#if only to justify elements of her design

[stil-lindigo]

ashes to ashes.

a short comic about the day Ash was born.

Ash's story

Red and Wolf's story

notes:

--

all my other comics

store

[youtube-fucker]

Yeah I think I'll just make a separate blog for this stuff now... but in the meantime!

Look! It's a kid! They're having fun! They have their tongue out! They're winking! They're being silly!

Surely nothing bad would happen to them, right?

...

You wouldn't hurt them, would you?

...

Would you?

Would you hurt them?

Are you sure you wouldn't?

W O U L D Y O U ?

W H Y ' D . . . Y O U . . . D O . . . I T . . . ?

Anyways! Credit to @howlonomy once again! I hope you enjoyed... whatever the fuck this is!

[light-the-spark-of-dawn]

"No metas in Gotham" is such a stupid trope/headcanon because it has literally nothing of value to offer beyond low effort jokes like "it's only applied to Superboy and the Green Lanterns because Batman thinks they're annoying!" And maybe those are funny for like five seconds but the moment that you play it straight, that's when all the problems begin.

Like first and foremost, it's straight up discrimination. Designating an entire group of people as Dangerous Undesirables? Enforcing a policy of forced exclusion even when they haven't actually done any harm? This is the kind of shit that you expect from X-Men villains that were made to be a heavy-handed metaphor for racism and xenophobia.

Second, what even is the definition of metahuman? DC kind of flip-flops on this. Sometimes it refers specifically to humans who have powers as a result of their DNA being different, like the mutants of Marvel. Sometimes, it also applies to aliens and Atlanteans and Amazons. Or anyone who can use magic regardless of whether that ability comes from their genetics. Or people who have learned techniques to enhance their bodies beyond what normal humans can achieve, or those who can wield advanced alien technology- which is especially bonkers since Bruce "I learned how to control my heartbeat from Tibetan monks and have used Green and Yellow Lantern rings" Wayne falls into both categories.

But even if we're not counting Bruce himself, it's still hypocritical as a policy because Duke Thomas aka The Signal exists and is canonically a metahuman, nebulous as the definition of that term may be. "But he's part of the Batfam-" So he gets a pass because he's "one of the good ones?" Is this really a road you want to go down? Especially when the Batfamily as a whole are being portrayed as the socioeconomic elite who control Gotham by force?

Third, what exactly is Batman hoping to achieve by enforcing a ban on metahumans that includes his fellow superheroes? i've seen some people try to justify it as "the presence of superpowered heroes will invite equally powerful villains." But Gotham already has metahuman villains. Killer Croc usually has enhanced strength, speed, and durability. There have been multiple Clayfaces with shapeshifting abilities. Ivy is basically an immortal plant elemental. And also not every supervillain is like Reverse Flash or Joker, who follow their respective heroes wherever they go in the hopes of tormenting them.

And to round it all off, there's no actual comic where the words "no metas in Gotham" have ever been said outright. The closest that canon Bruce ever gets to saying anything similar is an issue of 90s Superboy when he's telling Cass he doesn't want her around "his kind" while referring to Kon.

Which is certainly questionable wording at best, but hardly tantamount to a declaration that he's going to turn Gotham into a police state whose borders are permanently closed to all metahumans. Incidentally, there was a comic where this did happen, but it wasn't even Bruce who did it, it was Barbara in an Elseworlds AU

And I think it's important to point out that Babs' xenophobia and authoritarian control over Gotham is explicitly a Bad Thing fueled by her paranoia, and her character arc within the story is overcoming that character flaw.

To reiterate the thesis of this post, "no metas in Gotham" is a stupid trope that exists in the same category as "the contingency plans can take down anyone" or "the Justice League are shocked to learn that Batman has a secret family." It's a tired and overused joke that falls apart under even surface-level scrutiny and does nothing except mischaracterize Batman and his allies as the equivalent of superhero ICE.

[vyoleya]

hihi here's some more stuff of my complicated DR au!! here's a big ramble + a doodle of their designs

annd here's a more detailed + more dramatic version of them :)

okay.. huge ramble/lore dump under the cut. you have been warned

all parts of my au

1 | 2 | 3 | 4 | 5

in a desperate attempt to find his parents, arin ended up joining ras and becoming shattered. arin justified everything that he (and ras by extension) was doing all in service to reverse the merge. his last mission was supposed to be killing lloyd that way ras could become the new conduit, only for arin to discover what ras's true intentions were with his master. (which was nothing short of a celestial takeover.) arin never wanted to kill anyone, especially not lloyd, and feeling very ashamed of his actions, he purposefully attempted to rile lloyd up and give him clear openings for lloyd to kill him instead.

lloyd, not really wanting to kill arin & not taking the bait, kept trying to get him to come home. arin's whole plan backfired as arin got more and more desperate and riled up for lloyd to kill him, and ended up doing object shatterspin which killed lloyd .

in his last moments of consciousness, lloyd clung to the fleeting life inside of himself and (somewhat) merged with his element . due to being a conduit and having carried divine energy by not only the source dragons, but also the FSM, lloyd was able to sort of become a divine guardian . (ill talk more about him later but this is just a summary lol)

lloyd then used his power of life to protect arin, essentially making arin (very reluctantly) immortal. (the drawing of arin is what he looks like when he's close to death, as lloyd expends a lot of energy to keep him alive, and his 'guardian angel' wings become visible, and everyone can kinda feel lloyd's presence watching everything. hence the eye)

sora, after finding out that arin was responsible for killing lloyd, who she saw as a father, she began to believe that the arin she knew died once he became shattered. eventually, after many encounters where she'd beg for him to be 'good' again, she began to search for ways to kill him and free lloyd's spirit.

they both started wearing these wooden masks with painted moons on them, very much inspired by the whole 'the fool who let the moon go' post. arin started wearing his first after he first started getting serious injuries that weren't being healed very quickly. arin found that sora preferred him wearing it, bc then she didn't have to see her best friend's face in her enemy.

arin goes by the name 'z' whenever he can, based on the scar on his cheek that actually looks like the letter z in ninjargan! (he also does because he believes that going by arin is an insult to who he used to be.)

