespoke animations and transitions it would take, that the time is better invested in other areas of the experience. Regarding the classes, we opted for a unified control scheme and baseline set of actions each could take (e.g. every class having a ranged attack for example) for several reasons: 1. In knowing that each class has a similar core set of actions, it allowed to better design the encounters, levels, and missions with a greater level of variety. If Warrior, for example, had no ranged attack, a large number of the missions would have much more egregious constraints on what we expect the player to do. 2. It allowed us significantly more space to play with the types of builds and breath of the skill tree. We're all very proud of how this played out in practice, and in our view created a high degree of divergence. 3. Given the real-time nature of the gameplay, it's a benefit to lean into the muscle memory the players have already established on prior playthroughs"

Q: "Hi I'm non-binary and the ability to be non-binary in this game was really special and made me feel seen in a way no game has before. In addition---TAASH! "NUFF SAID. Love em! My question is: how did you get so much past censors in 2024? How did you deal with localization? Was EA supportive of the push for more representation? Do you think we can see more diverse companions like Taash and our own player character in the future in Bioware games? I am a little worried about the backlash to Taash and the player character, especially right now. It is scary to think about going backwards after you've just achieved this amazing thing for video games. Thank you so much for making me feel so loved playing a video game, this game gives me so much hope and joy for being a trans gamer and nerd and person. I know there's a lot of hate but for me it means the world."

Corinne: "I'm so glad Taash meant so much to you, and so many others! There are two mantras we often refer to within the team: 1. We believe stories are better when they reflect a large variety of relatable experiences. 2. Games can be a reflection of the teams that make them. Taash's journey and support we had in bringing it to life, was something everyone on the team wanted to do and was invested in. It was a story and experience we wanted to tell that made sense in this time and place. I wont lie, it wasn't easy. This is a delicate subject, deserving of respect, that is deeply personal to so many. We didn't want to mess it up, especially for those it would mean the most to. We were fortunate to have a lot of support through internal and external partners to ensure we were handling this story with care, and of course the talented writing and experience of Trick Weekes. It lead to a lot of edits, localization challenges, and some rewrites. But as the old adage goes, nothing worth having comes easy."

Q: "If Solas is bald because the ancient elves just go bald during their immortal lifespans, then why does Elgar’nan have hair?"

John: "I think maybe it's more accurate to say that Solas lost hair because of stress. Elgar'nan, on the other hand, doesn't feel stress - he makes other people feel stress. And, honestly, Elgar'nan is incredibly vain. Something that doesn't show up until the end game is that he's also very vain. The reason he doesn't look blighted and corrupted throughout the game is he uses a portion of his magic to remain looking the way he does."

Q: "In the DAI trespasser DLC elves saw the crossroads different from the other races. Why was that not the case in this game?"

John: "The Caretaker gets into it a little bit, but while the Crossroads in Trespasser were 'peaceful', the Crossroads in DATV are under assault by the gods."

Q: "If you could start DAI or DATV again, what would you change/add/remove? Could you share with us the most emotionally difficult moment to achieve in DATV? And the easiest? Favorite moment?"

Corinne: "One of the most difficult moments to land was actually the prologue. It sets up a lot of context for the player, and evokes a lot of big feelings. We did many revisions on it before we found the right balance of pacing, information, and tension. In my experience, prologues always are among your most reworked content"

John: "Absolutely the Varric twist. There's always a balance of trying to leave hints for the players while not having them guess the ultimate end game of it, and it's INCREDIBLY hard to make that judgment yourself, because you KNOW what's coming, and all you can see is 'how could anyone NOT get that this is coming?' But I'm happy with how it was received and how it landed. The actual conversation with Varric at the end, though - that one was a gut punch."

Q: "So… does Bianca know?"

John: "Yeah. Harding would have gotten word to her."

Q: "I'm curious to know two things, both Solas related: -What happened to his followers? Presumably they weren't /just/ following him and were on board with the revolution that he represented. -What was his plan past making a new prison and transferring the two Evanuris? It sounds like still an eventual tearing down of the Veil but how was he actually mitigating the risks across Thedas? (Presumably with that network of followers)"

John: "Essentially that. Keep the Evanuris imprisoned, tear down the Veil, and then Solas was CERTAIN everything would get better, even if some people had to, tragically, die. One of Solas' defining characteristics, of course, is that he overestimates how successful his plans are going to be (if you listen carefully to the argument between Solas and Varric in the prologue, Varric makes this exact point - everything Solas has tried ended in disaster, so why wouldn't this as well?) As to mitigating the risks - he had a few things going on, but as to how effective they would've been, I think it's safe to say that it wouldn't have worked as well as he'd hoped."

Conclusion: "We've answered everything we can for now, thank you all so much for your questions and the love for Dragon Age!"

[source]

[seventeenpins]

⁵⁾ pressing the pads of their fingers into their lips in the aftermath, like they’re either trying to capture the feeling or banish it from memory

with x1!Logan pretty plssssss 😏

YES Ozzie omg thank you I love this ❤️

Forbidden Fruit

pairing: dbf!Logan x neighbor!reader word count: 3.4k summary: You’re a little obsessed with your attractive new neighbor. Unfortunately, he’s quite a bit older than you... And your dad's new best friend. content/warnings: non-mutant AU, unspecified age gap, written as x1 Logan, Scott is your dad (sorry), silence of the lambs spoilers???, yearning, tbh yall are as bad as each other, smut a/n: lmao this was supposed to be a drabble 🤷 ty to @ozarkthedog, the most perfect human 🩷

There’s a party roaring outside. As a general rule, your dad doesn’t like to throw parties often, but when he meets the man who’s moving in next door, he announces to you his plan. “Hosting a new neighbor helps to establish a good relationship!” he insists, and that’s that.

You’re sat in the living room, the space dimly lit, nursing a Pabst Blue Ribbon as the glow of your latest Blockbuster rental illuminates your face.

"You even old enough to drink?" comes a voice just outside the door frame. 

You jump, beer sloshing gracelessly down your front. You turn to him, glowering. He’s silhouetted from the hallway and you can’t make out his face. “Yep,” you tell him, “I just have an immaculate skincare routine. Keeps me youthful.”

“So you’re hiding inside… because?”

You shrug. “Just like time to myself.”

He nods, and then strides over. He takes a seat beside you.

“Who are you, exactly?” you frown, looking him up and down.

“You mind?” he asks, smirking as he wiggles the beer you didn’t realize he was holding and nods towards the bottle opener. The audacity.

You glare and grab the bottle opener. He holds his hand out for it, but you withdraw. 

“Logan,” he laughs, “Logan Howlett. I just moved in next door.”

“Oh,” you drop the bottle opener into his hand, remembering your dad’s words. Establish a good relationship. “Oh, yeah, my dad was really excited about the party. Hope you’re enjoying it.”

His eyebrows raise. “Your dad?”

“Yeah,” you nod, “Scott Summers.”

“No shit,” he frowns, “That guy sends a lot of emails.”

“That he does.”

Logan pops his bottle open. “Mind some company?”

“Long as you don’t mind watching Silence of the Lambs starting part way through.”

“Ohhhhh yeah, has he asked for a quid pro quo yet?”

“Aahh, a connoisseur,” you grin, “Yeah, just got past that part. I can rewind–”

“Nah,” he shrugs, “Let it play.”

You watch for a while in silence, but then start chatting again, swapping mundane questions. 

“So, Scott’s your dad, huh?” he asks, after a while.

“He sure is.”

“When he said he had a daughter, I guess I assumed someone younger.”

“Same skincare routine,” you deadpan.

He closes his eyes, holding back a laugh as he shakes his head. “Sorry, sorry. It’s none of my business.”

“It’s okay,” you laugh, “Yeah, he was still pretty young when I was born.”

“And what about…” he trails off, suddenly realizing tact may be appreciated.

“Dad’s a widower,” you explain simply.

Logan nods. “I’m sorry to hear that.”

You sit in silence for a moment, watching as Lecter is revealed to be wearing the guard’s face.

“How about you?” you ask, “You got a wife? Husband? Girlfriend? Partner?--”

He turns to look at you and you peter off. “Nope.” 

There’s something in the way he’s looking at you. You’re not sure if he’s being suggestive, or if you’re reading into things. Maybe it’s just the reflecting light making his eyes look more provocative than he intends.

Either way, you feel your heartbeat surge and your stomach flip.

You turn away and try to affect nonchalance, try not to be suddenly mesmerized by this unexpected plot twist that is Logan. The movie is wrapping up, Clarice taking Lecter’s call as he pursues Chilton. You try to focus on it, the score, the costumes– but instead you notice the way he smells, musky and a little sweaty. It’s nice. A little dizzying.

“What about you?” you ask.

“Hmm?”

"You have any kids?" you ask, and immediately wonder if you waited too long to carry on the conversation.

"Shit," he snorts and shakes his head, "I hope not."

It takes you off guard. You burst out laughing.

He huffs, lifting the beer to his lips to hide a smile.

The credits begin to roll over the ending scene. 

With the bottle drained, he pats his thighs and stands up. "Alright, kid," he says, "I probably shouldn’t hide in here any longer.”

“My dad appreciates it,” you tell him, “Don’t wanna give him a heart attack when his guest of honor is nowhere to be found, soon to be discovered with his delinquent daughter.”

He picks up his empty and shakes his head, heading back outside. He calls back, “Oh, you’re trouble.”

Now that you’ve met him, you can’t get him out of your mind. 

When you see him again, a couple days later in daylight this time, you have to pick your jaw up off the ground. He’s taller than you realize, and he’s fucking built. And fuck, he’s handsome too. When he sees you, he waves a hand. “Hey Trouble,” he calls, “Keepin’ your nose clean?”

Weeks pass, and, much to your delight (and, admittedly, despair), your dad and Logan become close. 

Sundays become your favorite day. Sunday, you discover, is the day you can see Logan through your window, chopping a seemingly endless stack of firewood. 

One time, he catches you watching. To your utter shock, he winks at you. Knowing your eyes are on him, he lifts the hem of his beater to wipe his brow, and shoots you a shit-eating grin.

You had plans but that doesn’t matter now. All you can do is shove your hand into your panties and rub circles around your throbbing little clit until you cum with a muffled sigh, knowing he’s outside. Knowing there’s not more than a fence and a few feet between you.

Almost every night, his fire pit is alight and you see him reading, or strumming his guitar, or fucking whittling, serene in the smouldering glow, till the fire burns out and the night turns too cool to enjoy.

As the weeks pass, he’s at your house more and more. You wish your heart would stop doing flips whenever you see him on the sofa next to your dad, beer in hand, laughing at some story that’s being recounted.

He says hello to you each time he sees you, and always asks after you when you’re out.

“Oh, Logan says hi,” your dad will say over his morning toast, “Why does he call you Trouble? Tell me you haven’t been besmirching the Summers name?”

“Nah,” you grin, “Just the littlest besmirchment, at worst.”

His eyes narrow.

“C’mon, now, we want to-”

“Establish a good relationship!” you finish, grinning at the way he scowls.

“Smartass.”

“Hey, Trouble,” he’ll greet you, whenever you find him at your home.

“Hey neighbor.”

“You bein’ good?” he’ll ask.

“‘Course not,” you’ll wink, “Where’s the fun in that?”

You love that he calls you Trouble. That he has a name, just for you. It feels like it could almost be something, and so it’s almost enough. 

Before long, what you’d once feared was a one-sided attraction begins to morph into something different. 

It’s a Saturday, and you decide to wear a cute little dress. It’s a flowy thing that hugs all your curves in the very best way, hem barely falling past the curve of your ass.

Your dad just popped out for another six-pack, and you’re in the kitchen, making pasta salad. With your father gone, Logan isn’t subtle in the way he looks at you. You delight in how his eyes linger at the curve of your hip, the swell of your chest. It feels like a victory, the way he grits his jaw a little when you lean forward, cleavage on full display.

“What’s a pretty thing like you doin’ wearing a naughty little dress like that?” Logan asks, scowling.

You raise an eyebrow and try not to let the way your heart starts to flutter affect you. “Thought you’d figured it out on day one – I’m trouble.”

He looks you up and down, his gaze lascivious. It’s the boldness of it. The two of you are alone, and you both know it.

“I think you like it,” you narrow your eyes.

He’s silent for a long moment. Then he lets out a deep breath. 

“God help me, I do.”

“Why don’t you do something about it?”

He opens his mouth to respond, but then you both hear the latch, and the front door swings open.

Logan sits back, pretending as though nothing just happened.

You turn back to your salad.

You can see Logan in the sitting room, right in your line of sight. Your dad sits across from him, his back towards you. 

If you’re honest, you’re not sure exactly what compels you. 

You turn to face Logan, wave for him to catch your eye. He does, quickly, immediately attuned to you. Your dad doesn’t notice the way his eyes follow you. You hold a finger to your lips. His eyes dart between you and your dad, and he tries to focus on whatever his friend is saying to him. 

Slowly, you slip one strap down, and then the other. You can hear Logan’s breath hitch, which he covers almost believably with a gulp of his beer. Shimmying the bodice just a little, you expose your cleavage to near-dangerous depths. He’s grinding his teeth now, and it feels like victory.

Quickly, silently, you slip your top all the way down, exposing your breasts to the cool kitchen air. Your nipples, already hard, tighten. Logan is holding his can so tightly he’s crushing it in his fist. 

“You okay, buddy?” you hear your dad say, and you can practically hear the frown in his voice. In a couple of quick movements, you slip your top back up and turn back to your salad.

“Huh?” Logan asks quickly, and then looks at his beer. “Oh, shit–!” he grumbles, relaxing his grip gingerly.

It’s not till an hour later that your dad stands up and announces, “I’ll be right back, gonna hit the head.”

When he’s gone, Logan bolts up and marches over to you.

“Are you out of your damn mind?” he demands.

You shrug and, not so subtly, glance down at his crotch. You smirk at the way the front is tenting. Logan stares daggers as he adjusts himself, better hiding his hard-on.

“Some of you seems to like it,” you point out.

“Out here? With him here? You want your daddy to kill me?”

“No,” you promise, “No, I just want you to fuck me.”

“Jesus Christ you’re trouble–”

You both hear a toilet flush, and, moments later, footsteps descend on the stairs.

Logan adjusts himself again, and you blow him a kiss as he tromps back to his seat.

It’s a week before you see Logan again. He’s working late this week, apparently. Or maybe he’s just keeping his distance from you.

On Friday night, you debate going out. It’s been a while, and you could use a chance to unwind. But drinks are expensive, and– and you see a fire out your window. Logan sits out by his fire pit.

Without thinking, you put on your shoes.

It’s late, but not too late. Your dad’s on his recliner, game on TV, newspaper in hand.

“You headin’ out, kiddo?” he asks.

“Yep,” you lie, “Meeting a couple friends downtown. They’re picking me up!”

“Stay safe,” he calls after you, “Call me if you need a ride.”

“I will,” you tell him. “Don’t know if I’ll be home tonight. Don’t wait up for me!”

You head out of the house and through your neighbor’s gate. 

Logan is golden, illuminated in the glow of the flames. He’s whittling something, angrily.

You realize then that your entrance has been near-silent on the soft grass. “Uh,” you clear you throat and knock on his fence as you approach him. “Hey, there, neighbor!”

Logan looks up and frowns when he sees you.

“You are makin’ me crazy, Trouble.” he huffs.

“Like, in a good way?” you ask.

He glares at you.

You come closer. “Can I sit?”

Logan budges up, putting down his whittling tools.

“So…” you venture “Am I more trouble than I’m worth?”

Logan scoffs.

“Nah.” he concedes, “I just don’t wanna make things complicated.”

You shrug. “They’re already complicated. You’ve seen my tits.”

He huffs out a laugh. “Goddammit, Trouble. I can’t get you out of my head.”

“They’re great tits,” you shrug.

“They are great tits.” Logan agrees.

The fire is crackling and the night is clear, stars hanging above you. You've been sitting side by side, quiet.

You don’t know what to say. Maybe there isn't anything to say. You’ve been patient, dammit. You just need to leap.

You pull him towards you and he moves without resistance.

He growls into your mouth, a needy animal sound. The scruff of his beard feels nice against your chin and you’re dizzy with his proximity, with his lips on yours.

After an eternity in the space of a single moment, you pull apart.

Logan stares at you, overwhelmed. His eyes are dark, his kiss-glistened lips catching the light as the fire dances. 

