#I mean... Can't argue with that!

[lilianade-comics]

Thinking about how Dani's episode is called Kindred Spirits, which implies that her unique narrative role is to mirror Danny and act as a foil to him, and then the episode is like "Here's some ✨superficial similarities✨. She is now going to leave the plot entirely and be 💖homeless💖"

[canisalbus]

For your gay little dogs

.

[utilitycaster]

I've been a pretty harsh critic of Dr. Friedman and Polygon's general Critical Role coverage in the past, and while I think her latest article for them critiquing Campaign 3 is a fairly good one, it does in many ways cast an even harsher light on her kid-gloves handling of D20 and WBN. However, I want to talk about these two excerpts, because I think she hits on something I've increasingly noticed in Actual Play:

"This is where Critical Role’s strength — that Exandria often feels like a real, complex world — collided with the needs of a D&D campaign (a clear adversary, clear plans of action, forward momentum)."

and

"But the confused way D&D handles religion and divinity — polytheism as imagined by midwestern American Protestants — turned the question of how to handle this particular cosmic horror into a glue trap, paralyzing the players for dozens of hours of circular existential debates. Gods once mechanized (or digestible) become just another power bloc, and for players used to a system where in the end you are ���basically gods,” the line gets blurrier still. And as D&D’s messy cosmology added friction to much of the campaign, D&D’s mechanics also don’t have the necessary friction for the interpersonal beats that make Critical Role compelling."

I agree with both these statements, as someone who, to be clear, enjoys D&D 5e. D&D supports a range of narratives, but all are ultimately a story of gaining power and fighting off or through a series of adversaries; if your characters are not doing that, it raises the question of why you picked a system that gives you few other options. (This is also, I should note, an increasingly loud question when it comes to Worlds Beyond Number; I fell behind for personal reasons after the Coven arc, but Brennan's initial statements about D&D as scaffolding were perhaps too true; almost every interesting mechanic, in a game with minimal combat that has thus far felt primarily focused on how the three protagonists have fundamentally different adversaries, has been homebrewed, to the point where the cosmology and baggage of D&D has felt like a liability rather than an asset).

D&D also has, in part due to such programs as D20, developed a reputation for being world-agnostic, and that ultimately isn't true. D&D does struggle to make the lines between "real divinity", an archfey or similarly powerful entity, and a L20 character feel sharply defined on a mechanical level; once you give a god a stat block, it can be killed (and on a metanarrative level, revealing the gods' statblocks in Downfall serves to make them both immense, yet also more fragile. The hit points are many, but still finite.) There are a number of questions most D&D worlds simply fail to address - and to be clear, this is not a flaw provided you have buy in. A level 2 warlock in D&D is, in most societies, an one-person lethal force unless the entire town swarms them at once, knowing that many of them will lose their lives in the effort; a level 2 warlock PC, however, is almost never, in-world, treated this way, and indeed is framed as an underdog in a harsh world despite usually having the ability to destroy the entire tavern.

D&D has also developed a (not undeserved) reputation as being The Dominant TTRPG put out by a massive corporation, and has developed a (not deserved) reputation as being itself uniquely problematic as a power fantasy, particularly by people who conveniently forget where Pathfinder came from. I've previously covered that, for all people demand non-D&D actual play, the viewership drops precipitously whenever a big AP show that made its name with D&D dares to branch out, and, related to that, I've seen an uptick in people who are excited for D&D to subvert itself. They wanted Campaign 3 to subvert these norms of divinity and heroic fantasy, cheered for it...and ultimately it was unable to do so. I don't think it's accurate to say that D&D's lack of interpersonal mechanics was the problem here, given that Campaigns 1 and 2 (and again, D20) have no such issue; but rather that since D&D's lack of interpersonal/RP mechanics require more effort from the players to initiate, the debates on the nature of divinity in a world and system that could not sustain them sapped any energy for the late-night watch conversations D&D can support when you're not fighting against it.

I think one of the many lessons we can learn from Critical Role Campaign 3 is that if you go up against D&D with an attempt to destroy it from within, your story will instead find itself conforming to the shape of its container, often to its detriment.