sora, with the help of jordana, ended up tracking down the reversal blade. because if she can reverse lloyd ever dying and arin becoming immortal, then with lloyd's conduit powers, they can stop ras's plans and Everything Will Be Okay Again!

she was planning on taking both herself and jordana to the past, but due to the merge being reversed sooner than planned, sora didn't have time to take jordana with her, leaving her behind.

after… a lot of nonsense on z's end (like the world ending, but him being the sole survival due to lloyd's energy… yikes) (oh and also him recreating the merge despite everything thanks to lloyds conduit-ness + the oni and dragon in him) and he also ends up in the past. now both sora and z are wandering around in the past trying to stop the world from ending :)

(to make it more dramatic, neither of them knows that the other survived. it's a very big jumpscare when they run into eachother.)

anyway. i may draw them more + post drabbles about them on ao3! so .... consider this your backstory guide to my overly complicated au . if you read this far then congrats !! (because yes, this is just the backstory)

(also if anyone has any questions feel free to ask .. . it'd be fun to answer them)

doodles and jokes here !

[imsobadatnicknames2]

hi so ive been interested in designing my own ttrpg lately, and a big part of that is simply becoming familiar with extant ttrpgs and their genres. so i come to you to ask for good introductions (not necessarily to play, but to read) to the dungeon crawling genre. like, ones which sort of make clear what exactly dungeon crawling is, and what the appeal of it is.

Ok well! This is an interesting ask!

Before I make any recommendation, I'll just say that in my personal opinion, a good dungeon-crawler includes all or most of the following elements:

Emphasis on resource management, the PCs' resources should be always dwindling in a way that makes the choice to retreat vs. push forward a meaningful one

Emphasis on attention to detail and environment interaction, as well as resourceful and creative usage of the tools at the PCs' disposal to overcome challenges with no predefined solution.

Mechanics that disincentive combat as the default outcome of every encounter (such as high lethality, no guarantee of "balanced" encounters, significant time and/or resource investment required to recover from damage taken during a fight, etc.) The decision to engage in combat should not be the default assumption whenever a creature is encountered, it should be one that always carries significant risks and potential consequences, ideally incentivizing players to find creative or resourceful ways to bypass combat situations through stealth, deception, parlay, fleeing, etc., and only engage in it when they think exposing themselves to those consequences is justified or the only option (or when they've found an ingenious way to tip the scales in their favor).

A reward structure that encourages players to explore and interact with the environment, such as the classic Gold For XP rule that encourages players to search every nook and cranny for any bit of hidden treasure.

Systems that encourage an open-ended structure with no pre-defined GM-authored narrative.

That's just my opinion though. I think that a bit essential reading for your purposes would be any of the D&D editions from when the main focus of the game was still dungeon-crawling rather than grand epic high fantasy adventures. I recommend reading the Basic booklet from the 1981 Basic/Expert set, which is probably the D&D edition that has had the most explicit influence over the modern dungeon-crawling revival (B/X retroclones are basically their own entire subgenre of the OSR). Old-school D&D is just a good starting point to understand a lot of the basic elements and base assumptions that later dungeon-crawlers are, in some way or another, in conversation with. But like. D&D's legacy looms so large here that this recommendation was probably already a given.

While it isn't a game, but rather a primer formatted as a collection of Player and GM principles, I would also say that the Principia Apocrypha is also pretty much required reading, as it's IMO the clearest distillation of the play culture that modern OSR and OSR-adjacent dungeon-crawlers are try to incentivize.

I think it's also an example of something I find interesting about the OSR and its associated play culture: as @thydungeongal (I think it was her, at least) put it once, as much as the OSR community claims to be getting back to the roots of the hobby, much of its play culture is actually an exercise in historical revisionism. The play culture espoused by the OSR community isn't really a faithful recreation of the play culture that actually existed around dungeon games back in the day, but more like. an attempt to reverse-engineer a play culture that's actually compatible with the mechanics and assumptions of old-school dungeon games. And I think the Principia Apocrypha is a wonderful and clear distillation of this reverse-engineered play culture.

As for my actual recommendations now:

Mausritter by Isaac Williams, I know I'm always recommending Mausritter every time I get the chance but like. I don't only recommend it because it's my favorite game, but because it's extremely approachable regardless of your previous level of familiarity with tabletop rpgs (probably one of the best possible introductory games to the hobby) AND it does a lot of stuff that is relevant here.

First of all, despite the fact that it doesn't explicitly refer to its adventure locations as "dungeons" or use the term "dungeon-crawling" or related, it *is* very much a dungeon game, and explicitly spells out the gameplay loop and setting assumptions of dungeon games: the world is dangerous, settlements are small, rare, and usually their stability is threatened in some way, and you play as one of the few people who are willing to brave the dangerous outside world to find riches to bring back to the safety of a settlement (it's trivially easy to point out the ways in which this setup has the potential for a lot of #unsavory ideological implications, but it *is* the standar dungeon game setup and it *does* make for a compelling gameplay loop). It also explicitly spells out a lot of the principles that support my ideas for what makes a good dungeon crawler. For example, I like how it explicitly encourages players to be resourceful by straight-up telling them that relying on dice-rolls is dangerous, that dice rolls can be avoided with preparation and resourcefulness, as actions that you attempt with a good plan or the right tools automatically succeed without a roll, and thus the most optimal way to play is one where you minimize or completely eliminate the necessity to roll dice through clever planning and use of the tools at your disposal.

I also really like how it leans into the resource management aspect by tying so many of its mechanics to inventory management. Like. Its cars-based physical inventory is cute and distinctive and intuitive:

But it also clearly has to exist because shuffling items around in your inventory is such a load-bearing mechanic for many of its systems. Like, inventory is extremely limited (you have two paw slots, two body slots, and six slots in your backpack, that's all the items you can carry, and being completely encumbered gives you disadvantage on every roll), which of course limits the tools and resources you can bring into a dungeon, but also:

The only source of XP in the game is treasure: the XP you get is equal to the value in pips (the mouse kingdoms' standard currency) of any treasure that you bring back from a dungeon to a settlement. This means you need to balance making sure you bring any gear you'll need with making sure you leave yourself enough free inventory space to be able to carry any treasure you find.