He presses the pads of his fingertips against his lips in the aftermath, as though either trying to capture the feeling, or banish it from memory.

Then, after a long moment, he’s on you. His hands grip you, grasp you, trace the shape of your body as though memorizing it by touch alone. 

“Inside. Now.” he growls, “Out here you’re askin’ for your daddy to catch us.”

You’re barely through the door before Logan is tugging at your clothes. You help him pull your top above your head, and you fumble with the button of your jeans as he unhooks his belt and yanks off his beater.

In a matter of moments, you’re both fully bare. His skin is hot against yours as he holds you to him, caging you against the door as he drags his teeth along your shoulder. His hard cock hangs against your thigh, heavy and thick and leaking.

Your clothes trail from the front door to his sofa. You don’t make it any further than that.

You’re a ticking time bomb, a siren, pulling him in, driving him wild. He wants and wants and wants, more than he ever knew he could. So much could be ruined; his friendship with your dad, the scrap of reputation he’s been building, his new life in this new place—

But now his want has turned into a need, and feeling you soft and pliant and oh so willing against him, he’d be a fool to turn back now.

Logan’s gropes at you, fingernails digging into the swell of your ass before cupping your pussy in one large palm. Rubbing up and down your cunt, he smears your wetness around.

“You’re fucking dripping,” he gasps. “Prettiest pussy I’ve seen.” 

Then he dips a finger into you and you groan and clench around it. He fucks you with it, deep, gentle strokes. He wasn’t wrong. As he fucks you with his finger, you feel how unbelievably wet you are. When he pulls back for a moment, you can see his hand is glistening with you, drips going all the way to his wrist.

“I can take more,” you promise, and he growls. 

“Can’t say shit like that,” he pants, “You’re sure you can take more. Can you take me? Don’t wanna hurt–”

“I can take you,” you assure him. If you’re honest, you don’t know if you can. What you do know is that you’re sure as fuck gonna try.

“How do you want me?” he asks, fighting to maintain the last shreds of his self-control.

Ever the masochist, “Want you on top of me, my ankles round your shoulders. Need you deep.”

“Gonna fuckin’ kill me.”

You lay back as he positions himself between your thighs. He presses a kiss to your left thigh before he hikes it over his right shoulder, and a kiss to your right calf, folding you in half.

He strokes the dripping head of his cock against your folds.

“You ready?” he asks, and you whine in desperation, nodding a yes.

He presses in, notching the tip inside. You groan at the sensation, relaxing into it as he rocks his hips gently.

“Doin’ so good,” he praises, “I know, baby, it’s a lot.”

You writhe and moan. It is a lot, but you still want more. More of his cock, of his hands on your body, of his praise.

“Taking it so well,” he soothes, letting his cock slide that little bit deeper inside, pulling most of the way out and driving back in, pressing whispers in your ear as he fucks into you.

When his pelvis is pressed flush against you, he lets out a sigh. 

“Look at that,” he huffs, “Takin’ all of me.”

You look down and watch enraptured as he pulls out and presses back in, deeper than you ever imagined, and rolls his hips, coarse hair grinding against your clit and making you howl.

”Keep making those pretty noises for me, honey.”

”Need more-“ you beg.

He starts rocking his hips, building a solid rhythm. His strokes are deep and devastating, and with every thrust you can feel your wetness start to flood down your thighs and cream around the base of his cock.

The wetter you get, the harder he fucks into you, each plunge punctuated with your cries, of “Yes!”, “More—���, “Please, Logan, please—“

Generous to a fault, he gives you everything you beg for.

The frustration of these longing, pent-up weeks is almost a forgotten memory. As you build towards the peak of your pleasure, the man above you is an animal. He grunts and pants and fucks you deeper than you knew possible. Your whines and cries and demands taper off, replaced by soft moans that start to swell as he litters your collarbone with kisses and rubs a calloused thumb against your clit.

”I’m—“ you warn, struggling to form words, “I’m gonna—“

 “‘M close too,” he grunts, “Give it to me, baby, need to feel you— Please, baby—“

With his words and a firm press to your clit, you come with a sob, cunt squeezing around him in pulsing contractions.

He fucks you through it, muttering a steady stream of filth the whole time. “That’s it, that’s it, fuck you’re gushing, soaking this cock. You feel so fucking good, tight little thing stretched so nice around me, taking it all like you’re made for it—”

Before you can even get over the first climax, the second starts to build. Logan can feel the way your pussy twitches for him, the way your breath shudders as he drives into you with staggering thrusts.

”Gonna cum again, aren’t you?” He growls. “Good-“ a thrust, “fucking—“, thrust, “girl—“ thrust, “Just can’t get enough of this cock, can you?”

You try to answer, but all that comes out is a cry as another orgasm overtakes you.

"That’s it,” the praises, still punctuating every word with a thrust, “That’s it! Let yourself feel it, let yourself feel good—"

You do, wave after wave of pleasure coursing through you. It’s overwhelming, the way it tears through you with no end in sight.

When he finally pulls out of you, you start to come back to yourself, your life-changing orgasm starting to wane.

He’s beautiful above you, covered in sweat, your wetness dripping down his thighs as he strokes his creamy cock.

With a groan, he comes on your stomach. You wrap your hand around his, stroking him gently till every drop is spent.

You make room for him on the sofa, uncaring that both of you are covered in sweat and fluids, and pull him down to rest in your arms.

"Fuck—" he exhales, and finally turns to face you again.

You stroke your fingers through your mussed hair.

"I knew you were trouble,” he murmurs, pressing kisses to your sternum.

There are so many things you’ll need to talk about, to work through. You are neighbors, after all, and you can’t do something like this without there being an aftermath.

But whatever is next can wait till morning.

Gently, he pulls himself up, and you with him. Holding each other close, you head to his bedroom. Without a word, you lay together, curled up in one another’s embrace.

He’s silent a long moment before speaking. "Is your daddy expecting you home tonight?” He asks. Neither of you want to think about that.

But thankfully, “No,” you tell him. “Told him not to wait up.”

"Oh, optimistic, were we?” He teases, and you look him up and down. His broad shoulders, sculpted chest, dark eyes, rumpled hair. This man you’ve grown so very fond of. 

“Yes,” you smile. “Yes, we are.”

Scott finds out, like, a day later and declares Logan his sworn enemy

[dontyoufeelitangel]

Hello Ghesties, Ghouls & Ghoulettes! Welcome to Angels run-down show-down, where I (Angel) do a run down of the Ghovie for all you lovely folk!!

Didn’t get the chance to see the Ghovie aka Rite Here Rite Now? Fear not for I am here! This post will contain a run-down of what happened during the Ghovie.

So this is your warning:

‼️SPOILERS AHEAD ‼️

I will be breaking this down into separate parts:

Lore: contains all lore that was mentioned

Songs: songs that were played

And Theatrics: stage play and other attributes that happened.

Another fair warning: there is a possibility that not everything that happened in the movie is noted here, I may have forgotten some things!! But I will do my best to include everything🤍

Additional notes: many fans including me were worried that this project would be incredibly low quality due to the fact it’s a movie operated by a band. More so worried that the movie would be the same quality as the YouTube episodes. I can confirm that the camera quality for this movie is amazing. You can compare the filmography to Taylor swifts era tour movie. Each shot for rite here rite now is shot with a high-to-low speed motion camera. The audio quality is above and beyond, even nihils ghost is very detailed and realistic. Every film shot is synchronized with the songs and instruments (example: camera changes for each beat/camera focuses on certain ghouls for their assigned solo)

Lore:

Story: the plot of the ghovie is a showcase of their Kia forum concert mixed with short lore scenes. Between every 2-3 songs there would be a scene of Copia running behind stage and talking with imperator and nihil OR getting dressed and ready for his next performance.

When he talked with imperator and nihil, he mostly talked to them about what would happen after the concert. Nihil and imperator told him numerous times that he was “focusing to much on the past and future instead of living in the moment, living right here, right now.”

Copia realizes this before he does his encore, so he goes out and does a great encore assuming he’ll soon die. After the encore and when the concert is finished, unfortunately imperator dies and gives a note to Copia.

The note states that he will not die, but rather be gifted a new higher status in the clergy. In which he’ll further be known as Frater (Latin for brother, which makes sense if we think about the title for sister imperator). And because there is no head for the ghost project they will bring in a new front man. The movie ends before the front man is revealed and we are left on a cliffhanger.

The lore for the ghovie is very similar and the same to what we already know! Not to much was revealed but here were the key points of what was mentioned:

⭐️the other brothers were not directly mentioned or shown on camera. The only references to the other emeritus brothers was the backdrop for the stage (stained glass windows portraying the previous brothers & nihil)

⭐️it was confirmed that Nihil was copias father and that during the kiss the go-goat music video sister imperator was pregnant with Copia.

⭐️Copia even acknowledges nihil as his dad, in one scene where he says “thanks dad”

⭐️sister imperator ends up passing at the end of the movie but becomes a spirit and is seen with the rest of the spirits (nihil and the twins, yes, the twins seem in the YouTube episodes apparently have died)

⭐️the ghouls were not to involved with the lore except for the fact they all surrounded imperators dead body when she passed. (Idk if this counts as lore but) the ghouls also talked in the movie, only for a small scene though. Bass ghoul (Rain) is the ghoul that talked.

⭐️nihil says that he produced three songs. The third song is the one we see during the credits. Song is : the future is a foreign land, as shown here:

SONGS:

The songs that played were the ones that were played at the Kia forum shows. Songs that where played included:

⚡️imperium (pre - opener)

⚡️Kaisarion (opener/curtain pull) (also if I remember correctly there was a short clip of a harp but I’m not sure if it was being played or not during that song.)

⚡️rats

⚡️faith

⚡️spillways

⚡️Cirice (he ciriced the camera making it look like he Ciriced us)

⚡️Absolution

⚡️ritual

⚡️call me little sunshine

⚡️con clavi con dio

⚡️ watcher in the sky

⚡️ if you have ghosts (acoustic version with two cellos, violin & harp ghoulettes. As well as a background vocalist ghoulette who did absolutely amazing! Also papa gives a speech about how “everyone is important and that their presence at that concert was inspiring”)

⚡️dominion

⚡️ Twenties (body painted skeleton dancers came out and performed on stage, they did cartwheels, threw eachother around and even picked up cardi)

⚡️year zero

⚡️spoksonat

⚡️he is (I cried)

⚡️miasma (nihil told Copia that he didn’t want to die, but even when he did he was still happy because he got to perform and bring joy to people temporarily when they revived him. Nihil also told Copia to focus on the good in life)

⚡️Mary on a cross (animated in a scooby-doo style, where nihil chases around imperator as she fights him and runs away)

⚡️ mummy dust

⚡️respite on the spitalfields (each ghoul/ghoulette got a solo)

⚡️ kiss the go-goat

⚡️dance macabre (skeleton dancers come out for a second time with silk fans)

⚡️square hammer

THEATRICS:

Some silly theatrics that happened include:

💙Copia huffing the gas from a whip-cream can before performing.

💙jumped in a storage transfer crate and had a whole convo with nihil.

💙has a the tour manager (Ashley) come out on stage and change his shoes for him.

💙only Copia can see the spirits of his family, so when he would talk to nihil or imperator, spectators around him would think he’s crazy and talking to himself.

💙many of the behind the scenes crew of the band were included in the movie such as : Ashley(tour manager), and many of the security guards & jesus( you know who lol)

💙remember when everyone was freaking out about the fact there’d be a blowjob reference? Yeah well there was no actual blow job scene, the warning for the blow job was for when Kyle aka Jesus came out and blew away the confetti.

💙there is also a scene at the end in which Copia is flying away from the concert (I guess that’s his preferred way of transportation lol??) he is flying in the hot air balloon we see in the cover for rite here rite now. He flies into space before falling, ouch!

💙during his flight there’s a montage of sister imperator being pregnant with him, during this montage we see twins. Twin babies, twin children. We are unsure if this is a reference to Tobias’s twins or if Copia has a twin.

.

If I forgot to add anything or got info wrong please feel free to leave a comment and I will correct myself as fast as possible!!

Don’t you feel it Angel? I do⚡️

[fioiswriting]

Reunion | Sequel

[Part 1]

Summary : After the Battle Above the Gods Eye, Daemon returned victorious. Aemond was presumed dead, though his body was never found. Three years later, you've mourned your former husband and are ready to move on. But it seems that some ghosts from your past have come back to haunt you, and that the dead aren't really dead after all...

Rating : Explicit 18+, MDNI

Pairing : Aemond x Velaryon/Strong!niece!Reader

TW : unprotected sex, breeding kink, mention of characters death, angst, possessiveness, p in v sex, oral f receiving, dom/sub undertones, mention of war, AU where the Blacks won the war, anxiety, Reader has a child, grief, fluff, pregnancy, not proofread. 

Reader is Rhaenyra and Harwin’s daughter so I imagined her with dark hair like Jace, Luke and Joffrey but feel free to imagine her as you want of course <3

Words count : 9150

Author's note : Hello everyone!! Sorry for the wait, I've been very busy, but here's part two of Reunion (or at least the first part two, let's call it part 2.1 hehe). Thank you again for all you kind comments and the love you've given my fanfic omg!! Spoiler alert: this is the happy alternate ending! But I've got another bittersweet alternative ending planned 😈 If you think the first part was good enough on its own and the sequel may break the vibe, don't force yourself to read!! But if you need a happy ending, here it is <3 The plot still doesn't make any sense, but hey, we're here to have fun so enjoy ❤️

English is still not my first (or second) language, so sorry for the grammar mistakes <3

When you wake up, the first thing you feel is the reassuring embrace of his arms around you. You don't want to move, not even when the sunlight tickles your face through the opening between the wooden shutters, trying to make the moment last endlessly. But the growing anxiety in your stomach chases away the illusion of your fleeting happiness. 

You close your eyes a little tighter. Perhaps if you try again, perhaps if you try harder, the world around you can fade away.

Perhaps you can wake up again, in a different reality.

But it's inevitable. You know that now you're awake, it's only a matter of time before the two of you have to say goodbye forever. Your breathing becomes heavier, and you have to fight the tingling sensation at the corners of your eyes.

Why have the gods decided to be so cruel to you? They grant you one last taste of his skin on your lips before taking it from you, again. 

Haven't you given enough? 

Could they not show you mercy? 

You who had forgotten him, you who had begun to turn a new page, to seek comfort in the arms of the cold, far away from the fire and the ashes, why did you have to touch the poison that would once again stain your soul?

Behind you, Aemond buries his long nose in your hair. His hand absently caresses the skin of your thigh, just where the edge of the linen tunic you put on sometime during the night when you were cold ends. The fabric is pulled up, revealing the outline of your bottom, and you can already feel your uncle hardening between his thighs, but you don't move.

If you move, you'll make everything more real. Tangible.

You'll speed up the process of losing him, of him slipping through your fingers. 

How can you let him go, now that your heart is full again, now that you feel complete in a way you haven't felt for over three years?

How can you let him go, now that your body has retrieve the extension of itself in the arms of the man who was the cause of your torment, your moments of joy, your pain and, paradoxically, your happiness?

"I know you're awake."

You hold your breath and Aemond inhales into your hair. His hand moves down the inside of your thigh, along the hollow that joins it to your groin. He doesn't venture any further. 

His thumb rests there and brushes your skin, trying to arouse the desire in you with gentleness.

Subtly.

 He doesn't want to hurry, he doesn't want to rush you.

Not when he's been harbouring the impossible fantasy of waking up with you in his arms since the day he nearly died.

He presses harder against you, as if he doesn't want to let you go, as if he wants to be one with you again, and you feel him pulsing against your buttocks, under the linen cloth that has been pulled up a little higher. He says nothing, but he is pleading, needy, in his gestures, which is rare for him.

Something has changed, after all, and perhaps something has changed in him too. 

"I am awake, indeed, " you whisper in a voice that is still half asleep. The lump in your throat betrays the feeling of anxiety gradually creeping into your body, and Aemond seems to notice. Under your tunic, his hand moves up along your belly until it nestles against your chest, close to your heart. His thumb draws small circles, once again trying to bring you back to him.

Trying to calm your mind.

"Let us forget for a little longer," he whispers, his clenched jaw resting over your head. "Please." 

And you know he never begs. 

Aemond takes and doesn't ask.

Aemond believes he is owed everything and never gives in return.