[bread-wizards]

I actually think Dorian and Orym should fight more.

Remember when their slowly building tension over and entire episode (full of passive aggressive remarks and blame throwing) led to threats? And how after, Orym thanked Dorian for handing over the crown sadly because he knew Dorian would be mad at him? And Dorian couldn't even look at him because he was legitimately hurt, thinking Orym was disappointed in him for doing what he thought was right? That was peak.

The fact they went from that to their current closeness and trust is the best part of their entire dynamic. Their relationship was hard fought and still will be. They will fight for it because they respect and care for one another deeply, and their disagreements don't change that, only improve it.

[cintasvel]

Why I think Andor S2 ultimately fails Vel as a character

What it says on the tin. Let's go.

Wait!! Quick disclaimer: I have nothing against Faye Marsay as an actress. She did a phenomenal job as Vel, and any and all criticisms are very much directed at the writing, and not Faye's characterization of what little she got. Give that woman an Emmy. In fact, give her two.

Ok, now let's go.

Two key aspects of Vel are established very quickly in the first season of Andor. The first: she's stepping into the role of a leader, determined and takes no shit. The second? She's in love with Cinta. it is only with Cinta that we see the real Vel, her fear, her love, come to light. In Aldhani, she's fierce and doesn't let how scared she actually is show until she's alone with Cinta. It is Cinta's presence that calms Vel to give the go-ahead. It is Cinta whom Vel mirrors, out of love and admiration for everything she represents.

It's compelling, then, as we move past the Aldhani arc, that we learn more about Vel and her reasons for doing all this. Vel's rebellion isn't just about the Empire. She's Mon Mothma's cousin, and through Mon, Leida, Perrin, and the show's depiction of Chandrilan society, we learn that Vel is considered an outsider. She's not married, has no interest in it, and is largely seen as a bit of a spinster. Perrin makes a comment that all the good ones are gone now at her age (Vel's age is never established, but I assume she's in her early 30s personally), which makes her unmarried self stick out like a sore thumb. Cinta later confirms this by saying Vel is 'a rich girl running away from her family'. Not only is she fighting for revolution, but also actively trying to keep far away from the heteronormative society that she's come from because it is stifling her! Not being able to be your true, authentic self is oppression. It's what makes Vel choosing the rebellion, choosing to fight instead of staying neutral and relying solely on her family's wealth, so interesting. And yes, being a gay woman is a vital part of her character. No, I don't care if Tony Gilroy says otherwise. I won't touch too much on that, but i recommend @chipthekeeper's great post about Vel + being a gay woman and its significance to her character.

Now, by the time Andor s2 kicks around, Vel isn't in too much of a different mindset from where we left off in s1. She's chosen the rebellion, and now has experience under her belt. Her introduction in s2 reminds us of two things: she's got her own personal rebellion to deal with (aka being a gay woman in the heteronormative society of Chandrila) and her and Cinta's relationship is on the rocks because Cinta puts duty above her. We see the effect of this on Vel, who is understandably heartbroken that she and Cinta are on two different wavelengths and has to deal with her niece being sold to fund the Rebellion she is part of, while also being there for her cousin, Mon Mothma. This takes a turn when Vel later sees Cinta taking away Tay Kolma, and the two share a look. Now, two things are essential to Vel here, but I'll focus on the most obvious: Vel's crash-out. After seeing Cinta, Vel looks out of the window (every Velcinta fan knows how important windows are for these two) and sighs. Everyone, except Mon, is joyful in comparison as they sip wine and toast this heteronormative union. Vel yearns to have her own happiness with Cinta. However, as we learned earlier, she isn't the only one yearning for this. Cinta looks back at Vel after she walks off. This is important to establish because it's vital to demonstrate that the two are mirrors of one another and that Cinta also wants to be with Vel. It also keeps on theme for the two: they rarely look at one another at the same time, which is heartbreaking in of itself. The lead-up to the events of their next episode together is obvious: the two want to be together, but Luthen, Kleya, and the mission are keeping them apart. Again, this isn't different from S1.