Negative conditions take up an inventory slot each, which makes them especially dangerous and hard to ignore, as getting hit with a negative condition might mean having to leave some of your items or treasure behind.

Spells are physical items in your inventory, and you need to be holding them in your paw in order to cast them. This means that not only the space you dedicate to spells in your inventory is an important choice, but also WHERE you put them in your inventory (items in your body slots are assumed to be strapped to your upper body and may be freely swapped to your hands at any point, but items in your pack slots require an action to retrieve).

A common argument against the kind of resource management centered in this type of dungeon-crawling gameplay is that inventory management is boring and tedious, but Mausritter shows how much well-exevuted inventory management adds to this gameplay style. It not only makes keeping track of inventory fun and effortless, but also explicitly turns it into an extremely engaging source of tension and challenge by tying it to as many of its systems as possible.

There's a lot else I could say about Mausritter (like how much I like its damage system, which is very effective at having longer-term consequences for getting hurt in co.bat beyond HP loss without being too very punishing, how much I like the faction system, how good its GM toolkit is, etc.) but let's move on.

Dungeon Crawl Classics by Goodman Games is a game I kinda slept on for a long while, because as far as I knew it was mostly an AD&D clone with an admittedly cool artste that evokes the more pulpy illustrations of 80's D&D with a bit of a grimier feel to it. But after checking it out, it's a very unique game that leans very hard on the strange, chaotic, pulpy gonzo side of dungeon-crawling. The most distinctive feature of DCC is its heavy use of an absurd amount of random tables. While this can be a bit cumbersome to be quite honest, the randomness inherent to the system and the sheer number of strange and absurd table results do a phenomenal job of Putting The PCs in A Situation™ in a way that requires them to be constantly on their toes. It's just a lot of (extremely chaotic, extremely lethal) fun, as the players can never know what to expect and they can easily be thrown into disarray at a moment's notice and have to think on their feet. Definitely not for everyone but it's very interesting nonetheless.

DCC is also responsible for creating the concept of the level 0 funnel adventure (or at the very least popularizing, not sure if any other game did it before but DCC definitely was the game that brought attention to it): the game starts with a big group of level 0 characters, with the understanding that their first adventure will serve as a meatgrinder in which most of them will inevitably die (which is why each player starts off controlling up to 4 characters). Only the ones that survive their first adventure get to advance to level 1 and pick a character class to become full-fledged adventurers. Starting off controlling several characters with the assumption that most of them will not survive long into their first adventure is an extremely heavy-handed but very effective way of establishing the tone of high lethality I mentioned before, which is an essential tool for forcing players to find ways to deal with encounters other than immediately charging into combat.

Knave 2e by Ben Milton is a pretty solid D&D-adjacent dungeon crawler with enough cool features to mechanically stand apart as its own thing (such as the fact that the system is designed to effortlessly convert any GM-facing roll into a player-facing roll if desired, and some relatively unique character generation procedures) while still preserving compatibility with most D&D adventures, which is really cool. It has very clear and streamlined procedures for dungeon and wilderness exploration, it makes extensive use of tons of random tables for nearly everything you might need to generate on the fly (although not to the same degree as DCC, nor anywhere near as chaotic), it's a very cool implementation of a classless system where PCs are mostly defined by their inventory, and a lot of other good stuff. However, none of these are the reason I bring it up. The reasons I recommend it for your purposes here are:

1) Its magic system is really emblematic of what I said about emphasizing resourcefulness and creative use of your resources. Knave has a pretty sizable spell list (as well as tables for randomly generating even more spells), but if you start with a spell, you have no control over what spell it is, and. more importantly: Knave 2e doesn't have any spells explicitly meant for combat. There aren't any spells in the game that have the effect of directly causing damage to a creature. This, along with the fact that the spell(s) you start with are random, means that players are incentivized to apply their spells creatively, both in and out of combat. Because the thing is: magic *does* have the potential to be used for combat, but doing so requires a great deal of creative lateral thinking on how to apply it.

And, most importantly, 2) Knave is a game that's very upfront and explicit about what its best practices and design goals are. Not only does it have clearly spelled out GM and Player principles that are very clear about its intended playstyle and what is expected of GMs and players in order to have the intended experience, but the last section of the book also features designer's commentary about pretty much every mechanic and feature of the game, explaining what its purpose is, why it works the way it does, and what its influences and inspirations are, which I think is particularly useful for your case.

Shadowdark by Kelsey Dionne is one that I don't have as much to say about. It's a game built on the skeleton of 5e but massively stripped down and trying to replicate the spirit and gameplay style of old-school dungeon-crawlers. For the most part it's a solid but pretty standard "old-school style game but with modern quality-of-life improvements", but what I find remarkable about it is how it emphasizes an aspect of dungeon-crawling that's often overlook or handwaved: light and dark. Not only can characters not see in the dark, but also being in the dark gives disadvantage on every roll, which makes it appropriately dangerous and oppressive. But the most unique thing about it is the fact that light sources run on a real-time one-hour timer, and the book encourages the GM to constantly threaten the party's light source with environmental effects and whatnot, which makes darkness a much more pressing danger, It also incorporates an optional DCC-style funnel adventure mode, as well as a ton of optional game modes which modify certain rules (such as shorter light source timers and a ton of other stuff), which is pretty neat.

This one's probably the most different out of the bunch I'm going to mention, but... Dungeon Bitches by @cavegirlpoems is a very interesting example of taking the core conceits of the premise of a dungeon-crawler and using them to produce a queer narrative about trauma, centering queer women (especially trans women). In terms of mechanics it's very different from all the other ones i've mentioned because it's a Powered By the Apocalypse game, but it still goes out of its way to incorporate a lot of the principles of OSR play, just on a different mechanical chassis. In terms of its queer themes, Dungeon Bitches is a game that asks the question "what kind of person would actually end up having to do this for a living?" and concludes that the kind of people who would end up gravitating to dungeon-crawling as a career would be the most marginalized, the people who have no place for them in polite society. As explained on the original post from 2020 on cavegirl's blogspot:

Here's the pitch. A faux-medieval gritty fantasy setting with all your standard crap hetero-patriarchal assumptions. Political marriages, dowries, etc etc. Not the best society to be a queer girl in. Luckily, if the thought of getting married off and having to pretend like you're happy with that is too much for you, there are two options.