Hearing him beg breaks something inside you, because this is the first time he does so.

Usually it was you, it was always you, begging for peace, begging for more, begging him not to leave you.

Part of him is as desperate as you are; part of him also dreads the moment when you will have to part again. Forever. It's comforting to know that his feelings are sincere, just like yours.

" Make me forget, then." You reply, moving your lower loins back against him, giving him tacit permission to explore your body once more. His fingers move down to your breasts, which he covers softly with his hand, his thumb skimming over a nipple to make it hard. You let out a gasp between your parted lips.

His hand slides lower, his palm flat against your lower belly, his fingertips brushing the light patch of hair at the top of your mound. You feel the familiar warmth growing between your thighs, in your core.

He sighs against the back of your skull, his head tilted forward. His lips search the skin at the nape of your neck, behind the long hair that has become tangled during the night, while his fingers intimately explore the secrets of your body that he knows all too well. The remnants of last night's lovemaking still smear the insides of your thighs and folds, but it doesn't matter; his fingers easily find the little bundle of nerves that they tease until you close your eyes, until your hand grips the damp, shabby sheet that covers the ragged mattress in the inn where you've spent the night.

Just the both of you, in the comfort of anonymity. 

"Let me taste you". His voice, still husky, tickles the back of your neck and you feel him shift behind you. When you feel the warmth of his bare chest, against which you're nestled, leave your back, your body automatically tries to move back against him. You still need him. You still need him to chase away the lump of anxiety in the pit of your stomach and the voices that keep reminding you that you're only postponing the fateful moment. Your hand slips under your white tunic and wraps around his wrist to force him to stay there, to hold his fingers against the source of heat spreading from your core. Your hips are demanding, grinding against his hand. "On your back," he insists, and stands up on his forearms.

With reluctance you turn over. You obey, lying on your back, your hair spilled around your head on the flat, uncomfortable pillow on which you slept badly. The white tunic that serves as your nightgown is pulled up, crumpled, just above your crotch, which it barely conceals. 

Aemond has swung over your body, silvery strands loosening from the braid that holds his hair behind his head and sliding down his shoulders, falling in loose loops on either side of his face, tickling your cheeks.

His lilac-tinted blue eye glows with a predatory gaze, a ray of light catching in the sapphire he hasn't removed from his socket. 

He captures your lips with his own, begging for access. Aemond marks your jaw and throat with light kisses, sucking at your collarbone to make the violets of possessiveness with which he likes to adorn your body bloom. His lips travel down your chest, playing with one of the two small nipples raised by the cool air and by desire, and continue their journey past your navel. 

Your heartbeat quickens as he settles between your legs, spreading your thighs to admire the part of you he covets so eagerly. At the same time you bend your legs, your gaze falling on him, on his unravelled hair, on his eye that locks with yours. He is so close to you, so close to your warm centre, and you know that between your folds the sweet nectar that your uncle longs to taste is already flowing.

But his lips trace the inside of your thighs instead, where the skin is soft and tender, and gradually they reach the hollow that connects them to your most intimate part. He takes a malicious pleasure in building up the tension, in savouring every millimetre of you like a fine delicacy, with only the tip of his lips brushing against your skin.

His thumbs spread the tender flesh of your womanhood and then he places a chaste kiss on the very centre of you. His tongue is shy at first, tracing the slit that connects your entrance to your little knob, collecting the evidence of your desire.

As his tongue wraps around your nub, your hands grip the sheets, knuckles white. 

Aemond drinks from your essence like a thirsty man, his nose buried between your folds, rubbing your pearl.

The tip of his tongue catches what drips from your opening, and then the flat of his tongue tastes your slit, working its way up to the little nub gorged with desire. 

He maintains the same rhythm, revelling in the moans that escape from your half-open lips. Soon his middle finger begins to draw circles against your entrance, the first knuckle sliding inside, then the whole finger. Your head is thrown back and immediately your hand buries itself in his silvery hair, gripping his braid in a messy bun behind the top of his head. Forcing his face against the most intimate part of your body, forcing his lips to work on your wet warmth, you seek more contact. 

Aemond adds a second finger. He can feel you tighten around him as he searches for that particular spot, as his tongue continues to play with your bundle of nerves.

As he devours what is his, utterly his.

His fingers, the ones that aren't buried inside you, close around the flesh of your hip in a possessive grip. "Come for me," he whispers against your womanhood, his eyes lifted to you. "I know you can do it."

Your breathing becomes more erratic, faster too. You tighten the grip of your fingers in his hair, your thighs pressing either side of his face, and he collects the sweet taste of your release on his tongue with a hum. 

You feel like you're floating. The waves of warmth still wash over you, less and less intense, your breast rising and falling as you catch your breath. 

Your hand tucks a lock of his hair back behind his ear as Aemond lifts his face towards you, and you rest your hand against his cheek. His parted lips still glisten with your desire smeared across the lower part of his face. He stares at you without moving, his deep, regular breathing the only sound to break the silence that has followed your release. You stay like that for a moment, his gaze burning into yours. At any moment he might pounce on you. At any moment he might close the tiny distance separating your mouths and press his lips against yours like the starving man he is.

It's you who makes the first move. You taste yourself on his lips and your tongue entwines with his in a fiery, demanding kiss.

Straightening up, Aemond creeps between your legs, his hand on the underside of your thighs, holding them apart. He is still completely naked from the night before, he has not bothered to get dressed after your lovemaking, so you can catch a glimpse of his erect manhood, slightly curved. He wraps his hand around to guide it towards your still sensitive wet entrance.

He slides into you easily, in one slow movement. The haste of the night before, the urgency of the reunion, has given way to the tenderness and laziness of the early morning, and Aemond rocks inside you slowly. His hips undulate, punctuated by long, deep thrusts, in an illusion of domesticity. 

But the damp sheets, rough against your skin, the discomfort of the hard mattress beneath your back, remind you that your lovemaking is anything but domestic.

For Aemond is still the enemy, for Aemond is supposed to be dead.

For your family is probably looking for you at this very moment, worried that you have not returned home for the night.

But you push those thoughts away. The weight of your uncle's body on top of yours soothes the knot that forms in the pit of your stomach at the thought of time slipping away, at the thought of having to leave him again, at the thought of this being the last time you will taste his lips, his skin.

Aemond is gentle, and that is rare enough to be worth mentioning. He has never been so gentle, so soft, in the limited time that you have been married.

Between you, there had been the devouring, consuming passion, the power play that in your submission had granted you dominance.

Between you it had been raw and devastating more than gentle and tender.

His fingers run the length of your body to your core, combining his slow, deep thrusts with the movement of his fingers against your clit.

There are only few words exchanged between you, as if you were both afraid to break the grace of the moment.

His panting, noisy breath echoes in the silence, skimming the skin of your throat, then mingling with yours as the shadow of his lips brushes against yours. He rests his forehead against yours, your hand cupping his cheek, sliding behind his neck, and you are transported into a cocoon of intimacy where nothing else exists around you.

There is only his body against yours, warm and reassuring.

There is only him inside you and the slow movement of his hips.

There is only your breathing, blending in the space that separates your mouths.

"Do you know how much I've missed you?" He whispers against your lips as you close your thighs around him. "How much I dreamed of this tight little cunt?" You swallow his words. Your hips meet his as he pushes against you. He is reaching deep inside you. Despite the intimacy of the moment, his body oozes power and darkness, and you can't help but be drawn to that side of him that complements yours so well. 

You can't stop your body from aching for him. 

"You could have been my queen," he says as his movements grow stronger. He won't last long, but neither will you. He's inside you, where you like to feel him, and your walls clench around his member. "And I would have set the whole world on fire for you." He thrusts. "Burned it to the ground" He thrusts again. "All for you." And again.

The old wood of the bed creaks with each of his movements.

You seek out his lips, just to brush them against yours. 

Without sealing the kiss.

"And I would have accepted," you answer with a whimper. "I would have been your queen, qybor." In another life, you think you would.

In another life, in another universe, you would have been his queen.

A grunt escapes his lips and lands in the hollow of your ear. Aemond straightens on his bent elbow, right next to your head, and he plunges into you one last time, with more power, more vigour, just as his new position allows.

You close your eyes. 

A second wave of warmth is about to engulf your body.

And you wait for it, you welcome it.

"Look at me when I come inside you," he growls hoarsely as his seed pours deep inside you, into the most intimate part of your body. "Look at me as I fill you up."

Your eyes lock with his, fiery as ever. A final moan escapes between your lips and you seal them to your uncle's in a feverish, wet kiss. You hold him in your arms for a moment longer, as if to allow yourself the luxury of illusion for a brief instant. 

You delay the fateful moment a little longer, fighting the minutes that inevitably slip through your fingers.

"Stay inside me just a little longer," you whisper, burying your head in the hollow of his neck where you can feel the rapid rhythm of his pulse. His arms close around you, holding you tight against him, and you hear him purr against the hair on the crown of your head. He rocks you gently.

The silence welcomes you both into its embrace and you savour it like a treasure. Your body aches in the sweetest way, your insides throbbing around his softening manhood. 

And around you, nothing exists anymore.

*** *** *** *** *** *** *** 

"I've changed, you know." His hoarse voice vibrates against you, but you refuse to meet his eyes. You keep them closed. 

You're not sure if Aemond has really changed. Aemond is ruthless, cold, brutal, calculating, merciless. Cruel. You're not sure if Aemond can ever change, but he shows unusual tenderness, and maybe, just maybe, you allow yourself to doubt. You indulge in the illusion. 

Perhaps Vhagar's death has broken something in him. 

Perhaps it's true, perhaps he's not the same man anymore.

He's not sorry for what he has done. He never will be. He's too proud, even if you can catch the glimmer of remorse that colours his icy eyes when he is not looking at you.

Does he think of your little brother? Is he haunted by the memory of him, as you have been for so many years?

Does he think of the innocents he killed without flinching, the blood he spilled in the Riverlands that now stains the burned grass? 

Is his sanity slowly being eaten away by the atrocities he has committed with his own hands? 

He has changed. You are not sure if he's changed for the better or for the worse, but he has indeed.

Daemon has changed too. So has Rhaenyra. So has Jace.

You too have changed.

For war changes people, war makes them weary and wary, it shatters something in the body that will never be the same again. It hollows out the roundness of the cheeks, it deepens the dark circles under the eyes, it fades the sparkle of childhood that remains in the eyes.

Aemond seems to be waiting for an answer, but the words remain stuck in your throat. I know, you want to whisper, I know, but suddenly you've forgotten how to speak. His thumb draws the soft line of the underside of your breast.

The future terrifies you more than ever. You had made peace with your past, you had come to a conclusion that, even if it pained you, had given you some respite. 

Seeing your uncle alive had reawakened your demons. 

Spending the night in the embrace of his arms had revived everything you had buried deep, deep down. 

The past had returned, creeping towards you, gnawing at the corners of your heart and at what remained of your sense of stability and certainty. 

Now you are plunged into doubt. 

Just as you were a little over three years ago, when you were informed of his death, when you had to learn to live with the choice that had never really been given to you.

Just as three years ago, when you noticed a familiar lilac-tinged blue in Rhaegar's eyes.

Like when you had to live with the memories that haunted you, that were slowly eating away at what little sanity you had left.

Like when you finally decided to leave for the North.

Aemond seems to sense your anguish, because his fingers get lost in your hair. 

"What are we going to do now?" 

Finally, you dare to utter the inevitable words that have been hanging on the tip of your tongue since you woke up, words you've swallowed so many times this morning. You immediately blame yourself. 

Saying them only makes them more real.

They tear at something in the imaginary cocoon you've built for yourselves. You bury your face against his skin, breathe in his scent, as if you never want to forget him.

For you know how fleeting memories can be.

You remember how his face faded with each passing day.

You don't know if you'll ever be able to experience it a second time.

"We could leave," Aemond replies, as his fingers venture to your jaw, caressing the line of your cheeks with the back of his knuckles. 

He's so pragmatic, as always.

Even in this situation.

Even now.

It makes you want to shake him.

"We could run away," he says again. His gaze, fixed in the distance, falls on you at the same moment. "To Essos. Pentos. No one would know who we are." You close your eyes, and let his hoarse voice lull you into silence. "To start our own family, the three of us."

You know he is not serious. Even though he looks at you with such insistence, with that flame that flickers in the centre of his iris.

You relish his fantasy, this impossible dream. 

But you can't leave your family; Essos is not Winterfell. There, they knew where to find you. They knew you were safe. They knew you were sheltered between the walls of the northern castle, under the heavy furs, under the protection of Cregan Stark.

Essos is the unknown.

You cannot let your mother lose her only daughter, not after everything she has already lost. 

The itch is familiar, tickling at the corners of your eyes. There was a time when you thought you'd lost that sensitivity. When you thought the war had left you cold, incapable of feeling anything. Incapable of crying.

"You know I can't." Your nose rubs against his milky skin, made clammy by sweat. You keep your eyes closed because you feel the weight of his cold gaze on you, his furrowed eyebrows as he stares at you blankly, his lips pursed in a long, thin line. You don't have the courage to meet his accusing gaze, let alone the wounded look on his face as you crush all his illusory dreams into dust. 

When did you become the more pragmatic of the two? 

When did you become the one responsible for bringing Aemond back to reality?

It used to be you, the one who filled your mind with unrealistic dreams, the one who dreamed of stories and fairy tales, back when you could still dream. "They need me, you know that."

A sneer stretches across your uncle's lips as he swallows a chuckle that sounds more like an ironic growl. You feel his whole body tense against yours, a sign that he's holding back his annoyance. 

A sign that he has something to say, that he's upset, but doesn't quite know how to put it into words. 

"Like they needed you back then?" he replies scathingly, bitterness on the tip of his tongue. "When they used you as a bargaining chip to achieve their ends, hm?"  

Your red cheeks burn with shame, as if he'd slapped you. You don't move, merely swallow hard. You know there's something right about what he is saying, but you don't want to admit it. 

You've done your duty.

You've done what is expected of you as a daughter.

It was not a question of them using you. It never was. 

It was your duty, only your duty, what you were always meant to perform, wasn't it?

And yet a small voice in the back of your head had already given you a similar speech, a few years ago, but you had tried to silence it.

You refused to let Aemond admit it. You refuse to allow him to do it. He had no idea, no right to criticise your family when he'd acted like that.

When he has done what he has done.

He has no idea what it is like to be a daughter.

You don't answer, and silence falls between you again.

You wish so desperately that he could go home with you; that he could tell them that he's sorry.

You wish it were easier. 

There is no one left to wait for Aemond but you, but his son, you know that. His family has been decimated, as has yours in some ways, though you still have your parents and your older brother.

For your uncle, there's nothing left but the shadow of his existence, the shadow of who he once was, long ago.

You let your hand trace the side of his throat, your nose buried against it, your lips hovering over his skin. You lean against him, your body on top of his, pressed together as if you were afraid to let him go.

"You could come with me instead," you whisper, but you refuse to meet his gaze. There's something shameful in the words you've just spoken aloud, something naive, and your burning cheeks are proof of your embarrassment.

Almost imperceptibly, he clenches beneath you, holding his breath. This is a bad idea and you feel stupid. Naive to have dared to suggest something like this.

His voice purrs in a hm that vibrates against you. He's about to say something. He searches for words. "You know that -"

"I know." You cut him off sharply - a little more than you would have liked, your eyes raised to silence him.

You know what he thinks.

He thinks that Rhaenyra will never be his queen. He thinks he will never bend the knee to his eldest sister and her authority, which he doesn't recognise.

He thinks that with the death of Aegon, with the death of the children his brother fathered with Helaena, the throne belongs to him.

And you are aware of his ambitions. You know how perfectly the conqueror's crown fits his head. You know how it sets off the sapphire embedded in his eye socket. You remember the look of greed in his eyes every time he stared at the Iron Throne, you remember the look of pride on his face every time he scorned anyone who dared to question his decisions as Prince Regent.

You know how mercilessly he made the soldiers at Harrenhal kneel, forcing them to contemplate their impending deaths. You know the terror he has sown throughout the Riverlands.

Even in the Seven Hells you could have found more mercy than at the hands of Aemond Targaryen.

Aemond may have changed, but you're not sure he's changed enough to put aside the pride that is consuming him from within.

You take a deep breath. "You don't really have a choice, qybor." 

Fearing his reaction, you curl into a fetal position, your back to him, your knees drawn up to you. You close your eyes. You wait for his frustration.