The two reunite on Ghorman and declare that ultimately, they are on this mission together because of each other. They no longer want to be part of Luthen's games, they both know that they don't matter to him in the long run, that they are only valuable to him when they are apart. But to them? The only thing that matters is one another. Now, as rushed as this arc was (I could have done with like, at least 3 more episodes with Cinta alone, just saying) it did give us a clear vision of their 'hope' for the season: the two of them together, fighting for their future and the Rebellion. This is Vel's (and Cinta's) ultimate goal; this is what she aims for.

Right. You all know what happens next. Cinta is killed via a stray bullet to paint the picture of another 'how senseless, how tragic' death, and also hammer home that the Ghormans are out of their depth. This is, despite already being established, like, a whole two episodes ago, but whatever; that's not the point. This is a particularly cruel death, because Vel gives a monologue that, while beautiful, seems to put the blame on not just Samm, but herself. She wanted Cinta on the mission. Cinta was only here because of her. Tony Gilroy wanted to give Vel baggage, and by god, this was the only way he saw how. Worse still, Gilroy has the gall to say he treated them the same as any other couple, but do either Cassian or Bix get killed or face any negative repercussions from killing Gorst? For daring to work together and be in love? Of course not. Only Vel, who dared to want and love Cinta, gets punished by the narrative.

Now we reach the heart of why Cinta's death, unfortunately, marks the beginning of the failure to tie up Vel's character in a way that, befitting the other endings of the characters in Andor S2, feels hopeful and, as such, feels like a failure to Vel as a whole.

After Cinta's death, Vel gets four scenes at most, and none of them are utilized in service to her character's development. The closest thing that actually does serve her in some way is her conversation with Bix, where Vel tells Bix that she's been grounded because she was becoming too reckless. Yet another moment of 'cool, I'd have liked to have seen this instead of it being inferred to.' Regardless, it establishes that Vel is going above and beyond in missions to the point it's borderline suicidal. But again!!! This is only momentary. Her following few scenes are to highlight Melshi (yes, the gun scene is very nice, and I can see the argument to it being a callback to Aldhani and the officer's reminder that if you're carrying a gun without regulation makes you a fucking idiot, but come on, it's to introduce Melshi), encourage Cassian to reunite with Bix, and remind Kleya that she's not alone, that she's got friends everywhere.

On the surface, all of these aforementioned scenes are good. I won't say I didn't enjoy Cassian and Vel toasting the people they lost; that was a great moment -- and I will never ever get over Faye Marsay's outstanding acting, from the throat tremble at hearing Cinta's name to the clear disdain in her eyes at the mention of Luthen. But it leads me back to what I said before: these scenes are in service to Kleya, Cassian, and Bix. To me, Vel felt like a megaphone to give off advice, and it hurt me because Vel shouldn't be a tool to be used. She's one of the main characters.

That said, I'm not too surprised Vel becomes underutilized after Cinta's death. Because Cinta's death is ultimately what leads to my main problem with Vel after s2e6. The problem with getting rid of Cinta for Vel's development is that, ultimately, it rends Vel's in two. The reason for this is that Vel and Cinta weren't just a couple. They were narratively built for each other. As I've previously established, Cinta is the ideal that Vel strives to live up to. Cinta is the hardened rebel, a survivor of genocide, someone whose entire society and culture have been stomped on and left behind by the Empire. She has nothing to her name but anger and her desire for revenge. She's in the Rebellion because there is no other choice for her. Vel, on the other hand, is a wealthy socialite with a family, something Cinta doesn't have. Vel joins the Rebellion because she cannot stand the injustice that the Empire brings. Vel chooses the Rebellion when many others in her position do not. While there are some CLEAR differences between Vel and Cinta, under the Rebellion? They are equals who challenged and bettered each other. Cinta was what Vel needed to see. But as it turns out, Vel was the reminder for Cinta that the fight means nothing if you've not got something to fight for.