-You can run away and join a nunnery. This is slightly more socially acceptable, much less likely to get you killed, but will also result in living a life defined by limitations and restrictions.

-You can run away, join a band of similar (heavily armed) bitches, and make a living as mercenaries, tomb-robbers and adventurers. This is far less socially acceptable, and far more dangerous, but you might get rich, fall in love, and be able to wreak terrible vengeance on the society that wronged you.

So... yeah. It's an excellent game imo and one that leverages and recontextualizes the core assumptions of the genre for a very different purpose in a really cool way.

Lastly, for a game that boils dungeon crawling almost completely down to its bare essentials, check out bastards. by Micah Anderson. It has a lot of the elements of a lot of the games I mentioned above, but distilled down to their bare essence both in terms of mechanics and in terms of how they're described, at the cost of presuming a high level of prior familiarity with the ttrpgs and the assumptions of the dungeon-crawler genre. I just like how stylish it is and how flavorful it manages to be with so little.

Some other games that I think you should check out but I can't really write about here, either because the cool stuff they do is similar to games I already mentioned but executed in a different way, because I don't have that much interesting commentary about them, or because I haven't read them myself and my awareness of their cool features is all secondhand so I can't rlly vouch for it:

DURF by Emiel Boven

.dungeon by Snow

Songbirds 3e by Snow

The Black Hack by David Black

Torchbearer by Thor Olavsurd and Luke Crane

Troika by the Melsonian Arts Council

Tunnel Goons by Higland Paranormal Society

Cairn by Yochai Gal

a dungeon game by Chris Bisette

[loz-furbies]

Zelda ages based on when their games came out. Welcome to the team EoW Zelda!

Characters and design thoughts under cut:

For starters, I did a similar Zelda piece a few years ago and ran into the problem that I can't really draw anything else than anime teen girls, which is kind of a problem in a drawing where half the characters are above 20 and their age differences are the whole point. And in addition almost everyone is supposed to be royalty with very similar clothes too. But in my defense, in general it can be pretty hard to tell the ages of 25 to 40 year old anime women anyway.

I needed a reference for the body proportions in order to even get started, so I quickly thought "who is an anime woman who doesn't look like a teenager", and used Yor's character sheet for assistance. The younger characters' proportions are a little inconsistent, since I couldn't choose if I would look at realistic growth chart or go with the anime look (where teens and children are often shorter than they would be in real life) so the result is this weird hybrid.

Four Swords (December 2, 2022) & Four Swords Adventures (March 18, 2004) - Chronologically they are different Zeldas even though they use the same promo art/character design, so I used the promo art design for the original FS Zelda and drew the FSA Zelda based on her sprite. There's not much to these designs, they have very little going on in terms of story or personality to use as inspiration and their character design doesn't offer much anything original when compared to the other more well known Zeldas either. Their only distinct element is the big red hair bow, but I thought it would look too childish when they're supposed to be in their twenties here.

Minish Cap (November 4, 2004) - There's not a lot MC Zelda that I could use for inspiration. But then I remembered that a while ago I wrote about how the pointy hat Queen Ambi wears should be used more often, so I thought I should put my money where my mouth is and draw it here, since Zelda does wear a red cap for a couple seconds in MC. In general the MC Zelda and both FS Zeldas are at a little awkward age for this picture, since they're too old for youthful child designs but not really old enough for more mature queenly designs either.

Skyward Sword (November 18, 2011) - Her design is based on her concept design, which I assume is meant to be her casual look and not the ceremonial costume she wears in the game.

Ocarina of Time (November 21, 1998) - I decided that age-wise she makes the cut of when I start using updos. Why do the Zeldas have such similar canon hairstyles anyway, it was surprisingly boring to work with them. Still not sure about the curls though, my fancy dress design artbook that I used for inspiration had so many cute curly hairstyles but I couldn't really use any here because I worried the characters would become unrecognisable. But since OoT Zelda had some curls in her "sideburns" she fell victim here.

Hyrule Warriors (August 14, 2014) - HW Zelda has a distinct enough design from the other Zeldas that it gives a lot of elements to work with, though her age here limits it a little since she's too young for bikini armour. Also because HW is a spin off, I also considered including the Cadence of Hyrule Zelda, but that led to the realisation that it would have opened the doors to CDI Zelda as well. Which I guess would have been fine, but this is already a pretty wide drawing full of adults, so while a Cadence of Hyrule Zelda would have been easy to fit on the front row, I couldn't justify adding even more adults just for the CDI games. So only HW is included because I've played it and actually like it.

Zelda 1 (February 21, 1986) - The original Zelda is at an age where it's a little awkward how there's little difference between her (38 years old) and OoT Zelda (25). But I couldn't think of any anime that would help me as reference here, and I don't think she's old enough to have that "this character is getting old" wrinkle under her eye (you know the one).

Echoes of Wisdom (September 26, 2024) - I think she looks a bit too old here to be a zero-days-old newborn but work with me here.

Breath of the Wild (March 3, 2017) - She's actually at the age where her mum died, poor girl. She's very refreshing to work with since her look is so different from the other Zeldas.

A Link to the Past (November 21, 1991) & A Link between Worlds (November 22, 2013) - Originally I also had the Oracles Zelda in this since she does have a unique design, but then again I consider the Oracles Link to be the same as in aLttP which ought to apply to Zelda as well, plus the design isn't unique in any interesting way and is just a combination of the OoT & aLttP designs, so in the end I just gave the Oracles Zelda sprite's hair buns to aLbW Zelda. Overall having to use the essentially same design for both aLttP and aLbW Zelda wasn't much fun, especially when neither really offers anything notable in terms of story or personality, but at least they're pretty far apart when it comes to age.

Twilight Princess (November 19, 2006) - I haven't played her game so I don't know a lot about her (other than reading the manga which didn't give me anything to work with either) and she's also close to her canon age (?) here so she ended up looking pretty similar to her canon design.