You wait for his sentence.

You know that he is aware that he has no choice. 

He has only two options: swallow his pride or sink back into the abyss, disappear into the dark meanders of oblivion.

Rhaegar needed his father, of course, but you found him a father in Cregan Stark. 

That was a sacrifice you were willing to make.

There was no way you would give up what family you had left.

For Rhaegar needed his grandparents and his uncle even more.

Behind you, you feel your uncle's hand slip under your tunic and around your body, pulling you against him. He presses his bare chest against your back, tucking your head under his chin. His hand caresses your stomach, then his fingers brush the base of your breast.

"You know she will never be my queen. You know the throne belongs to -" But he lets the words drop without finishing the sentence, the knowledge of what he was about to say hanging in the air between you. 

As long as he remains alive, will the embers of war never truly be extinguished? 

You don't know, but you accept the risk. 

You close your eyes, as if you're about to jump into the icy depths with both feet.

"The rest is up to you, Aemond," you whisper, barely audible. "And if you have truly changed, then you will know how to make the right choice."

He says nothing. 

You savour the last few minutes of illusion you have left.

*** *** *** *** *** *** *** 

The fear of making the wrong choice never really leaves you, but your mother chases your fears away, as she so often did when you were a child, tucking one of your dark curls behind your ear. She has her distinctive little smirk on her lips, the one that pulls the corner of her lips up towards her nose.  

The same one Lucerys had, you think sadly. 

You still miss him, even after all this time, and sometimes you wonder what kind of young man he would have become.

"You're a clever girl, my sweet clever girl," she whispers against your forehead as she cradles you in her arms. She's as beautiful as ever, as gentle with you as ever, despite the years, despite the wear and tear of war that has hardened her features and hollowed her cheeks. "And I know you have made the right decision." She lifts your chin with her forefinger to look into your eyes, and you feel like you're turning back into that shy, insecure girl who disappeared somewhere in the violence of the war all those years ago.

 "And if it should turn out that you were wrong... Daemon will be there to intervene. You know he is just waiting for that." You roll your eyes at her attempt at humour, and she plants a kiss on your forehead. 

For a split second, you truly are that carefree little girl again.

But behind your mother's humour lie fragments of reality that make your laughter bitter.

The news of your husband's survival remains a hazy blur in your mind. Sometimes you're not sure if this conversation really occurred or if you're dreaming.

You're not sure if what's around you, if the night you spent in Aemond's arms, is real or an invention of your sick mind.

Sometimes you're not really conscious of the events or how long they lasted, the lump in your stomach grows back, and once again you're destined to carve half-moons marks in the palms of your hands to soothe the tension in your body.

You told your mother first because you knew she'd be more understanding. As a mother, as a woman, she knows the meaning behind certain silences, the weight of words, the unspoken words that float between sentences. 

You know she can understand your pain and your doubts, but also your love and your compassion.

She was shocked when you told her that her younger brother was still alive. She smoothed her dress, paced back and forth, then took the time to sit down, her eyebrows furrowed, her eyes riveted to your face, looking for clues that would betray what you were thinking, what you might be hiding. She was afraid that he had hurt you. She was afraid that he would rip you away from her, just as he had once ripped your little brother away from her.

Her fingers had gently taken your hand and her thumb had drawn little circles on the back of your hand to comfort you. She listened to you first as you confessed everything. 

Where you were that night when you didn't come home. 

Who you were with.

And then she took you in her arms. She reassured you. Soothed you. 

You had been so afraid of disappointing her, of disappointing all of them, that the tension paralysing your body had finally loosened and you burst into tears.

Things had proved more complicated with Daemon. When he learned that his nephew was alive, that he wasn't forgotten forever in the deep waters of the lake near Harrenhal, he refused to believe you. He was furious. He said he had seen him fall, that he was the one who had taken his life, tearing the sky apart.

You didn't know where to look, and it was in your mother's eyes that you sought support, comfort, anything in the face of your stepfather's rage. You could feel on you the look of disappointment of your brother, Jace, as he held his shoulders up and his chin high. He wanted to prove that one day he would be a good king. With his jaw clenched, he said nothing, looking at you as if you were suddenly so foreign to him. He probably didn't know what to say, for fear of being clumsy, for fear of unintentionally hurting you, even more than by his lack of support. 

You know it wasn't his fault. 

He simply couldn't understand.

The words stuck in your throat and you found yourself unable to speak, pearls glittering in the corners of your eyes while you waited impatiently for the final blow.

The final death knell that would seal your disgrace in everyone's eyes.

After all you'd endured.

Daemon stood before you, his eyebrows furrowed, his eyes hard. He was staring at you as if you'd committed the ultimate treason, and you knew he was controlling himself to keep his anger from exploding. "You're going to bring him to me," he had hissed, his hand closing over your shoulder. 

" You will lure him here and he will be put to the sword." His tone left no room for argument. With the tension growing in your stomach, you sought your mother's compassionate look to calm you. You could see the fury in your stepfather's eyes, and also a mixture of fear and feelings of betrayal. You knew that, deep down, he was afraid for you because he considers you his daughter. Because Baela and Rhaena are like sisters to you. 

It was his reaction you feared most, not your mother's. His fingers dug into your skin, the floor slipping out from under you, the room swaying dangerously, and your mother had come to your rescue, trying to calm things down with her usual diplomacy.

You can't quite remember the words your stepfather said; in anger he muttered something that sounded like are you really thinking of becoming his whore again? and the words hurt like hell, but you tried to swallow the pain.

 Endure, hold your head high. That was what you had learned.

Your mother had suggested you go back to your room or spend some time with Rhaegar, her fingers gently stroking your dark locks, and as soon as you left the throne room you could hear their voices echoing through the door. 

They were arguing.

Over you.

Because of you, again.

You took a deep breath and returned to the gardens, where your two stepsisters were making your son laugh by playing with him. They had fun running around in the damp grass to the applause of Baela's little daughter, who clapped her little hands in delight.

Your fingers were still trembling when you joined them.

In the end a solution was found, for your mother feared losing you a second time. 

She remembered what had happened to Laenor, your father, when he had grown tired of the court.

She remembered what had happened to Helaena, your sweet aunt, when she could no longer bear to suffer.

It was her worst nightmare to see you torn from her again, now that she had the chance to hold you in her arms every day, to protect you again, to see you grow again.

It was her worst nightmare to see her only daughter, her only daughter and the second of her only surviving children, taken from her. 

You and Jace were all she had left of her own blood.

After long negotiations with Daemon, you had managed to bargain for your husband's life in exchange for strict conditions; increased surveillance, no bonding with a new dragon, no carrying of weapons, and the assurance that he would be executed if there was the slightest doubt about him. You proposed that you and he leave the capital, with your son as well. To return to Dragonstone. To start over on a new, blank page in a book that was already too damaged.

For you, it was also a way to ease the tensions between your family and Aemond, and perhaps find a more intimate life with your husband and son.

Rhaenyra had declared that this was the best solution: a guarantee for her to have you by her side again, a guarantee for her that you would be there.

You had been afraid of Aemond's reaction, afraid that his ego would not bear it; that he would refuse, that he would rather sentence himself to his own death than to an existence as a prisoner within his own family, condemned to live as a shadow of the man he had once been in exchange for seeing his son grow up. 

But in the end, wasn't he doomed to live as a shadow of the man he had once been, anyway?

He would never be the rider of Vhagar again.

He would never be the ruthless Prince Regent again.

He would never again be the second in line to the throne, the second son greedily waiting for fate to turn in his favour.

He hadn't been all of that for a good three years, lurking in the cold, gloomy corridors of Harrenhal like a lonely monster.

And if he went back, if he rejected your proposal, he would have condemned himself to eternal solitude at the side of a witch you would rather forget.

He had no choice, for he would never be that Aemond again. 

When you joined your husband at the meeting place, you were relieved to see him swallow his pride and accept. It was difficult, but you convinced him. 

For Rhaegar, for his son.

Aemond had suggested that you run away, far away from everything, and you almost hesitated. Running away would have allowed you to forget, of course. 

But your deepest wounds had begun to heal. You had begun to be able to face the ghosts that haunted King's Landing, the ghosts that haunted Dragonstone.

To stop there was tempting, and yet so frightening at the same time. 

The unknown terrified you. You needed familiarity now, something to fall back on, for you were so tired. 

Now you can't help bringing your thumb to your lips, nibbling the skin at the corner of your fingernail with the tip of your teeth as you walk away from Rhaenyra. A handmaiden brings you Rhaegar, and you struggle to breathe. 

You inhale.

You exhale.

The thick tuft of brown hair makes you smile. The sight of your son is enough to give you the courage to walk with a more confident stride. It's as if you were filled with new strength, for you know that he needs you more than anyone else. And for him, you've promised yourself to stay strong.

As soon as you reach him, you kneel and plant a kiss on his plump cheeks. 

He's growing up so fast that sometimes you wish you could stop time.

"There's someone who'd like to meet you, sweet boy," you explain, and you can recognise your mother's inflection in your own voice. Sweet boy. Rhaegar looks at you with big, round, questioning eyes, and you wonder if he senses your anxiety, because he takes your hand between his tiny fingers.

"Who, muña ?" he babbles, striding down the cobbled path in the middle of the gardens, hopping on his clumsy little legs, and you smile at his carefree attitude. He stops to watch the bees foraging, bends down to pick up a flower and gives it to you. He's always so curious, so full of life. He's a ray of sunshine that brightens your dull days. You finally understand your mother, the agonising fear she has of losing you. You finally understand the horror she experienced when she lost her four other children.

You also finally understand why Helena threw herself from Maegor's Holdfast.

The thought of what Daemon did still revolts you, and you can't imagine anyone hurting your boy like that.

You turn around. Rhaenyra is still there, in the distance, her crown on her head, her hands crossed in front of her on the heavy fabric of her dress, watching over you. She won't move, a comforting, discreet presence.

A stone bench awaits you by the fountain, on which two cushions have been arranged. A dessert buffet has been set up under the gazebo and you immediately spot your favourite cakes, the strawberry one, the blackberry jam one, and you look down at your son. He hasn't noticed them yet, or he would have already run over, dipped his finger in the whipped cream and stolen a blueberry from one of the tarts, his innocent expression on his face. 

He is definitely a lot like you. Mischievous and clever. An angelic air. He is an easy-going child who never throws a tantrum.

Who understands quickly, too. 

"I love you. I love you more than anything, you know that, don't you, young boy?" your tone is soft, and you kneel down in front of him, your hands on his small shoulders to emphasise the seriousness of your discussion. You search for your words, hesitating. How do you tell a three-year-old that his father, his dead father, is back from the dead and about to meet him?

Of course, Rhaegar knows that his birthfather was valiant, that his birthfather rode the greatest dragon in the world, that his birthfather died in battle.

But there is so much he doesn't know, so much he will inevitably learn as he grows up, and it is precisely that future that frightens you. You hug him as if you're afraid of losing him.

"Princess."

The deep voice of your sworn protector echoes behind you, and you straighten your skirt. 

You know he is there. 

You know you will see him the moment you turn around.

Your heartbeat quickens.

Aemond Targaryen stands behind your sworn protector, surrounded by two guards. His hands are bound in front of him. 

It is so strange to see your uncle in this vulnerable position. He who for so long has been on the other side, he who for so long has been the one who bent others to his will. He looks at you harshly, and you almost feel the need to apologise.

But you know it is a matter of caution.

You know that Daemon, you know that Jace and even your mother would never have agreed to bring him in if such precautions hadn't been taken.

You admire his resilience, his determination. You admire his ability to hold his head high, to be confident, despite the fact that he is being treated like a common prisoner, about to be sentenced to death.

You struggle to swallow the lump that has formed in your throat. 

"Who's that, muña?" Aemond's eyes leave you and immediately drop to the small figure that has appeared beside you, reaching for your hand, huddling against your leg, shy and worried. 

Immediately, your husband's icy gaze, his lilac-coloured eyes, soften.

"Thank you, Sir Rowan. You may leave us."

Despite the worry on his face, your sworn protector nods, unties his prisoner's hands and walks back to your mother, accompanied by the other two guards. You watch them leave, and a strange silence fills the space between you and your uncle.

He doesn't look at you; his eyes are riveted to your son, whom he observes with wonder. He looks as if he is admiring the most beautiful and fascinating discovery he has ever seen. You look down to see Rhaegar's reaction, and he seems as intimidated as he is hypnotised by that gaze, by that blue and purple eye so similar to his owns, by this man looking at him as if he were one of the most marvellous things in the world. 

"Gods, he's perfect," Aemond murmurs as he looks up at you, emerging from his trance. He comes closer to embrace you. And for once, there is something other than his usual brutal possessiveness and ferocity when his arms close around you.

*** *** *** *** *** *** *** 

Aemond is shy at first. Awkward. 

He's shy and amazed as he follows your son's every move with his good eye. From time to time, his gaze rests on you, as if to make sure he's not dreaming. As if to make sure he is doing right, seeking your approval.

Rhaegar is shy too, at first.

When he sits on your lap, he snuggles up to you, buries his face in your neck, one of your locks curled in his chubby little hand and he rubs it against his nose. From time to time, he turns to give his father a curious look, recognising his own eyes in the unfamiliar face before him. 

Aemond's expression grows gentler, a softness never seen in his features before.

Once he has tamed the stranger, the little boy pecks at the blueberries in the tart in front of him. He shakes his legs, hitting your knees in painful little jabs, and your arm wraps around his body to hold him down.

Rhaegar loves cake, and the sugar may be coaxing him, for he's regaining his appetite for talking.

"He really does have my eyes," Aemond whispers incredulously, and his voice, still foreign to his son's ears, causes the little boy to lift his head.

" It is definitely the only thing he has inherited from you," you reply, teasing him with a small smile at the corner of your lips.

Soon Rhaegar finishes the blueberry tart, the cream smeared over the bottom of his face and the tip of his nose.

"He inherited that from you, that is certain." Aemond grins, pointing with his long chin at the boy's voracious appetite for cakes and pastries.

You have to pinch yourself to make sure you're not dreaming. That your husband is really standing in front of you, with your son, like a normal family. 

That he was truly trying to tell a joke.

This form of domesticity is so alien to your relationship, and yet so pleasant, that you find yourself thinking that perhaps you have made the right decision, indeed, if every day can be like this. 

"Your muña deserves some cake too, what do you say, little one?"

Rhaegar giggles. Aemond cuts a slice of your favourite cake, the one with the strawberries, and puts it on your plate. 

You blush. After all these years, he hasn't forgotten which one is your favourite.

You can't even really whisper a thank you because this apparent domesticity, this feeling of completeness, this interlude of happiness makes you uneasy. Anxious.

You have the feeling that at any moment you'll be plunged back into the horror of what you went through all those years ago. 

You have the feeling that at any moment the Gods will be cruel and snatch away this happiness that you've barely been able to taste, leaving only the memory of its sweet taste on your lips.

You breathe in and out, as you often do when you feel your palpitations rising in your chest.

"Do you... do you want to take him on your lap?" you ask your uncle with shyness, your hand stroking Rhaegar's thick brown curls. Aemond looks at you as if you have spoken in a foreign language. Lips parted, he is about to say something, but not a sound escapes his lips. His lonely eye travels from you to your son, from your son to you, in silence.

"I don't know if -"

You can hear the doubt in his voice, and it's almost touching to see him lose his confidence in front of his own son, to see him so nervous and unsure of himself.

You let out a little laugh, not in mockery, obviously, just full of tenderness.

You know what he's thinking.

He's afraid of frightening him.

He's afraid of harming him.

"You won't hurt him, Aemond."

He answers nothing. He still doesn't like to look vulnerable, unsure, and you know it has to do with his childhood. With all he has kept bottled up inside him all these years. He will need time.

Your eyes fall back to the little boy sitting in your lap, and you draw his attention to yourself by stroking the curls on his forehead.

"Do you want to go to Aemond for a while? To kepus?" 

you correct yourself immediately, and Rhaegar nods in agreement.

You are amazed at how easily he slips off your legs to run to his father, to pull himself onto his lap, when only a few hours ago he was so intimidated by the presence of this stranger with the eyepatch.

Your uncle automatically puts his arm around his waist to make him feel comfortable, his new role taking root in him. His fingers reach for the cloth on the table, and he wipes Rhaegar's face, who can't help but burst out laughing at his father's clumsy gestures.