Ironically, in making Cinta a tool to give Vel 'extra luggage', Andor S2 makes Vel less of a character and more of a weary operator pushing buttons to get 1) the plot going or 2) stick the knife in deeper to give more depth to Cassian and Bix's relationship, solely because by association she knows what it's like to be part of a 'right person, wrong time' relationship. Because yeah, let's have the lone queer in the Rebellion act like a suffering mediator of a heterosexual relationship. Masterful gambit, Mr Gilroy. It's not like we could have used that time for Vel to do literally anything else. It wouldn't have made Cinta's death any better, but I'd have at least liked to see Vel's grief play a significant part in her so-called arc. Instead, Vel becomes a passive character, and while I can see the argument that Cinta's death is the catalyst that forces Vel to mature and become a hardened warrior, stepping into Cinta's shadow and effectively becoming Cinta to keep her alive (yet another example of mirroring, btw) I ultimately find it contradictory to what Andor builds up about Vel.* Yes, Vel is fighting the Empire because she believes in what The Rebellion stands for, but it's also for a better tomorrow with Cinta. That's like, established in S1. So for Vel to be effectively punished for that feels like the weirdest condemnation ever. Oh Vel, you dared to love someone? Here's your reward: the tragedy of all tragedies. While other characters' arcs continue, Cinta's death puts a full stop to Vel's story. And I do mean Vel's story; I do not mean Kleya's, Mon's, or Cassian's. Vel's story. This essay is not about the future for Vel after the Andor S2 credits rolled; it is about what I'm being directly shown by the text. I am not interested in fanon interpretation of what happens with Vel afterwards.

*That's not even mentioning that I don't find it compelling for a white character to step into the shoes of the only queer WOC.

Anyway. This leads me to my conclusion on why Andor S2 fundamentally failed Vel. While Cassian walks off to his death, we get to see what the other main characters are doing by the end of S2. Kleya loses Luthen, but gets a sense of peace and fulfillment in knowing their hard work paid off with Yavin. Bix loses Cassian, but gets a baby to highlight the hope of fighting for the children of tomorrow (and you know I have opinions about that too). Wilmon gets domestic comfort with Dreena. Mon can be herself FULLY as the leader of the Rebellion, hopeful of a future where the empire is gone.

So, what's Vel's hopeful ending? Her commitment to the rebellion? The rebellion that she was already committed to even back in S1? That's Vel's ending? That's Vel's hope? Not the relationship she dreamed of with Cinta? I love Mon and Vel's relationship, and Vel reaching out to Kleya to show friendship is hopeful within itself, I acknowledge that. But again, particularly the latter, these moments are not about Vel. None of them represents Vel's own personal rebellion. Surely people realize how weirdly slanted that is towards your only alive queer character? Every other ending has a hopeful sheen to it except for Vel's. And I'm what, supposed to be happy that she's alive? Now don't get me wrong. I am! But Vel's arc being what, a lesson to always put the Rebellion first, to never want anything but the fight? That's the lesson you wish to teach those who care about Vel to take from her arc? It makes zero sense.

So, yes, Vel's arc of fighting for a better tomorrow with Cinta is crushed for no real reason, because Vel doesn't get the room to even grieve for Cinta afterward. Doesn't get the chance to even figure out who she is without Cinta before S2 ends. She ends up traumatized with grief and the future title of being the Last Survivor of Aldhani. And it just falls flat. It doesn't feel hopeful. It feels insulting. Oh, you've made the remaining queer character in your cast stuck with the most miserable ending out there?

This has never happened before. Ever!

[presidentofthelipglossclub]

one thing i wish for in pnf is baljeet having a desi friend group. he only started being friends with the main group after s1 began, they weren't close before. so who were his friends before? the desi kids he grew up around because his family is very clearly still involved with their traditional culture and that includes fostering close relationships! i refuse to believe he didn't have any friends because that's just not how desis work, the desi community in any given area is very much intertwined. at the very least he has a bunch of family friends/relatives who all get together very frequently at parties and whatnot. even if they aren't "proper" friends i know he has a desi peer group hidden away somewhere.

also you're telling me a kid THAT desi didn't have ANY desi friends? bullshit.