Spirit Tracks (December 7, 2009) - This was a tough one because technically ST Zelda does have a lot of elements to her story and character that could work for a redesign, but not really for the purposes of this picture. Anything train related is more of Link's thing, and anything ghost related doesn't really fit either since she's not supposed to be a ghost at this age. And as for the Phantom, I got the impression that while she learned to appreciate it, she didn't exactly like using it, and that personality-wise she would prefer not to go on another similar adventure. So In the end I just replaced the regular armour parts many Zeldas have in their designs with the Phantom armour and used the ghost palette for the rest of her look, and I kind of like the result. Her personality looks a little out of character though but I couldn't resist the opportunity to draw this with Grandma Tetra.

Wind Waker (December 13, 2002) - I haven't played WW so I'm not sure how accurate this is, but drawing her with the pirate design definitely added some much needed variety to this picture. I really like her twirly hairstyle in canon, but I also really wanted to draw her with short hair, so it had to go. Maybe ST Zelda can style her hair in a twirl when she gets older to compensate?

The Adventure of Link (January 14, 1987) - Really don't know what happened here, not particularly happy with the end result. I prefer to draw the Zelda 2 Zelda with her sprite design because just reusing the OG Zelda design is boring, but I really should have kept it closer to that since now she's practically unrecognisable.

[sha-brytols]

what do they do with mythal in datv that makes her a very very bad fucking case of misogyny?

aside from completely dropping her whole divine retribution plotline that's been hinted at for like 3 games (and tbh i could accept that as like. just a symptom of the other plotlines that were dropped due to the dev cycle) which many many maaaany people view as a significant whitewashing of her character to soften her for her new role in the story a la fiona.

the way she was used as a prop to take all of the blame of solas' actions off him and then proceeding to coyly hint at a maybe maybe-not relationship with him was. look when you're writing a super popular male romance option, you know how fandom is going to receive outside """competition""" and nothing will eeeeever convince me that wasn't a deliberate choice on bioware's part. she's both a convenient scapegoat to preserve solas' moral purity for his fans, and also the designated 'bitchy ex girlfriend', but ALSO not really ^_^ their relationship is ambiguous and based the ancient elvhen social norm where love was a freeform thing that didn't adhere to the same boundaries we understand today. no need to feel threatened! he didn't actually love her like he loves you

all of these as like. individual elements on their own aren't inherently bad or necessarily even misogynistic in their execution, but the more you stack together the less coincidental it seems to become. and this is after the popularity of baldurs gate 3 where there's this HUGE culture of misogyny and vitriol towards mystra that people feel vindicated in because of her unhealthy relationship with the popular male love interest gale. it just doesn't at all feel like they just Happened to hit every single point that people want from a female character to hate in order to justify a male character's bad choices, especially when almost every single one of her character traits have been altered from what we previously understood about her and how her motivations were presented. to me it was very clearly a very lazy attempt to appease solavellans by playing on fandom misogyny so they feel less bad about the weird shift in his characterization and his relationship to the inquisitor. i also go into more about this here if you're curious

and i could be paranoid about the above just out of a general cynicism from fandom culture in general. but then there's also the way they softened her by downplaying the justice angle of her god persona in favor of making her represent "benevolence" instead. it not only does not line up at all with 1) how we understand her character from previous games, 2) how she is interpreted by the dalish in their tales (yes the dalish were wrong about many things, but from a doylist perspective we know that the purpose of these stories is to establish a vague underlying framework of who these gods might have been and what their roles were. it's an extremely clumsy retcon) and 3) it doesn't even line up with her brand new characterization in the game itself. it just seems like a very sloppy attempt to water her character down into something less harsh than she was initially established to be, while also simultaneously trying to give her the veneer of complexity and depth through her mistreatment of solas specifically so he seems less cartoonishly evil for everything he does in datv.

at best it's lazy, at worst it's a deliberate appeal to fandom misogyny. either way it was a VERY poorly handled character choice that reduces a female character to her relation to a man and how she serves his story

[staringdownabarrel]

I feel like Tom/B'Elanna is a much better canon ship than most people give it credit for.

For one, Tom and B'Elanna are both very similar people in a lot of ways. They both have the reputation of being troublemakers who'll butt heads with anyone and everyone at the drop of a hat but actually work well in group settings so long as they feel their work is appreciated and properly valued. Both have a small group of friends that they're basically ride or die for. Both have chronic issues with their families that might not ever be fully resolved. Both have a deep interest in engineering and mechanical design.

So while in some of the other canon ships, what these people see in each other is a mystery, there's no mystery here. Tom Paris and B'Elanna Torres would have a pretty intuitive understanding of what makes the other tick because they're both motivated by a lot of the same things.

The only real question is whether or not they're looking for the same thing in a relationship. This is one of the reasons I'm not particularly fond of Worf/Jadzia as a canon ship: while it's clear why there'd be the initial attraction there, it's also pretty clear that they're both looking for very different things. Worf wanted someone to come home to but Jadzia still wanted to have the exciting social life.

I don't think there's as stark a contrast in what Tom and B'Elanna are looking for in a relationship, though. Even though they might be looking for different things, I don't think they're necessarily incompatible things.

For two, I don't think the ship derails either character. It's not like with Jadzia/Worf, where while Jadzia almost entirely stopped getting episodes dedicated to her specifically after she got in a relationship with Worf. Once she was with Worf, all her episodes were basically just relationship drama episodes. B'Elanna still got episodes heavily focused on her after getting with Tom, like Barge of the Dead and Prophecy.

While this might not be as many as people would like, that's just a problem with Voyager as a whole. It's been a criticism for a long time that the only characters who get any real attention, especially later on, are Janeway, the Doctor, and Seven of Nine. The bug in the program was always the bug in the program basically, not a product of this specific ship.

I think it is debatable if the ship came out of nowhere or not. However, I don't think this is necessarily as egregious as some of the other canon ships. Worf/Deanna and Seven/Chakotay both came out of nowhere at the last minute. B'Elanna/Tom came in the middle of the show, so they had a lot of time to justify the ship.