For a split second you are lost in contemplating the horizon, the stillness of the sea. You taste the sea breeze on your face.

And then you turn your head towards the cobbled path where the guards and your sworn protector are still stationed. 

Your mother is no longer there, and you notice that you have not at any time felt the need to seek comfort in her presence. 

You smile, for in the end you know you've made the right decision.

*** *** *** *** *** *** *** 

Dragonstone, 6 months later.

When you walk the corridors of the place that saw you grow up, you are no longer haunted by the ghosts and their incessant cries. A kind of peace has settled over you, a return to the pleasant familiarity you've waited so long for.

You still think of Luke, of course. Of Luke and Joff and little Aegon and Viserys, your brothers you will never see grow old. 

But you no longer feel their disapproving glances at every step you take. You are no longer kept awake by their cries, by their tears, by the remorse that twists your stomach. 

You no longer blame yourself. 

Perhaps you've finally learnt to make peace with yourself.

The heavy door of the bedroom you share with Aemond is half open, and you slip your head into the doorway, piqued by curiosity.

Snuggled on your husband's lap, Rhaegar is staring at the pages of a large book, the corners of which you can guess are horned, the cover worn, from being carried everywhere. You can imagine the jam stains that mark the paper with children's fingerprints. You know exactly which page is missing, the one you and Aemond accidentally tore out and hid so the Septa wouldn't notice, so many years ago. 

It is a book about dragons, the very one the two of you used to read hidden under the table when you were so young and innocent, long before the torment of war.

Without a sound, you lean against the doorframe and contemplate for a moment the perfect vision before you.

You don't have the cruelty to disturb them.

 "This one is Vhaegar!" shouts Rhaegar, and you hold your breath, searching Aemond's face for any hint that might betray his reaction. The mention of his former dragon is still a sensitive subject for him, you know it.

"Yes, that's Vhagar." he pauses. "She was brave."

From the corner of his eye, Aemond spots your silhouette in the faint glow of the corridor, and his attention lingers on you for a moment. He's almost embarrassed to be caught in such a vulnerable, intimate moment, but you smile tenderly to encourage him.

"And big!" the little boy adds, energetically raising his arms to the sky to emphasise his words.

"Yes, and big." There's a suspended moment of silence where the words hang in the air, and then your husband gently ruffles his son's hair. It's a tender sight to see them bond like this, and your heart fills with happiness.

Taking a step forward, you step into the light of the room and Rhaegar expresses his joy at seeing you. You smile back at him and approach the chair where Aemond sits, your son on his lap.

Your uncle's hand instantly rests on the curve of your belly, which he still stares at with the same protective instinct, the same fascination, as the day you told him the news. His eyes sparkle.

"Your daughter is restless today."

He looks up at you, not without lingering for a moment on your breasts and their new shape.

"My daughter?" he asks, one eyebrow raised inquisitively.

"I'm convinced it's a girl. You reply, smiling wryly, and take a seat in the armchair next to the one where Aemond and your son are sitting, facing the fireplace. "And she took after her father, given her temper," you tease him, your hand on the top of your rounded belly to soothe the baby growing there. 

Rhaegar's eyes close slowly. Nestled against the chest of the man who, just a few months ago, was still a stranger, he fights sleep, he fights to stay awake, but tiredness quickly overcomes him. And then he falls asleep, his mouth half open, the movements of his breath making his chest rise and fall rhythmically.

Aemond finally gets up. You follow his movements with your eyes as he approaches you, the child in his arms, and he plants a kiss on the top of his head.

"I'm going to put him to bed. I'll be right back." He straightens and lowers his voice.

"I wouldn't fail in my duty and neglect my wife." The heat rises to your cheeks, turning them red at the implication of what awaits you tonight. You're already wet between your thighs at the thought. 

But you nod in agreement and watch him walk away. 

You are left alone in the silence of the room. The only sound around you is the steady crackling of the fire.

It's strange, you think, to be back on Dragonstone, in the familiarity of the stones you've spent most of your life between, after getting used to the idea of not surviving the war.

To the idea of dying from a broken heart.

To the idea of dying, the umpteenth victim of the vicious spiral of conflict that has torn your family apart.

And yet here you are.

With your own family.

For once you have hope for the future. You hear the cries of your little brother, lost in the storm so long ago, but they are quickly replaced by the laughter of a happy memory. 

And finally, you have the absolute confirmation that you have made the right decision.

*** *** *** *** ***

Thank you so much for reading!! <3

Tag list : @minttea07 @queenofshinigamis (I'm tagging you since you asked for it ❤️)

[shantechni]

Natsume's Fear of Thunder

I'm gonna be honest, this can hardly be considered an analysis. It's more of a "sporadic and unnecessarily deep observation" of how Natsume's astraphobia has been presented in the series over the years, both in the anime and in the manga. So, please for the love of God take all of this with a grain of salt.

Yes, I'm using the term "phobia" very loosely, but I'm not about to get into that rn. Natsume has an irrational fear and strong dislike of thunder, that's an undeniable truth.

Before I dive in, I'd like to briefly explain why, of all the little bits of information Midorikawa has given us about Natsume, this one is the one to ceaselessly bump around in my brain like a DVD logo. This series is not in the horror genre (it's serialized in LaLa DX after all), but it does get suspenseful, and pretty disturbing depending on whatever topic it touches or the types of situations the characters may find themselves in. I don't fault anyone, particularly Natsume, for growing up with valid fears and preconceived misconceptions about most youkai; they can sound scary, they can look scary, and they can do some scary stuff if they really feel up to it.

That's why I'm so fascinated to see Natsume develop and still harbor an irrational fear for something like the everyday phenomena of storms. He's landed himself in all sorts of trouble and has come face to face with many beings, both natural and supernatural, who didn't have his best interests in mind, and yet the clap of thunder somehow keeps its spot on the list of things that has him scared stiff.

Aight, spoilers for both the anime and the manga beyond here, you've been warned👏🏽

Our first introduction to Natsume's fear is near the beginning of chapter 42, when he and Tanuma accidentally stumble across Taki's home while seeking shelter from a sudden shower. He questions how Nyanko-sensei ended up at her home as well and the youkai, much to Natsume's visible dismay, cheekily explains:

That doesn't end up happening since the rain remained light until its swift end, and the mention of Natsume's fear is glossed over rather quickly to save him the embarrassment, but it's an interesting mention made by Midorikawa nonetheless since it adds another layer to whatever image the audience has of Natsume and the series itself. Nyanko-sensei, having been around this kid long enough to know a lot of his vulnerabilities and insecurities (even the ones his dreams unwittingly reveal to the youkai), has seen and grown accustomed to a side of him that the audience had yet to be formally introduced to for once.

Right about now, you may be wondering how the anime adapted this scene. It didn't💀.

While the start of the episode (S3 EP5) is a one-to-one recreation of the chapter with virtually the same dialogue and scenery, any mention of Nyanko-sensei following Natsume to pick on him when it thunders is nonexistent and entirely skipped over so the gang can go straight to cleaning out the storeroom.

Most fans who have read the manga will tell you how notorious the anime is for excluding some of the characters' lines or scenes that take place in the manga, or just straight up rearranging or changing up those same factors. Sometimes those alterations work wonders, and other times they leave more to be desired, mainly if you know what happened in the manga counterpart of the episode. This such example is one of the times that'll leave people scratching their heads and wondering what warranted getting rid of a scene so insignificant that it'd have no effect on the plot of the episode whether or not it stayed. The only answer I can think of for that is the directors likely wanting a smoother progression of events to make for a viewing experience better tailored for an anime episode rather than a manga chapter.

Or, they genuinely didn't have enough space in the episode to squeeze in that little bit, which I highly doubt, but what would I know, I don't work for them. At the end of the day, we didn't get to see that scene in the episode.

After some more anime switcheroo shenanigans go on behind the scenes, along with an original episode pulling a retcon during a lightning storm, we receive our next moment in a surprising scene from the anime team in S3 EP10 (adaptation of chapter 28). Though the scene itself is short and not exactly an example of Natsume's astraphobia, I feel it should still be included because of its relation.

The chapter originally starts with Natsume and Nyanko-sensei searching for a tree that was struck by lightning during a storm the night before. However, the anime makes an addition of their own by rewinding time to that very night and showing Nyanko-sensei excitedly watching the storm take place while Natsume is tied up with his homework.

Nyanko-sensei goes on to tease him by suggesting that he doesn't want to watch the storm because he's scared, but Natsume dodges the youkai's mocking and begins to tell him to close the curtain before a crack of lightning cuts him off and illuminates his room.

Not only does Natsume not simply deny Nyanko-sensei's claim of him being scared, but his reaction to the thunder is seemingly more sudden than Nyanko-sensei's. Both of these points could subsequently lead the audience to interpret this entire sequence as the anime's first acknowledgement of his phobia, and it'd make for a very intriguing choice on the anime team's behalf after taking their ommitance of the previous scene into consideration. It could be a stretch though ngl, I tend to stretch like crazy, it makes sense to close a curtain when a pet is being noisy—

Finally moving on from S3, we eventually reach the most overt instance of Natsume's astraphobia, and potential origin or exacerbation of it, in the S4 finale (adaptation of chapter 46). This three episode arc is a largely intimate and heart wrenching one as it focuses on Natsume's journey to revisit his childhood home before it gets renovated by its new owners, a task he initially denied himself the permission of doing before realizing Touko and Shigeru would never deny him something so personal. Of course, he wouldn't be Natsume if he didn't attract a youkai along the way, and he's being pursued by one that seeks to feed on the tragic memories he formed while staying with the Aoi family, who was strongly implied to be the first family (if not, one of the first families) he was taken in by after his father's passing.

One of those memories shown to the audience is a younger Natsume relaxing in a shrine while memorizing where his childhood home is located, all in the hopes of gaining more discernible memories of his father and no longer being a burden to Miyoko and her parents.

Unfortunately, he falls asleep at the shrine and consequently loses track of time before having his slumber disturbed by a violent boom of thunder. He's so frightened by the ordeal that he can't even bring himself to rush back to the Aoi family's place, and his exhaustion puts him back to sleep until he's eventually found by some of the neighbors who went out searching for him.

The anime, with the natural strengths it has over the manga, goes the extra mile by not only keeping this portion relatively untouched, but further setting up the scenery and depicting just how rapidly the area goes from peaceful to turbulent. The character animation and voice acting make for a splendid combination and do a wonderful job of capturing this image of a helpless childhood version of Natsume.

What comes soon after this scene is a depressing sequence of events on its own, even more so when we can see he's still reeling from the storm and believing he caused the Aois to get into trouble by not getting back before dark. The adults obviously don't fault Natsume for getting stuck in the storm, but he doesn't see it that way in his shocked state.

The way Miyoko reacts by throwing her frustrations onto him doesn't help either.

And so, after aimlessly running off in his last unsuccessful attempt to find his childhood home, the memory fades away with a somber note as his present self recalls the moment he finally stopped calling for his long gone father.

Now, one could argue that Natsume had his fear of thunder prior to his time with the Aois since we don't have much reference material to work with when concerning his short period of time with his father, and they could be right for all I know. It's common for children to be startled by loud noises and bright flashes since they just aren't quite accustomed to those loud noises and bright flashes being customary for weather disturbances. Natsume, who we know grew up to be pretty sensitive to the things that go on around him, may have been one of those children who felt apprehension anytime a bad storm rolled in, and his father may have been the one to quell his fears back then. So, if we go with the conclusion that his fear didn't originate here, then this scene likely could've aggravated it. But I'm personally leaning a bit more towards the concept of this being the cause of it (partly due to how appealing that conclusion is to the obsessive part of my brain).

His initial reaction to the thunder is seemingly one of surprise rather than fear, and his behavior suggests that he's more concerned with making it back down the mountain before the thunder halts his progress. Although he's seen trying to talk himself down and fails to do so with how relentless the thunderstorm is proving to be, he doesn't need to have preexisting fears or anxieties over thunder to resort to calming himself down.

The dialogue differences strike me as something to consider too, but they're likely irrelevant.

Setting aside everything I just ranted about in the above paragraph, I should specify that I'm not simply pointing to the storm scene as the singular root cause for his future woes. Many psychological problems often aren't so black and white that someone can definitively point to one person or thing as the sole reason for the existence of their psychological problems. And phobias obviously don't always develop as a result of going through or observing a traumatic event; people can grow to fear or strongly dislike something merely by its association with an unpleasant memory or stressful situation. I know I'm starting to stretch hard rn, and this part of the post is getting awfully wordy, just hear me out—

Going back to that aforementioned short period of time with his dad, it's plain to see just how innocent of a time that was for Natsume. He was playful and affectionate with his dad like many children growing up in a healthy environment would be at that age. He doesn't even appear to have an awareness of youkai (if so, only slight enough for it to not become a problem for him just yet). We're shown later on that he would commonly draw around the house too, as evidenced by the nearly two decade old pieces of artwork his father never removed from the kitchen area and closet.

Natsume even proceeds to make a comment about this childhood version of himself likely being the mischievous type for him to run around drawing on surfaces without a care in the world.

He undeniably had his own troubles at that stage of his life though, with one of those troubles being his mom and the empty spot left behind by her passing away. Apart from his heartwarming portrait of a family with both parents, he's also shown lamenting to Miyoko after the death of his dad about not being able to remember his mom. We've seen with those two examples that her absence indeed left an impact on him early on in his life, but he doesn't stay too broken up over her considering how little he got to bond with her, and he doesn't openly despair about the loss of his dad until his growing sense of loneliness and longing becomes too much for him to smooth over.

The point I'm trying (and admittedly struggling) to make here is that after moving in with Miyoko and her parents, the worries on Natsume's plate increased tenfold and weighed him down far more than he was willing to accept at first. Suddenly, this kid had little to smile about in life, taking a glance at his only picture of his parents causes grief and envy to flare up in his chest, he's afraid of being a burden to those who took him under his wing, he's eating less than Miyoko because he's concerned with coming off as too greedy, he feels responsible for Miyoko getting picked on because of his relation to her, he's still learning the way back to the Aoi family's home, and now he's surrounded by all of these weird creatures that apparently no one else can see.

Suddenly, he's no longer that carefree toddler we saw sitting on his dad's lap as the two of them watched over his late mom's garden.

I feel moderately certain about Natsume's experience with the storm, coupled with this pivotal and devastating shift in his life, being the plausible cause for him developing his irrational fear of thunder as a child.

After this arc, we aren't greeted with another scene featuring or centered on his astraphobia until chapter 85 (which doesn't appear to be adapted in S7 judging from the PV😭), and it focuses on Natsume, Tanuma and Taki viewing a limited exhibition at an old inn that has a deep history with youkai. Not too long after the owner engages in conversation with Taki, Natsume and Tanuma briefly comment on how peaceful the inn is making the both of them feel, and a sudden lightning strike cuts through the tranquility of the inn.

It catches everyone off guard and, unsurprisingly, has Natsume frozen in place as Tanuma asks him and Taki if they're alright.

Much like Nyanko-sensei's first time mentioning Natsume's fear, the moment doesn't last long as the gang soon realizes they'll have to spend the night at the inn while they wait for the sudden storm to pass.

By this point in the manga though, Midorikawa has evidently decided to make Natsume's astraphobia a recurring element of the sorts. She could've easily left his astraphobia as another facet of his that we get to see once or twice and never again since it's not serviceable to the story as a whole, but she's started using his phobia as an additional means of displaying his discomfort in any given situation. Having a thunderstorm suddenly appear during a moment of serenity, immediately after Natsume tells Tanuma the place is making him feel strangely good, was a brilliant move of jarring him. And it works especially well here as a sign of the looming threat that'll find its way into the inn over night and slowly creep upon the group the longer they remain there.

Midorikawa pulls this same stunt again to slightly greater effect in chapter 117, where Natsume, Tanuma and Nyanko-sensei happen upon the Kisaragi Manor and find themselves taking part in a ritual for summoning youkai.

It starts with the trio meeting up in the evening to view the bamboo lanterns, but a woman claiming to be in search of a mansion requests their help to find it before it gets too dark, as well as to avoid getting caught in a downpour should the drizzle grow heavier. While Tanuma shows interest in the ritual, and the people they meet are treating them somewhat cordially, Natsume is disconcerted by the arrangement they've found themselves in. He's surrounded by five women he's never met in his life, is once again in an unfamiliar place that feels weird in Nyanko-sensei's own words, and is thrown for a loop by everyone's enthusiasm with the idea of meeting youkai rather than being put off by them.