[front-facing-pokemon]

[puppetmaster13u]

I might've just had an utterly insane SIkuna idea. Since, y'know, Sukuna was in fact split into twenty pieces.

Can you imagine for a moment, if each piece went on to become another being of sort, only for all twenty to be yanked back when Yuuji eats that finger lol.

[floralovebot]

i know there are only like five of us but i feel like garth stans really don't talk enough about how left out he feels with the titans. dick and wally are Best Friends. donna and roy are on and off again. dick and donna are too much to explain. on average, roy is close with at least one of dick's siblings. dick donna and wally all go on to be in the new teen titans. garth isn't Close with any other titans but the originals

and it's this thing where,,, it's not his Fault yknow? he's not mean or spiteful or creepy or anything that would warrant them not liking him as much. he joins in on their jokes, he risks his life, he shares his feelings, he does everything that he knows friends do. but just the virtue of him being atlantean and them being land dwellers ruins everything. he Can't spend more time with them, he doesn't understand their culture, he will always choose atlantis.

they'll always be his friends but he can never truly be with them or form deeper bonds. he'll always be the last one to know what's going on, the last one they call, a complete shadow and afterthought.

and sure there's a part of him that knows this, that feels bitter and lonely. but he can't even be that mad at them because he does the same thing. the titans are never his first thought, he never calls them first, he doesn't reach out and ask if they're okay, they're always the last ones to know what happened to him. the titans are such a huge part of his life but they're barely in it.

there's just something so inherently lonely about garth that i feel most dc writers don't understand. they just don't get it. they don't get what it's like for this boy who was all alone, never had parents or a family, suddenly being taken in and having to act like he knows how to be a son, a friend, a partner. meeting kids his own age and wanting to bond with them so bad, having to watch as they all get closer to each other and leave him behind, not being able to do anything about it. never being taken seriously, always the last choice... garth man.....

[her-soliloquies]

Being mostly only part of the jayvik fandom (and partly caitvi) means I get to bask in their undeniable romantic relationship (ofc you can also see it as platonic, just don't insist that it's the only way to look at it) while others fight over how Silco and Vander's relationship is as brothers and they can't be shipped and whether Jinx and Ekko are straight or bi or whatever.

[dafpork]

very Dafpork to me

[epickiya722]

It's actually a very wild statement to say Midoriya never worked hard for anything. Like, are you talking about a different Izuku Midoriya we don't know about or...?

[wowitsverycool]

and if i said that deltarune actually does presently tackle escapism as a topic would you all hit me with sticks

[meep-meep-richie]

# they are so freakin married

[calamitoustide]

also i thought about accidentally de-aged james but rosestarkillerchaser and it made me laugh thinking about how barty and evan are not kid people at all and suddenly their boyfriend is like three and evan just talks to him like he's still seventeen and barty's like refusing to even be in the same room as him (and James goes up and kicks him as hard as he can in his three year old body) and reg becomes the person who actually has to take care of james or else it'll be chaos

[wavesoutbeingtossed]

The thing I love about "are you really gonna talk about timing in times like these?" is not just how it flows sonically, which is its own very Swiftian cadence that scratches a big itch in my brain, but how it really boils down this big existential argument into such a tight lyric.

Even without being explicit, you know that the narrator is talking about when they're going to... y'know... and how the subject keeps finding new ways to stall the conversation and the progression. You have one person who feels like, "What are we waiting for? There's never going to be a better time" and another who perhaps feels like maybe there will *never* be a better time. And therein lies the crux of the impasse at which they find themselves.

(How I Met Your Mother had its faults *ahem*, but this reminds me so much of the Ted-Robin Argentina argument from one of the early season finales iykwim.)

I just love when we get these little glimpses not only into Taylor's writing, but also like... the human experience in general. These big, complicated, heady arguments that are both pedestrian and life-changing in equal measure. How both parties see their side so clearly, but neither one fully seeing the other's in the same way.

Obviously there's a lot more to the song, but that one line is one I love so much for it, like how it just launches you into the middle of a scene but catches you up on everything in just a few words. (Very much like the opening line of You're Losing Me, for instance.) I love me some good storytelling!