Really, the big problem is just that: did they justify this ship? There was a lot of room there for them to do that. I feel like a lot of the trouble on this point is that the Voyager writers tended to be better at the swashbuckler elements of Star Trek than they were character writers, so a lot of the stuff they could have done with these characters just never got done.

The thing is that isn't a unique problem for the franchise; especially during the Berman era. As much as some people like Rom/Leeta, I don't think the DS9 writers really did a whole lot to show why they'd ever want to be together. At least it's pretty clear why B'Elanna and Tom would initially want to be together beyond just the writers decided to make it so.

Still, I think Tom/B'Elanna was one of the best canon ships the Berman era had. Most of the problems it had were a product of the Berman era writers being dogshit at writing romantic subplots rather than a problem with the ship itself. I think it'd probably be a more popular ship on Tumblr if it weren't a het ship.

[dollgxtz]

Why’d you write Sylus so crazy? You’re turning him into one of those booktok men and he’s anything BUT that. I just don’t get it :/

Hi anon! I know my yandere!Sylus story is disturbing. And while yes, I do take great pleasure in writing such topics such as kidnapping n such, I genuinely just wanted to write a dark Sylus fic exploring a different version of him where his desires and upbringing lead him to hurt even the people he loves. I love tragic characters and stories!

Think about if you watch a horror movie. You know murdering and killing is bad and yet you still watch it for entertainment, to see what happens!

By the way, this isn’t to argue or call you out anon, just hoping to shed some light on my perspective as the author. I love when people ask about my work, and I’m happy to answer regardless of the context! My ask box is always open if any of you have questions!

Below is a breakdown of some of the complexities I wanted to portray!

Yandere!Sylus Breakdown

I envisioned him as a deeply complex character—not necessarily in his emotions, because yandere!Sylus always knows exactly what he wants—but in the way he rationalizes his actions and interprets his “wrongdoings.”

On the surface, his actions are undeniably wrong. Kidnapping a girl, forcing her into a life of isolation, and desiring to have children with her while keeping her away from everyone she’s ever loved is, by all moral standards, reprehensible. However, Yandere!Sylus doesn’t see it that way. To him, these actions are justifiable as long as they fulfill a purpose in his grand design.

He operates with a calculated mindset, never doing anything unless he believes it will ultimately benefit him, even if it means causing immense suffering. The fact that the reader might hate him only reinforces his resolve; he views it as a challenge, something to be overcome or “fixed” rather than a deterrent.

This doesn’t mean he doesn’t love reader, he does. But he is inherently selfish at his core since that was what was needed to survive. I intend to break this down further!

In yandere!Sylus’s twisted logic, he genuinely believes that if he can get the reader pregnant, she will inevitably develop a bond with the child. He sees this as a means to an end—a way to “tame” her, to anchor her to him emotionally.

He is convinced that motherhood will soften her resistance, leading her to accept the life he has meticulously crafted for them. To him, this is not just a strategy but a deeply held belief that love, however twisted, can be cultivated through shared ties, like the birth of a child.

This version of Sylus is driven by a yearning for the idealized version of happiness that society often romanticizes—the “big happy family” with “children running around” and a “loving wife.” It’s a vision that he clings to desperately, not because he understands it in the way most people do, but because he was denied such love and stability as a child.

Sylus grew up in a world where love was scarce and survival was paramount, as depicted in the original story. This lack of nurturing has warped his understanding of love and family, leading him to believe that these things can be engineered or forced into existence.

In blending elements of the original story into this version of Sylus and the reader, I wanted to show the core aspects of his character while exploring new dimensions of his psyche. However, I didn’t want it to be an exact replication, as the reader in this version isn’t the canonical main character from the original universe. Instead, she represents an alternative narrative where Sylus’s obsessions and desires manifest differently, yet still retain the disturbing intensity that defines his character! ^o^

All in all, if this story isn’t for you. Don’t read it please. I write for a certain demographic of people who enjoy twisted media. It’s fiction after all! No one is truly getting hurt. I hope this helps with your confusion anon!

[knight-a3]

Heavenbound AU

Hazbin Masterpost

Lucifer the Fallen Angel; the King of Demons; the Scapegoat

There is a lot of lore and history to go over with this one. Let me teach you a thing or two about the bible!

Notes under the cut.

--Design notes--

Between dolls, snakes, apples, circuses, ducks, etc, there were just too many motifs/thematic elements to shove onto just Lucifer. So, I streamlined and distributed. Lucifer is goat themed, Lilith is snake themed. Charlie is a mix of the two. I also use this to partly to imply that "the Devil" is not solely Lucifer. But humans mistake various different demons as one character. Lucifer is just the one who gets blamed for everything. That's part of why he's a goat; he's a scapegoat.

Goats: There was a Jewish practice during Yom Kippur to place sin onto "scapegoats" and release them into the wilderness to basically rid the people of their sin. Specifically, they were sent to "Azazel", meaning "remove from or separate from god", which refers to a desolate place.

Goats as a demonic symbol comes primarily from pagan influences rather than the Bible. I had a couple goats before settling on sheep instead, and they're just silly guys. They're not evil.

Apples- I reduced this because I think it would be more fitting for Adam and Eve. Both ate the fruit, and it didn't make them evil or anything. Also, the fruit is never stated to specifically be an apple. That only happened due to how language evolved. But I still like how his coat kinda resembles an apple core...so it can stay.

Doll- I know Charlie is meant to resemble a porcelain doll. And in canon gets it from her dad. But I don't really understand why, so I took it away from him and gave it to Lilith, since she was created and placed on earth like a doll.

King- He does not have any real authority beyond his power as a fallen seraphim. It's basically a prison, and even Lucifer is caged. Nobody bothers to respect him. So the "crown" on his hat resembles a gate or cell bars.

Ducks- I never understood the choice to associate Lucifer with ducks. And thematically, I can't really justify it. He can still like ducks, I guess. But it won't be a design motif.

Full demon: Since I'm committing to his goat theme, I figured he could have multiple horns instead of wings. He lost his wings when he fell. As an angel, his symbol was a star. As a demon, it got flipped upside down to represent a falling star. That's the pentagram. In images of the satanic goat, it often had the pentagram on its forehead, so I included that.

Angel: I want angels to look more human, so that's that.