The group isn't even a minute into their summoning ritual when a huge boom of thunder shakes the room and causes a power outage, sending them into a brief stint of darkness until Hitomi relights the candle.

While waiting for the candle though, Natsume answers Tanuma's question by for once admitting that he's bothered by thunder, leading to Nyanko-sensei characteristically picking on his phobia by calling him a chicken.

Again, the moment is subtle and restricted to one corner of the page, but it sticks the landing. Instead of using the lightning or thunder as a sign of things to come as she's done before, Midorikawa uses them here as an integrant of an already somewhat concerning scene slowly veering towards being disturbing. In addition to selling just how uncomfortable of a situation this is for Natsume, it also depicts how far along he is in his friendship with Tanuma to be honest about an irrational fear we know he'd rather not speak of.

Alas, chapter 117 was our last time seeing thunder scare Natsume, at least until the next time Midorikawa chooses to use his fear to her advantage, unless the anime miraculously surprises us with its own original take as we've seen it isn't afraid to do. What we've been given so far though is plentiful in comparison to many other plot points or quirks that get reused or called back to far less than this one. I won't throw a tantrum if his never gets referenced to or utilized again (which I doubt will happen knowing Midorikawa's writing), but I eagerly anticipate seeing it again should it reappear.

It's captivating to watch this minor detail frequently make it's way back into the story somehow, to the point that it eventually cemented itself as a miniscule yet effective way of shedding different shades of light on the many complexities of Natsume.

[barrenclan]

How do you decide on motifs? Like sleep being associated with death, roses being associated with death? And how did you go about assigning each motif to a character (especially more character specific ones)? Like I get that Rainhaze was seen as a coyote in omens because of his association with Ranger, but why is Nightberry associated with visions, why is Cootstorm associated with never changing, conservative ideals?

Here's a good way to think about this: PATFW is not coming out of nowhere. Seems obvious, right? But every decision made is one that I had to intentionally choose, with a goal in mind for what I wanted to do with them. So I don't have real animals, or real people - I have certain stories in mind, and the characters are tools that I use to express these ideas. Let's take two examples brought up here, and I'll show you what I mean.

Asphodelpaw's death. For this story, I wanted to have a big, climatic moment that really jerks around the story, much in the same way that Shellspring's reveal did in TDS. I know that I want Rainhaze to be an exploration of a character who starts out good and turns complicated, and that I want him to not be redeemed. Okay, so how do I make sure Rainhaze is beyond redemption? He'd have to do something really awful, like killing someone important. The rest of the Clan wouldn't be as impactful if he killed them, so it should be one of his family members, and someone we really care about. Okay, who do I want him to kill? Pinepaw is my narrator, so if I want him to keep narrating, I can't kill him. I want Slugpelt to feel the consequences of this murder Rainhaze makes, and I want her to later confront him about it, so he can't kill her. I can't quite get into why I want Daffodilpaw to live yet, because of spoilers, but I have a certain message I want to create with Daffodilpaw, and she can't die as part of it. So Asphodelpaw is the only one left. Okay, why would it be impactful for her to die? Because she just came into herself, and apologized to Pinepaw, and is on track to grow into a better person. So it's extra tragic - and extra irredeemable - of Rainhaze to kill her. There you go, that's the reasoning behind Asphodelpaw's death.

The sleep/death motif. I have suffered from personal difficulties surrounding death, specifically involved with intrusive thoughts before I go to sleep. So those two ideas are very linked in my mind, and because PATFW is a darker story, I wanted to explore it. Okay, how do I work it into the story? Rainhaze is a character who's disappeared, presumed dead, by the time the story starts. Alright, maybe I can work it in there. I used it for the first time in Issue 4, contrasting between Rainhaze and Slugpelt's views on what happens after death. Alright, so now I have a thematic parallel between their characters and their views. Okay, how does this affect the future plot? As Rainhaze gets further involved with Defiance, his views on killing change, and that strengthens this association with sleep. So later, when Slugpelt kills him, I can bring this thematic parallel back around and make it really resonate, because I've built up the connection over the whole story. There you go, that's how you create a motif.

I hope you found this interesting. Often I find that a lot of writing advice is vague and nonspecific, so I tried to make my reasoning behind these things as clear as possible. From the outside, it may seem like absolutely anything can happen in a story, but from an internal perspective there are only so many ways to get to a point I want to make, so those decisions have to lead to each other if I want to create a natural thread.

[simplyluunaa]

˙⊹ ੈ✰[Stopping them from killing]✰ ੈ⊹˙

-ˏˋ. rules + masterlist ˊˎ-

Fandom: Danganronpa 

Characters: Gundham Tanaka, Nagito Komaeda, Teruteru Hanamura

Warnings: !!NOT SPOILER FREE!! This one especially has many many spoilers from SDR2. This one refers to Nagito’s plan in the first chapter, not the fifth

Tags: Mentions of death, plotting murders, kinda ambiguous ending?

A/N: This one has been marinating in my brain for a while, so I finally put it into words. Also, I apologize if posting has been a little slow or the posts haven’t been quality, I had some personal stuff going on but it’s all getting resolved, so I may start posting more frequently!!

˚₊·—̳͟͞͞♡⟢Gundham Tanaka

It had been two days in the funhouse when Gundham hatched his plan. He’d go to the final dead room, figure out the secret of the funhouse, and use his knowledge and perhaps a few weapons to fight Nekomaru, and one of them would be the sacrifice needed to free all the others

The two of you had been spending a lot of time together, both from him wanting to protect you and him wanting to spend his final days with you

He would be sad to leave you, but he would never forgive himself if he let everyone else idle around and die from starvation

You had been sleeping in your own room most nights, but for some reason, this night you had a feeling of dread you couldn’t shake

So, you head over to Gundham’s room, asking to spend the night with him

He knows his plan is ruined if he lets you, but he doesn’t have the heart to refuse you

So, he lets you stay with him

Cuddling in his bed, he starts to hatch a new plan

One that doesn’t involve him leaving you alone

⋆⁺｡˚⋆˙‧₊☽ ◯ ☾₊‧˙⋆˚｡⁺⋆

˚₊·—̳͟͞͞♡⟢Nagito Komaeda

Nagito had everything planned out perfectly

The knife was under the table, the AC and irons were set up, and the lamp

All he had to do was wait

Unfortunately, he didn’t plan on one thing

That was you

When the lights went out before he could lean down and follow the lamp cord, he grabbed onto him, spooked by the sudden blackout

He knew he couldn’t push you off, that would be suspicious, and that would make the trail far too easy

So, he stayed still

Obviously, this was a result of his luck, but he couldn’t tell if it was good or bad

On one hand, it could be seen as good, saving a life

On the other, it meant that hope wouldn’t be able to blossom

He had a lot to think about the next day

⋆⁺｡˚⋆˙‧₊☽ ◯ ☾₊‧˙⋆˚｡⁺⋆

˚₊·—̳͟͞͞♡⟢Teruteru Hanamura

He didn’t want to kill anyone

But he also didn’t want Nagito to kill anyone, and with Nagito having revealed his plan to kill someone during the party…Teruteru knew he had to do something

He felt as if he didn’t have a choice

He had to protect them from Nagito’s twisted plan

He had it all planned out, during the blackout he could go under the building, and stab Nagito when he tried to grab the knife

He was the only one in the kitchen, so it would be easy for him to slip away

At least, it would've been

Instead, halfway through the party, you came to the kitchen, deciding to keep him company

The plan slipped his mind at that moment, and he allowed you to sit and watch him do his thing

When the blackout hit, he realized

He couldn’t just leave, and if you did leave you would probably ask where he was going, or maybe ask to come with him…

He had to stay with you

When the lights came back on, an announcement played on the monitors, stating a body had been discovered

Rushing to the dining room, Teruteru’s worst fear was now a reality

Hajime Hinata, dead on the ground, a knife plunged into his chest

[writerthreads]

How to write a good plot twist

By Writerthreads on Instagram

I know plot twists have been a highly debated topic recently (ahem Disney twist villains), so I've decided to make a post on writing a strong plot twist that feels natural yet shocking. Hope this helps!

Make it unexpected but expectable

Unexpected: The best plot twists shock the reader, but they should never feel random or out of the blue. If the twist feels completely disconnected from everything that came before, it can seem like the author is forcing it for the shock value. To make it unexpected, you could lead characters down one path, only to reveal later that things are not as they seemed. However, try to avoid a twist that feels like a deus ex machina, where a sudden, unearned event resolves everything.

Inevitable: While the twist needs to be surprising, it also must feel like it was always meant to happen. This means leaving enough clues or subtle foreshadowing that when the twist is revealed, readers can look back and say, “ah, that makes sense.”

Keep characters consistent

Twists that involve characters acting out of character are incredibly frustrating. Even in a surprising twist, characters should behave aligned with their established personalities, motivations, and goals. A twist shouldn't have a character suddenly acting against everything the reader knows about them unless there’s a reason, like a hidden motive.

Think about your characters' desires, flaws, and inner conflicts, and use them to drive the twist. For example, a twist where a seemingly loyal friend betrays the protagonist should stem from a believable motivation that has been hinted at throughout the story.

Foreshadow, not broadcast

The best twists are hinted at, but subtly. Readers should be able to piece things together in hindsight, but not predict the twist well before it happens. It's easy to explain but hard to do successfully!

To make this work, use small, seemingly insignificant details that later take on new meaning. These could be lines of dialogue, symbolic objects, or minor events that have a deeper purpose. However, be careful not to overdo it. If the clues are too heavy, readers may guess the twist early.

Subvert expectations

A twist should challenge what readers believe about the story or characters. Playing with readers’ assumptions is a powerful tool. Lead them to expect one outcome, then deliver something entirely different, yet believable.

Consider what tropes or narrative expectations you’re working with, and how you can flip them. If readers expect a traditional happy ending, throw a wrench into it. If they’re expecting the villain to be defeated, reveal that the protagonist is actually aligned with them, or the villain wins (temporarily or permanently!).

Without spoilers, a good example would be Gone Girl!

Heighten the emotional impact

A plot twist should have emotional weight and alter the stakes of the story. The emotional response from your readers—whether it’s shock, sadness, or even excitement—depends on how well you’ve developed your characters and story. If the twist doesn’t change anything meaningful or deepen the conflict, it may feel flat or pointless. The twist should add emotional layers, making the story richer, not just surprising.

Time it right

When you deliver a twist is crucial to its impact. If it’s too late, you risk leaving too much time for the plot to lose momentum afterward. Conversely, if it's too early, and it can feel rushed or not fully explored.

A twist can come in the middle, shaking up the entire plot (e.g., changing who the villain is or shifting the main goal), or closer to the end, forcing the reader to reinterpret everything. However, leave time for the characters to respond to the twist so it doesn’t feel unresolved.

Don't overdo them

Too many twists in a single story can exhaust your readers and undermine the narrative. If your plot is constantly shifting directions with twist after twist, readers may feel like they can’t trust the narrative at all, which could work well if done purposefully, but otherwise might make the readers get tired and stop reading.

Test it out

Getting feedback from beta readers can help you fine-tune the twist and ensure it lands as you intend.

Some questions to ask: Did they see the twist coming? Did it feel believable? Did it enhance the story or feel forced?

Their reactions can help you adjust the twist until it becomes a masterpiece!

Hopefully these tips help you with your writing! Do you have a favourite plot twist in literature or movies/ TV shows? Let us know in the comments :)

[diamondcitydarlin]

----LOTS OF SPOILERS FOR THE FILM BELOW BE AWARE---

The thing that's driving me kinda CRAZY about the sequel though is how perfectly it sets up a personal arc for Lydia to be intertwined with Beej's. Like I said in my reaction post after seeing the film last night, I feel like Lydia as a character doesn't really get much of an arc or a resolution by the end of the story, as most of the plot is focused on repairing her relationship with her daughter, with Delia, maybe even her ex-husband to a certain extent, and for as much as she's rid of someone actually preying on her (Rory) we have no reason to believe she's found inner peace or really discovered herself or isn't still constantly popping pills to help with the 'gift' of sight she still has to deal with. There's so much about her left unresolved that Tim is either going to have to make another film about or I will have to fanfic about. But again, what's also fascinating is the way the beats of Lydia's story become tangled up with Beej's by the end of this, and also the ambiguous suggestion that there might be some kind of red string of fate linking them together across life and death and centuries (my kingdom for Beej saying "I've crossed oceans of time to find you" in a deep sexy Dracula voice and Lydia being like "plz shut the fuck up" LMAO)

Like, the 'psychic connection'. The thing that makes Lydia able to see and interact with Beej in places other than the house/model in Winter River. At first I think we're led to believe these are genuine hallucinations she's having, but ofc that's debunked when Beej reveals he's aware of these sightings and has been participating in them on purpose. Does this suggest that their first marriage may have been binding in some way that didn't release him from death, but allowed him more range to manifest so long as he was attached to her? That's not really addressed or explained, but I feel like it opens the possibility of being a thing (as so many fanfics have had happen before, I LOVE it tbh)

Also, the parallel of them both having had predatory exes that tricked them into 'selling their souls' (one in a figurative sense, the other literally lmao). I'm honestly shocked more conclusions weren't drawn from that conspicuous parallel in the film itself, because it's VERY interesting. It seems almost to suggest they're both meant to safeguard each other's souls (which is why I'm still bitter we didn't get Lydia defending him from Delores, I think that would've been a nice follow up to Beej saving her from Rory, even if she was just doing it out of a sense of obligation).

And idk, on the whole I feel a lot of Lydia's personal struggle at this point in her life is defined by a need to feel 'normal'. I get how that can seem odd coming from the teen girl that confidently described herself as 'strange and unusual', but this is 30 years later, after several failed relationships, after becoming a mom and struggling with a strained relationship with her daughter because of her oddity, idk, I think it's a good case study on how society forces women to conform lest they be a bad daughter or a bad mom or a bad wife, etc, but I think it's obvious she's just fighting her 'strange and unusual' nature and the more she does that, the more difficult her life will be.

To me, that suggests her path to happiness has actually a lot to do with Beej, or very well could. Who else is going to understand her true nature the way he does? Who else is going to unashamedly encourage her to be balls to the wall weirdo like she REALLY is??? Who else can truly set her free that way??? Like I'm gnawing on wires here yall, if nothing else Tim gave us SO much fanfic material to work with on this one.

[victoriadallonfan]

Not to claim Godzilla x Kong was a deep film, but credit where it’s due, it has by far the most respectful portrayal of indigenous people in all of the Kong films.

This is not a high bar and I’m NOT saying it’s the pinnacle of progressive film work, but it’s interesting nonetheless.

Spoilers below, of course.

For those of you who haven’t seen any of the older Kong films outside of the Monsterverse, the general plot beat is that a wealthy businessman/philanthropist/greedy asshole goes to Skull Island to find something new to make a lot of money (film for the OG/Peter Jackson and Oil for the 70’s film), and comes across a tribe of “barbarian” natives who kidnap the beautiful white woman whom they sacrifice to Kong, whom they worship.

It’s such a cliche that even Peter Jackson does it in his 2005 film (and it’s possibly even more racist than the older ones):

As you can see, there is a very familiar pattern

The Iwi tribe of the Monsterverse is handled very differently

In Kong: Skull Island, it actually does try to play into previous viewers perceptions; we meet the Iwi as the protags stumble upon their village ruins and are surrounded by. Tension is tight, and it looks like it’ll be a repeat of the previous films… until the character of Hank Marlow arrives and diffuses the tension entirely, revealing that the Iwi have been generous and caring hosts to him.

And yes, while they do worship Kong, it’s not out of fear, but rather that Kong protects them from the hazards of Skull Island. The Iwi are the ones who help the crew get a working ship and aid them in escaping the island.

This is followed up in Godzilla vs Kong, where we tragically learn that a massive tropical storm (I think implied to be due to King Ghidorah hurricanes) sank the entire island and left Jia as the sole survivor of her tribe, saved due to Kong protecting her from the rising floods.

Kong and Jia are then seen as a near inseparable duo, further twisting the “beauty and beast” dynamic of the previous films, making it more about how they are both alone except for each other. Kong even learns sign language from Jia in one of the best movie reveals of the series:

It’s even Jia who is able to give Kong the morale boost to save Godzilla from Mechagodzilla.