--Wings: Seraphim are described as having 3 sets of wings. Rather than deal with all that or even try to figure out the anatomy of that, I just gave them three sets of primary feathers, which sort of imitates the 6-winged look but is easier for me to wrap my head around and draw. Also, "biblically accurate angels" aren't as biblically accurate as you think.

--Halos: I have a specific idea for how angel halos work, but I plan to get to that in a different post. For now, just know that seraphim have two halos for a reason.

--Star: A pentagram is an upside down star. It represents the fall of the morning star. So his angel symbol is a star.

Name: Helel, Lucifer, Samael

As an angel, his name was Helel, then the elder seraphim renamed him Samael after he fell, so they could pretend they're different people. He took on the name Lucifer himself after his fall.

Helel: Helel is the Hebrew word that was translated as the latin word lucifer. Helel means "shining one", while lucifer means "light bringer" or "morning star"; lucifer can also be a verb that basically means to light a match.

Lucifer: Instead of translating the word into an English equivalent, Helel was translated as the latin term, lucifer. The word lucifer is used only once in some translations of the Bible, found in the book of Isaiah, but not as a name. Lucifer was often used as an epithet for the "star" Venus, and was used to represent pride because it rose and fell before the sun. Hence why lucifer also means "morning star". In Isaiah 14:12, The king of Babylon is being called the morning star as it falls from heaven. The capitalization of lucifer was possibly a misinterpretation by the translators.

Samael is, in some Jewish stories, the husband of Lilith. So I found a way to use all three names(Helel, Lucifer, and Samael). It means something along the lines of "severity of god" or "poison or venom of god". It is also not in the Bible.

Backstory

(Feb 21, 2025- changed the flame color to blue instead of red for lore reasons. Updated title lines.)

[dicenete]

I repainted his face more times than probably necessary but something always caught my eye and still does, but it is done. is done. It's fine. xD IkePri Tagteam:

@scummy-writes @goustmilk @solacedeer @m-mmiy @mxrmaid-poet

@pawnkyyy @ludivineikewolf @violettduchess @floydsteeth @wistfulwanderingone

@sh0jun @lorei-writes

A little bit of rambling of him below the break, spoilers (Keith's route, and little bit of Nokto's route) and such :0 so you have been warned.

TL;DR: I enjoyed the route despite its questionable elements. MC is too forgiving at times, but other than that, romanctic route was cute. Licht, the third wheel, was funny but sad.

Okay first about Keith's visual design: I really love how his design is the most asymmetrical from the suitors. Like the jacket and the vest he has. The jacket is very interestingly layered, almost like you aren't sure which part is the main thing and what is the accent. The green or the gold? The host or the alter? : D Same with his vest. His duality is battling in his clothing too hahaha

Keith's route was interesting. I had heard lots of differing opinions about it and I had my own reservations.

One mainly about the portrayal of DID and how the route does it. First things first: I'm not an expert at all. I won't even humor the idea that I had any say in anything regarding it. But overall, it could have been worse? Of course it might be very extreme in the way Alter Keith is hostile towards Host Keith. And of course you shouldn't take this as the only way the alter systems work. But as I said: I'm not an expert.

I had heard that the dramatic route follows Alter Keith and romantic route host Keith. I picked the romantic one. I had my personal reasons for that tho. But aside from that, it was nice to be with Keith that who struggled with self-worth. It was nice to see him grow as a character and find that strength to stand up for himself. (The fact that the host Keith seems to think that he is inferior to Alter Keith and that people would prefer the alter over him. The amount of stress that will bring. )

Keith's uncle was your very generic villain/antagonist without any real depth. He was a spoiled noble and so on. But since this was more about Keith inner journey I thought it was fine that it was like that.

The drugging scene… Well. That's a… a topic. Hmm… Host Keith himself felt very guilty about it and was full of remorse. Not that it was his choice to do it. Alter Keith well… He might justify it because he was gathering information about a rumor that might endanger his home country and people if it were true. I kinda can see where he is coming from, but also...IT CERTAINLY WAS DESTROYING OF TRUST. Like that time when Nokto "accidently" gets MC drunk. but hey ho. Since there is limited time frame for the chapters, I do understand they can't really jam all the things there, but I wanted Belle be more angry with him with Alter Keith for longer.

Maybe that's what bugs me sometimes. That Belle/Emma/MC is sometimes too forgiving and too much of a doormat. It works in routes like Yves and Licht (from the routes I have played, Leon seems like the most respectable gentleman too), because they are not being insulting towards her. I would even think that she works with Clavis, tho I would love to see him with someone who shares his chaotic gremlin energy. But with characters like Chev, Silvio or Alter Keith the their "power" doesn't feel balanced. MC seems to be completely on their mercy even if they stand up to them in some way. (Gilbert is another can of nasty things.)(With Chev's route, well, that is also a rambling for another time. But I haven't finished his route yet. so I will keep my ramblings to myself for now.)

Is Keith's route more about acceptance then? Accepting the good and the bad of a person? Possibly. I would think that is a good way to put it. Both Keiths have good and bad sides. And it seems that they are working on them.

[miraculouslbcnreactions]

Last post you talked about your ideal version of canon, I was wondering could you share it with us? If not, that's ok

Oh man, I could go on about my dream version of canon for ages! I've talked about various aspects of it on here with stuff like my "sugar" posts on Nino and Alya, but the broad strokes are:

Serialized story where it's basically one large narrative told in chunks

A true teams setup where Adrien, Marinette, Alya, and Nino feel like this amazing, tight friend group who grows into a found family as they get older, giving platonic and romantic love more equal billing

No guardian order, just have it be a single-person role that gets passed on from person to person

Kagami and Luka in supporting roles that have nothing to do with being love interests

Sympathetic Gabriel who feels like a truly tragic figure, but who does NOT get redeemed

Emilie gets an actual character

No sentinonsense

Revised miracle box that is way smaller and that has strong lore

The Agreste's aquiring the miraculous is far more morally complex, makes sense, and was not done for explicitly selfish reasons

Reverse the love square right from the start and never have the crushes flip

I've talked about all of these things on here, but the one thing that I've only briefly touched on is my love of a reverse square setup. I am passionate about that one, so let's take a moment to talk about why since it's probably going to be the most interesting to read.