And then we get into Godzilla x Kong. Kong and Jia, while having a new home, still feel isolated because of their cultures (or lack thereof) and make excuses to see each other as much as possible. Which is turned on its head as Kong finds other Apes and the Iwi tribe have returned (or at least) an offshoot of them, as the protectors of humanity who calls Godzilla to their aid.

I was a bit wary of making them telepathic, but I liked that they used it more like a separate language than a superpower, with Jia serving as that bridge as she finds her culture, her adoptive mother accepts that Jia may want this life more than one back home (where she felt out of place), and Jia becoming ANOTHER bridge as she helps resurrect Mothra who goes onto make Godzilla and Kong form an alliance!

Ultimately, Jia parts ways with the Iwi on good terms to live with her adoptive mother, happy to know there are people of her culture she can visit and Kong lives on with his people.

But I especially appreciate a moment in the film that pretty much lampshades the older Kong movies.

One of the characters is filming himself and others as they venture into Hollow Earth, desperate to get his fame and fortune in making people realize he was a hero and not a conspiracy theorist (he was a spy for Apex Labs, the ones who built mechagodzilla in the first place). Another character is an animal doctor and naturalist, who points out that, historically, native populations don’t tend to do well when exposed to the modern world.

Add on to the fact that the Iwi are telepathic and know how to use crystals to alter gravity in Hollow Earth, they would absolutely be the target of government operations and experimentation. Aka, a far more grand version of what happens in the older Kong films.

The film ends with the footage not being used and the Iwi living in peace, having Mothra once more to protect them.

Like I said, it’s not groundbreaking stuff, but I appreciate how different it is.

[racefortheironthrone]

What did you think of X-Men Blue Origins?

(I may turn this into a People's History of the Marvel Universe later today, so keep an eye on this space.)

X-Men Blue: Origins and the Power of the Additive Retcon

(WARNING: heavy spoilers under the cut)

Introduction

If you've been a long-time X-Men reader, or you're a listener of Jay & Miles or Cerebrocast or any number of other LGBT+ X-Men podcasts, you probably know the story about how Chris Claremont wrote Mystique and Destiny as a lesbian couple, but had to use obscure verbiage and subtextual coding to get past Jim Shooter's blanket ban on LGBT+ characters in the Marvel Universe.

Likewise, you're probably also familiar with the story that, when Chris Claremont came up with the idea that Raven Darkholme and Kurt Wagner were related (a plot point set up all the way back in Uncanny X-Men #142), he intended that Mystique was Nightcrawler's father, having used her shapeshifting powers to take on a male body and impregnate (her one true love) Irene. This would have moved far beyond subtext - but it proved to be a bridge too far for Marvel editorial, and Claremont was never able to get it past S&P.

This lacuna in the backstories of Kurt and Raven - who was Kurt's father? - would remain one of the enduring mysteries of the X-Men mythos...and if there's one thing that comic writers like, it's filling in these gaps with a retcon.

Enter the Draco

Before I get into the most infamous story in all of X-Men history, I want to talk about retcons a bit. As I've written before:

"As long as there have been comic books, there have been retcons. For all that they have acquired a bad reputation, retcons can be an incredibly useful tool in comics writing and shouldn’t be dismissed out of hand. Done right, retcons can add an enormous amount of depth and breadth to a character, making their worlds far richer than they were before. Instead, I would argue that retcons should be judged on the basis of whether they’re additive (bringing something new to the character by showing us a previously unknown aspect of their lives we never knew existed before) or subtractive (taking away something from the character that had previously been an important part of their identity), and how well those changes suit the character."

For a good example of an additive retcon, I would point to Chris Claremont re-writing Magneto's entire personality by revealing that he was a Jewish survivor of the Holocaust. As I have argued at some length, this transformed Magneto from a Doctor Doom knockoff into a complex and sympathetic character who could now work as a villain, anti-villain, anti-hero, or hero depending on the needs of the story.

For a good example of a subtractive retcon, I would point to...the Draco. If you're not familiar with this story, the TLDR is that it was revealed that Kurt's father was Azazel - an evil ancient mutant with the same powers and the same appearance (albeit color-shifted) as Kurt, who claims to be the devil and is part of a tribe of demonic-looking mutants who were banished to the Brimstone Dimension, and who fathered Nightcrawler as part of a plot to end this banishment.

I don't want to belabor Chuck Austen, because I think that Connor Goldsmith is right about his run actually being a camp cult classic in retrospect. However, I think we both agree that the Draco was a misfire, because of how the retcon undermined Kurt's entire thematic purpose as established in Giant-Size X-Men that Nightcrawler was actually a noble and arguably saintly man who suffered from unjust prejudice due to the random accident that his mutation made him appear to be a demon, and because of how the retcon undermined the centrality of Mystique and Destiny's relationship.

X-Men Blue Origins

This brings us to the Krakoan era. In HOXPOX and X-Men and Inferno, Jonathan Hickman had made Mystique and Destiny a crucial part of the story in a way that they hadn't been in decades: they were the great nemeses of Moira X, they were the force that threatened to burn Krakoa to the ground by revealing the devil's bargain that Xavier had struck with Sinister (and Moira), they were the lens through which the potential futures of Krakoa were explored, and they ultimately reshaped the Quiet Council and the Five in incredibly consequential ways.

This throughline was furthered after Hickman's departure, with Kieron Gillen exploring the backstories of Mystique and Destiny in Immortal X-Men and Sins of Sinister, and both Gillen and Si Spurrier exploring their relationship with Nightcrawler in AXE Judgement Day, Sins of Sinister, Way of X, Legion of X, Nightcrawlers, and Sons of X. One of the threads that wove through the interconnected fabric of these books was an increasing closeness between Kurt and Irene that needed an explanation. Many long-time readers began to anticipate that a retcon about Kurt's parentage was coming - and then we got X-Men Blue: Origins.

In this one issue, Si Spurrier had the difficult assignment of figuring out a way to "fix" the Draco and restore Claremont's intended backstory in a way that was surgical and elegant, that served the character arcs of Kurt, Raven, and Irene, and that dealt with complicated issues of trans and nonbinary representation, lesbian representation, disability representation, and the protean nature of the mutant metaphor. Thanks to help from Charlie Jane Anders and Steve Foxe, I think Spurrier succeeded tremendously.

I don't want to go through the issue beat-by-beat, because you should all read it, but the major retcon is that Mystique turns out to be a near-Omega level shapeshifter, who can rewrite themselves on a molecular level. Raven transformed into a male body and impregnated Irene, using bits of Azazel and many other men's DNA as her "pigments." In addition to being a deeply felt desire on both their parts to have a family together, this was part of Irene's plan to save them both (and the entire world) from Azazel's schemes, a plan that required them to abandon Kurt as a scapegoat-savior (a la Robert Graves' King Jesus), and to have Xavier wipe both their memories.

Now, I'm not the right person to write about what this story means on a representational level; I'll leave it to my LGBT+ colleagues on the Cerebrocast discord and elsewhere to discuss the personal resonances the story had for them.

What I will say, however, is that I thought this issue threaded the needle of all of these competing imperatives very deftly. It "fixed" the Draco without completely negating it, it really deepened and complicated the characters and relationships of both Raven and Irene (by showing that, in a lot of ways, Destiny is the more ruthless and manipulative of the two), and it honored Kurt's core identity as a man of hope and compassion (even if it did put him in a rather thankless ingénue role for much of the book).

It is the very acme of an additive retcon; nothing was lost, everything was gained.

I still think the baby Nightcrawler is just a bad bit, but then again I don't really vibe with Spurrier's comedic stylings.

[soundlesswind]

Mononoke: Karakasa Review

Mononoke - Phantom in the Rain

Now that it's officially out globally, I can finally offer some thoughts and reflections on the long-awaited continuation of the cult-beloved Ayakashi/Mononoke series. My main tagline for this review can be summarized thusly:

I liked it...but it could have been better.

(~ not spoiler free, read at your own discretion ~)

Karakasa: Visually, it's a bang---structurally, it's a bomb. That about sums up how I feel about the movie overall. It's vibrant, beautiful, and full of intricate patterning and details, and is in a way: both a step up and a step down from the original.

...But what do I mean by that really? Well, I think we need to first highlight what makes Karakasa and Mononoke rather different.

Ayakashi/Mononoke has a much slower pacing, with slightly more muted, and washed-aesthetic tone despite its colourful designs. It shifts from being more colourful or more sombre depending on the type of scene it wants to depict. But even at its most saturated, it never gets quite as vibrant in contrast compared to Karakasa. ...However, you could say that may be in part due to the sheer difference in animation techniques developed over the course of nearly a decade between the two (2006/2007 vs 2024).

That isn't to say Karakasa doesn't have moments of dark imagery, but that even at its darkest, it remains distinctly vibrant and high-in-contrast. You could argue for it as a conscientious choice...but personally, at its root: Mononoke is a horror-ghost story; and the gritter, muddled palettes rather add to that charm.

(2007 Mononoke - Noppera-bou, and Nue)

(2024 Karakasa)

To match its mood, Mononoke also has a much slower cadence and story tempo, despite any singular arc being overall shorter than Karakasa. That cadence adds to another difference: which is spookiness. I find Mononoke to be far spookier and more effortlessly imposing than Karakasa. There's a bit of tension and suspense in the way it's presented: both visually and vocally* (a point I'll bring up later). Mononoke is sometimes boldly laid out in seemingly disjointed flashes, but still somehow ends up cohesive and immersive with its themes and motifs; feeding you just enough information to wet your appetite as to where and just how far it wants to take you. And this is of course, done in parts over the span of 2-3 episodes.

Karakasa on the other hand, has a pacing that feels like a marathon. It seems almost lightning fast, despite the first half of the movie being entirely sociopolitical intrigue without much in the way of anything overtly youkai-esque. In fact, our Medicine Seller doesn't even step foot into the Ooku (women's court) until around 40 minutes in...which is nearly half the movie! ...But naturally, since it's a movie, it will be movie-formatted. Everything is going to run as if it were one singular episode long. --- Still, what does that mean for the pacing?

If you don't know what "tea house tales" "is.....it's basically a format of short stories told over several sessions. It's one of the ways people in the historic East used to tell stories. They'd gather around somewhere, drink tea, eat snacks and share a bit of light entertainment. In the same way the episodic nature of Mononoke is somewhat reminiscent of that. Each part feeds you a bit of information, a bit of mystery, a bit of suspense, and a bit of action. It keeps you sufficiently entertained one way or another without stringing you on far too long before any sort of climactic reveal. In this way, Mononoke feels more balanced and evened out than Karakasa. But even the format aside, I found Karakasa a lot less clear and concise with what it's trying to portray. There were parts of the movie I had to re-watch a few times or sit down and think about afterwards just to fully understand what I think it was alluding to, which wasn't an issue with Mononoke whatsoever. The plot, both visually and thematically was always clear as day for the original series, where as Karakasa sort of muddles on and off between mystery and court drama over the course of an hour and a half.

Personally...I think one of the detriments to Karakasa is the sheer size of its cast. There were simply way too many characters (27+), and some of them even have overlapping roles. There were also quite a few without clear rhyme or reason. For example, we get introduced to Tenshi, Mizoragi and the moon twins, and an assortment of other characters who don't really have much of a presence in the movie (other than to to be positional seat warmers) and are shown for a collective total of a few minutes. Karakasa IS a trilogy however, so it's possible that their roles may be elaborated in future movies, but in regards to the current film, they feel like a distraction. I guess they're going grand and all out, but the benefits of a smaller cast is that you get more intimate with each character and their already very limited screentime. It just wasn't possible for me to feel any intimacy or investment into the large cast of Karakasa---Asa and Kame included.

Comparatively; I always felt truly, fully immersed in all the story arcs of the original Ayakashi/Mononoke. I cared about the characters, or was so invested in their sorrowful tale. But I didn't particularly feel that way about Karakasa because whatever message it was trying to convey kind of got lost in-between all the court drama...which, I'm not sure some viewers may even understand or empathize with unless they already have some knowledge of what women in the imperial harem go through or how it functions. (Speaking of which, Asa practically speed ran the exposition towards the end regarding Kitagawa and her own motives.) Just to name a few: there's the rank struggles of Asa and Kame versus the leaders of the Ooku; the political positions of Fuki, Botan and the other consorts, the political household ties of Saburomaru, the grip of Mizoragi's strange cult, and the (lack of) political power that Tenshi (the emperor) holds versus the Shogunate in the Capital (---I'm not entirely sure what timeline we're in right now, but the fact that there IS a Shogunate implies a lot.)

...Anyway, you can see why there are too many distractions in this movie for me to fully feel immersed in whatever it's trying to tell. It's supposed to be a movie of women's suffering (under the weight of men and the social sphere I suppose), but most of the time it felt more like I was just simply suffering watching women cat fight each other until they quickly got picked off by the Karakasa mononoke.

Speaking of the titular "Karakasa", though... it certainly was an interesting choice of youkai. I wonder if it was because traditionally, karakasa aren't violent youkai, they're merely scary tricksters; and it wasn't as if Kitagawa was really out for revenge (though she did pick off a few people).....actually, now that I've written it out that way, Kitagawa's motives are a little unclear. Or maybe it didn't matter anymore as karakasa grew to the point it became uncontrollable. Either way, I think if they had refocused the movie on Kitagawa and actually visually show the parallels between her, her "friend" and Asa/Kame...instead of giving us a verbal speedrun exposition dump towards the end...I might have felt a little more sympathy (...or just simply anything worth feeling towards the story). But alas.

It certainly didn't help that I was a little unsatisfied with some of the voice cast. For the most part, I was okay with the side cast (particularly the males, since the females hardly had lines); but felt it was a waste that Tsuda Kenjiro (Mizoragi) also hardly had any lines (...though I have a feeling he'll play a bigger role in the next movie). He was actually even one of my 3 ideal choices for Kusuriuri's recast (next to Ishida Akira and Toriumi Kousuke). I've said it before and I'll say it again, I love Kamiya Hiroshi, he is one of my favourites...but I think his role as Kusuriuri was a bit lackluster since his vocal range is medium-high and therefore does not go deep or husky enough to carry the same spook factor that Sakurai Takahiro's voice has. Karakasa also lacks the unique staccato often used in the original Mononoke which gave it an overall interesting sound and pace. I loved the odd vocal nuances and pauses in the previous work and was very sad that it's more or less nonexistent in Karakasa.

My second complaint would be with Asa and Kame's cast, which I felt might've benefited more from actresses with more interesting inflections. Kurosawa Tomoyo is an okay actress. She gets the job done but generally does better on long-running series since she takes a long time to fully have a grip on her role. Honestly, she was on auto-pilot and was quite boring throughout Karakasa. Aoi Yuuki on the other hand has a lot of vocal range, but generally suffers from inconsistency and just sounding like nails on a chalkboard. (I won't even mince it; my housemate walked in on me watching Karakasa on the telly and literally flinched at her voice because it severely hurt her eardrums---my condolences).

Generally speaking, I do prefer older seiyuus, they just have qualities I enjoy more, but I do also think the movie would've benefitted more from either a liveaction casting or a Showa casting. Most of the characters (in both Mononoke and Karakasa) kind of...oddly use modern speech instead of feudal Japanese (minus Utayama), and given that the Ooku IS a court drama, doesn't use court language or any regional dialects whatsoever (granted I'm not even sure if this is Kyoto, Edo, or wherever). Awashima and Mugitani do use formal language, but only Utayama uses slightly older diction. With the exception of a few notable names, most of the cast for Karakasa are from a generation of newer/younger voice actors, whereas Mononoke consists of an older one. You probably won't care unless you're a seiyuu buff, but there is actually a clear vocal distinction between those of different acting generations. For example: Sakurai, Kamiya, Ishida, Tsuda, Ogata, Hayashibara, etc...all have particular qualities to their voice that give it a layer of interest (ie. whispiness, huskiness, nasalness, etc). I don't know if it's caused by the difference in learned language or some other factor, but newer generations of voice actors tend to have more clear-toned voices with more modern inflections. Kurosawa and Aoi both have notably modern inflections when they act. You could say it's a battle of old versus new if we're going by story theme...but in which case, the rest of the cast could've been of an older generation to portray that. (But well, I'm glad they chose an older actress for Utayama, at least). The few exceptions to this are a small handful of modern actresses that are so astoundingly skilled they break that barrier. I kind of wished they had casted Hanazawa for Kame instead but she's already Kitagawa...but in which case, toss Sawashiro Miyuki in that role, I think she would've been a bit spookier. Hanazawa as Kame might've made her more endearing to me, but maybe they were going for the double-double: irritable voice and character combo, since Kame wasn't particularly written to be likeable. --- Kame does somewhat feel like a second generation Kayo (MAO), but I think MAO was still more serviceable to my ears. Anyway. I don't think I should hold up this review post any longer with my derailed rant on voice acting. It is what it is, and at the very least: we found out some lore bombshell that there are possibly at most 64 medicine sellers, and that Sakurai (Ri) Kusuriuri and Kamiya (Kon) Kusuriuri are different characters altogether (---a lot of fans rejoiced about that), making the possibility of two or more existing at one time. Wouldn't that be exciting to see?

Moving on to the music. In contrast to the trailers, the soundtrack in the movie sometimes feel like background white noise. It almost seems like a trend with newer anime, but nowadays, I hardly hear the tracks compared to older shows. Well, in Karakasa in particular, the movie is moving at such a jilted pace: most of the sounds you will hear is either dialogue or the occasional clinks and clangs. They don't really blast OSTs like they used to (...unlike Hollywood movies where I hear too much BGM). --- But following the odd quirks of Ayakashi: some of the vocal themes for Karakasa still are that weird mash of modern and traditional sounds with the occasional rapping. Particularly during the fight scene, there were some hardcore bass rap on cue. I'm not sure if I like or dislike it, but it is different. My favourite track is the Okami-esque flute theme used during the Birth Celebration Ceremony towards the end. But whether it's Mononoke or Karakasa, what stands out in both is not the score, but the sound effects which have always been the distinctive noise of the series.

The teased title for the next installment is "Ashes of Rage". I wonder what that could mean? We're left on a bunch of cliffhangers, such as why did Kusuriuri smile while looking at the clouds, what's the deal with the seal in the well, and what was Mizoragi doing in the cellar pouring water over what looked like an enclosed basin? Moreover, why on earth did they lore drop so much on the background of the medicine sellers...not in the movie but during the side interviews! The fact that they have a home base, or that the Shingi (alters) are different people... So do you mean to tell me, I still can dream of an Ishida Akira Kusuriuri!? There are at most 8 trigram Taima swords, and 2 of which are Sakurai and Kamiya's. Does that mean there's still room for another 6 Kusuriuris? That's so fruity!

If you made it this far, thank you for reading. I also I hope you watched the movie before perusing this given that it's so spoiler heavy. While it does seem like I had a lot of complaints, make no mistake: the movie was gorgeous. It was made with painstaking visual efforts and intricate architecture. Every stroke and splash is a work of art, making it one of the most visually interesting movie in a long time.

While it doesn't replace the old Mononoke in my heart, the Karakasa trilogy is a nice addition; something different and its own thing. A lot more action and a lot more abstract if you dig that sort of presentation.

Given that the trilogy isn't over, I have no doubt the rest of it will continue on with Kamiya's (Kon) Kusuriuri...but I do hope the series continues to keep receiving love so I can eventually have a whole Sentai Kamen rider group of Kusuriuris.

Until next time...~!

[oddballsducks]

Donald Duck "Mr. Adventurer" Comic Scanlation

First of all, I need to express my gratitude for Quackie @3rdexistence, who volunteered to help me when I sent out a request to give me photos of this comic. Not only did he buy the comic and send me photos of every page, but he also volunteered to scan and translate it into English! This is his first time doing a scanlation, and he did a great job. He even included some additional notes about the original German text. He didn't have to do this at all, and I'm so thankful he was this generous. You're fantastic, Quackie. Go give him some love! He also gave me permission to post this to my blog, so thank you for that!

This is a pretty recent comic -- it came out on May 10th, and I've been super excited to share it.

Now, what is this comic about?

Well, not to spoil anything... Actually I tagged the big surprise, but I'll try to keep it under the cut anyway.

The story is about Donald becoming upset after he discovers a new TV is stealing its plots from his and his nephews' adventures. Convinced the culprit is Uncle Scrooge, his mission to bring the plagiarizer to justice will take him to realizations he never could have expected...

Gladstone also joins in on the adventure, so that's fun!

Read it here:

Spoiler under the cut!

This comic reveals what happened to Hortense McDuck!!!

[thefandomenchantress]

Chapter 2 Episode 15 Spoilers below!

Since Ace being the culprit has brought about so much pain to ace lovers, including me, I figured I'd make a list of all the good things that him being the culprit brings to us. Even though Ace will (probably) be executed next episode, that doesn't mean that nothing good came out of this, right?

-Ace's backstory may be revealed much sooner than expected! Before we would've had to wait for chapter 3 or chapter 4 and so on, but since Ace will be gone soon, almost everything not revealed next episode will get told to us in a bonus episode! (I think every dead person gets one of those? Idk if that's officially confirmed). I doubt Teruko's gonna find, like, Ace's diary in chapter three detailing his life story, so if we're ever getting the Taylor Lore™, it'll be in a bonus episode! Plus, a bonus episode would come out a lot faster than the whole of chapter three, so more Ace content sooner no matter what happens in it! And there's always the chance he gets picked for an FTE, since dead people are on the list of options.

-Ace canonically has neat, fancy handwriting. Begone rumors of Ace having illegible, traditionally boy-ish handwriting, he actually writes like a 19th century scholar and I find this very funny. More evidence for my 'Ace likes reading and writing and wanted to become a romance author' crack theory, since he also reenforced his particularness about vocabulary in chapter 2 part 2. (Our only remaining question: Does Ace actually have terrible spelling ('responsibel'), or did he just think Eden would?)

-Ace is very good at being sneaky and often overhears things he shouldn't. I can't wait for this to be used as a plot device in numerous fics ("XANDER YOU'LL NEVER GUESS THE SHIT I JUST HEARD DAVID SAY ABOUT YOU WHEN HE THOUGHT HE WAS ALONE").

-Ace will have to be included in the dead (formerly a) trio posts forevermore. Get ready for Xander-Min-Arei-Ace shenanigans.

-Now that the cast has been forced to acknowledge that being dumb and angry aren't Ace's only traits and that he's just as human as the rest of them, Ace is much less likely to be seen as just those two things by the average viewer. Ace's popularity, or at least the amount of dislike towards him, seems to have shifted since the last episode, and I'm happy more people are able to enjoy what his character has to offer now. He's a cool little guy. I've literally NEVER seen the Ace Markey tag this busy before.

-We got so many cool Ace CGs guys. SO MANY. Including one where he's hanging upside down on the swing set and looks weirdly cute for someone in the middle of a murder plan.

-Also new sprites! The DRDTdev gave Ace a redesign knowing full-well that it would only get a singular chapter of use, and I massively respect that. We already got some new sprites in part 2 of chapter 2 so far, and I'm guessing next episode he'll probably have at least one more breakdown sprite before he dies.

-For someone who no one in the cast liked, he's definitely going to leave an impact. He's finally made at least some of the cast realize what happens when they ignore the issues right in front of them. Ace shouts about how everyone hates him and sees him as an insufferable idiot? Eh, probably nothing, we don't have to worry about that. Sure, multiple people told him he's gonna die next in here, and he almost got murdered, but that won't amount to anything. What's he gonna do, murder someone--WAIT SHIT Ace step away from the Arei I repeat step away from the Arei-- (plus Teruko parallels). I'll probably go more in-depth about this sort of thing in a different post.

-WE NEVER GOT TO SEE WHAT'S UNDER HIS GLOVES. Kyoko and Mukuro both had hand-related secrets that connected them to the plot later on, does that mean Ace will have some sort of relevance to the mastermind or overall lore later on? Like a Mai tattoo situation? (Or maybe it's another thing that may be alluded to or discussed in the bonus episode)(Or left to interpretation but I hope not because I have so many theories).

If you have any more suggestions for other good Ace-related things the culprit reveal brought us, let me know and I can add them to the list! We need as many good things as we can think of right now...

[lopposting]

The major question of the story that we are now asking:

Why, exactly, does Carlo never "wake up"?

[long post]

[Spoilers ahead]

Well, simply put - Because he is dead.

OK, that seems like too obvious an answer, but I'll elaborate, and bear with me here. I want to recap some elements first so you know where I'm coming from, but I'm also trying not to completely explain everything because that's way too hard and would be too long.

[Currently, we don't understand everything about the story or its meaning. Because of some of the shrouded nature of the lore and narrative, it leaves much mystery. But from viewing these questions and the story from a thematic standpoint, something unexpected and really cool happened. I found that the story and the lore opened up in reverse.]

The easiest way to explain the plot (in my opinion):

It was my impression that Geppetto never “started” the puppet frenzy. The puppets were NEVER breaking the grand covenant, interpretably they are protecting humans by stopping the spread of the petrification disease, it’s just that everyone in the city was infected by that point. 

Now with the puppets killing everybody in a city where everyone was infected (ergo being the result of the disease) Simon can go around harvesting all that ergo and Geppetto presumably plays him by letting Simon collect the Ergo first, and then sending P to kill him. [again, these details may not be completely accurate, but bear with me here]

Why create P in the first place?

He's made in Carlo's image so to speak because Geppetto hopes that Carlo's spirit will awaken. This is also why P is never bound to the covenant (it seems that not being bound to robot laws makes puppet egos awaken faster, since awakened puppets can break the grand covenant). So that is the two functions of P, to destroy puppets for ergo to harvest and so Carlo's consciousness can restore. I was just guessing that the arm of god was enough to get Carlo to revive, and Carlo's mental spirit reviving would be helpful but not entirely necessary. But for reasons we don't understand, Carlo never does regain consciousness.

Geppetto bitterly tells us that we don't seem to have inherited Carlo's memories. There is no big moment where Pinocchio or Pino or P reawakens, fully, as Carlo. He isn’t treated by the story as him. During the course of the game, P struggles to forge his own identity, to become a real boy, despite starting as a copy of the original. It’s a very fitting parable for the genre identity of a soulslike.

However, there are other successful re-incarnations of people through puppets, namely Sophia at the end of the Rise ending. We ask, for consistency's sake, why are puppet-form Romeo and puppet-form Sophia assumed to have retained their original identities, but not Pino? This is just my personal interpretation of why Carlo just couldn't or doesn't wake up. It isn't really based any lore or deduction from story details, this is from more of a philosophical point of view. And it isn't just the luck of the draw.

I had some initial thoughts about Carlo's failure. Romeo was made with intention of continuing to fight against the disease, as it's told that he "made a deal with the devil". Sophia may have been a special case, as she is a listener (Arlecchino even refers to her as the goddess in the tower), she may have had an ergo identity so strong that her essential self could retain this process. But either way, the implication is that Pino may have been able to recover her not long after that final fight. Look at the nameless puppet. The state of Carlo's body is so poor, that more than not his body seems to have been replaced with puppet parts. I think the implication was that Geppetto had been replacing parts as they rotted away. Maybe he had simply been dead for too long. But again, this isn't exactly why I think he couldn't awaken.

Simon and Geppetto

Lies has two main antagonists, although one isn't completely revealed until the last section. Both Simon and Geppetto are the perpetrators of Krat's destruction, but for what seems like different reasons. Simon is trying to be reborn, and Geppetto is trying to revive his dead son, Carlo. Interpretably, they are both trying to become Gods. Simon by grasping the supernatural, cosmic power of one, and Geppetto by raising the dead. They have destroyed Krat in their attempt to become a god, or more succinctly put, attempting to become God, singular. Geppetto's goal is, in essence, the same as Simon's goal - Because bringing back the dead would make him God.

That's why it seemed all so confusing. Haven't Geppetto and the alchemists already raised the dead, as Pino does at the end of the Rise ending with Sophia? Sophia, Romeo, and Carlo were all afflicted with the disease. Their Ergo were all made into puppets, but there's a minor but important distinction here. Sophia is still alive in her condition and actively suffering, this is the reason why she asks us to end her life. It seems as though Romeo lost his friend to the disease, and then made a "deal with the devil" to continue fighting, this implies being made into the king of puppets. We collected Sophia's ergo while she was alive, which we then used to animate the puppet. So the three of them were afflicted with the petrification disease. Sophia perished, Romeo perished, but Carlo died.

Now if we see the sand memories section of the beach, the stalker's words start to gain some clarity. If Carlo died from an incurable disease that the stalker couldn't prevent, why is she too late? Perhaps the goal was never to "save" Carlo's life. She laments; That she was too late, NOT to "save" him, but for him to be able to be restored. The stalker seemed to understand that whatever procedure needed to be done would be useless past the point of death.

I have to admit that there was something that I thought could override my theory. It seems as though the alchemists already were able to bring back both Champion Victor and The Eldest of the BRB, and from the dead no less. We read from notes in the Grand Exhibition that Victor had caught the disease, died to the despair of his adoring fans, but then miraculously made a comeback somehow stronger than ever. But maybe - he had only appeared to be brought back from the dead to the public, as Victor sought the help of the alchemists. And when it comes to the Eldest in the coffin, I'm wondering if he was actually only mortally wounded, leading the brotherhood to consult with the alchemists. [The way he was carried out by his brothers too (shouldered on either side) isn't typically the way you would expect people would handle a dead person]

Mirroring Sophia, Romeo, and Pinocchio, who were made into puppets: There is Champion Victor, The Eldest, and Nameless Puppet. We can see the former three as Geppetto's method of "cheating" God (cheating Death), and the latter three as alchemists' method. Only "Carlo" has a form in either one - The Nameless Puppet and the player, P. The Nameless puppet appears to share a similar undead quality with Victor and The Eldest of the BRB (including the tubes). We know that the collected Ergo can animate puppets, They are puppeting around their own dead bodies.

I feel like the Nameless Puppet tells us in a poetic way that Carlo is gone. My thoughts on this are more abstract. Again, this isn't from a factual analysis, but more of from viewing the Nameless Puppet itself as a metaphor. The Nameless puppet has qualities similar to the other undead bosses, yet the game doesn't describe it like it does Victor and the Eldest. It's not a body. It is a puppet [Human on the outside, mechanical on the inside - the inverse of our protagonist]. And straight in the text, we are told this is "The Nameless Puppet". But we know who Carlo was. His name was Carlo. We split open its head, and there are only cold, mechanical parts, instead of what we in the modern world now regard as the very most essential self (the brain). Because there was nothing to recover, there is no one there. Carlo's spirit had long, long since departed the world.

We are also told through one of the game's narrative devices that the Nameless puppet was the first puppet fitted with the organ. Ostensibly, Carlo's body was being prepared for whatever procedure that needed to take place, but Carlo died before that could happen (perhaps thankfully), and Geppetto pushed forward with his plans anyway, perhaps past the point of no return.

There are two forms of revival and we represent one of them, as in, there was the puppet form of Carlo and the undead form of Carlo. Presumably, the undead form was incredibly destructive, and thus stored away; We are the second try for Carlo's rebirth, this time in the puppet form, but we cannot even wake up without the aid of Sophia.

Lies, God, and the Finality of Death

But doesn't Geppetto actually succeed in one of the endings? Simon fails to become a god, (well, presumably only because we kill him in the process of doing so) and then we confront Geppetto. If we hand over our heart, Geppetto actually does revive Carlo. We see the resurrected Carlo, but with one simple smile we realize this isn't the Carlo the game has been leading us to believe existed. This ending leaves us with distrust and unease rather than a sense of peace and resolution. Simon fails to become a god, and at the bad ending - even if he "wins" - the game makes us wonder if So does Geppetto. No matter what, Carlo could NEVER be truly, and in both senses of the word, honestly, be revived.

[Simon Manus - like Simon Magus, the biblical figure who tries to buy into the supernatural power of God. And Geppetto, of course alluding to the 1883 italian novel The Adventures of Pinocchio - a puppet master, a creator indeed, but of wooden imitations of life, and a poor imitation of God]

So, why I think Carlo could not wake up? Because whatever needed to happen could not be done after the actual point of death, and Sophia and Romeo's hearts were both transferred before they actually died. His spirit had long gone from this world. Krat has methods of eternal life, but these transfers happened while they were still alive. While the alchemists and Geppetto could certainly cheat death (as we maybe even would with modern day medicine), they could not defeat it. Carlo can no longer wake up, Carlo can never wake up again, because he is dead.