I don't hate the canon setup for the crushes, but also I don't think that they're the ideal crushes. When it comes to romance stories, you want to design your love interests around each other. You want them to feel special and like they bring something unique to the table. Canon doesn't really give us that. There's nothing all that special about Adrien that makes him feel like the person that Marinette would be drawn to above all others. Same goes for Chat Noir and Ladybug, but we'll get to them in a second.

What is Marinette's biggest struggle? Her role as Ladybug.

Who is her main support in that role for most of the show? Chat Noir.

Who is her main support on the civilian side even before the reveal? Alya.

So why is Marinette's crush on Adrien and not Chat Noir? I don't know. It's the lesser setup by far and that goes beyond just the logic elements of who it makes the most sense for her to fall in love with. A lot of Marinette's worst behavior actually feels justified in a reverse crush setup, allowing you to write her without major changes to her character.

For example, Marinette keeping a chest of gifts for Adrien is kind of pathetic. She's friends with Adrien and she gives her friends gifts all the time, why can't she give him gifts, too? Reverse the crushes and suddenly this behavior makes perfect sense. Marinette isn't storing up gifts because of overblown fears of rejection. She's storing up gifts for legitimate fears about how her partner will explain these random gifts, thereby risking his identity, meaning that she has a sold argument for waiting until the time is right (post reveal) to give them to him.

There's also the legitimate fear that confessing her love could ruin their dynamic and put Paris at risk. Keeping her feelings to herself is now an act of self-sacrifice and not just an act of nerves. Basically everything about Marinette's hesitance just makes so much more sense if it's on the hero side.

But what about Adrien? How does this fix him?

I love the idea of our male romantic lead falling for our female lead because she's bold and brave, but it honestly doesn't fit Adrien's character. He is surrounded by powerful, confrontational women. Nathalie, Chloe, Kagami, Amilie, Audrey, and Tomoe are all no-nonsense women who get what they want. This means that Ladybug doesn't bring something unique to his life. She fits the standard mold. Adrien falling in love with her after she talks down Hawkmoth doesn't feel like the right choice for his character because it doesn't feel like something he'd be wildly impressed by.

Meanwhile, Marinette is shown to be a generally wonderful friend. She cares about others and will do what she can to make them feel welcome and accepted. That's a much more unique thing for Adrien to experience. Think about the umbrella scenes and imagine if it was Marinette apologizing. Marinette owning that she treated him poorly and asking his forgiveness. How often do you think Adrien gets moments like that? Doesn't it make more sense for something like that to make his heart flutter?

We see Marinette doing things like making banners to celebrate her friends (Timebreaker) and making sure everyone feels included (Reflekta). Imagine her giving Adrien that kind of treatment because it's just who Marinette is. She shows up to his fencing matches to cheer him on. Brings him his favorite snacks as a treat just because, surrounding this poor boy in honest, genuine love and support. Add in respect, too, and he'd be a goner because those are the things that he's not getting anywhere else! The things that make Marinette unique.

This brings us to our new civilian dynamic. In canon, it's Marinette failing to confess in ever more spectacular ways as Alya tries and fails to help. In a reverse crush setup where everyone is friends without gender barriers, it's things like Adrien coming up with his canon confessions and then watching Alya and Nino react with genuine horror because, dude, you're going to give her a panic attack! No! Bad kitty! Stop that! No confessions until you come up with a plan that we approve of and read at least five books of dating advice because holy shit did homeschooling do you dirty in this area!

Then, while Adrien is working to learn how dating works, he learns that Marinette is in love with Chat Noir and, oh no! He thinks she's into his public persona, totally unaware that she knows the real Chat Noir and loves his dorky self. So he tries to emulate his sexy alter ego while Nino and Alya suffer and Marinette is just generally confused because she doesn't think of Chat Noir like that, so she doesn't even notice what Adrien is doing.

This also adds a nice mitigating factor to Adrien's unwillingness to give up even though it's pretty clear that Marinette isn't interested in his civilian self. If he knows that she loves him, then his persistence is less concerning and more comedic. It's not that he can't take a no, it's that he honestly knows with 100% certainty that the answer is NOT no because she's told him that to his face. He just needs her to realize that the guy she's in love with is right here, ready and willing!

The potential for comedy is just so much more broad and so much less mean spirited because Marinette has none of Adrien's reserved nature, so her friends would totally know about her massive "celebrity crush". Adrien comes over for school projects and just stares longingly at her Chat Noir posters, wishing he could tell her his secret, but knowing that he can't.

In my world, that is so much more fun than canon's setup where Marinette has no reason to hope. I also wouldn't draw the crushes out anywhere near as long as canon did. I like getting couples together in the mid-game. It's a nice early plot to hook you in, but defeating the villain is the end game, so we don't need to draw the romance out that long. Romance isn't that special. It's not all that different from an arc about two characters becoming friends.

That's far from the only major change I'd make to shape canon into my ideal version, but it is the probably the change that I love the most. It's also the change that requires the least context to explain, so there you go!

[eahwidow]

There is so... SO many things I don't like about Epic Winter, which pretty much made EAH end on a bitter note, but I think my biggest problems with the special are:

Why was there SO MUCH focus on Crystal's FATHER instead of her mother, who got frozen for mostly HALF of the special?? Like, I could understand that it might have been a way to make a parallel to the original fairytale with the Snow King being the "Kai" to Crystal's "Gerda" (as in Kai gets cursed from the evil mirror's shards and Gerda has to save him), but even before he's cursed, he is more well-known than the actual SNOW QUEEN! The only way I can think of to justify this in-lore is that maybe the Snow King might have inherited the actual fairytale destiny from his mother while he was a student at Ever After High, which could be a very interesting plot to explore since we rarely have male characters taking on traditionally female roles in fairytales other than Alistair, but then I think it would've been better if Crystal was a boy and have a focus on the mother to parallel Kai and Gerda, but in switched roles. Or if they still wanted to keep the Snow King as a central character, it could still work with a male!Crystal anyways!

Also, Jackie and Northwind Frost were WASTED potential as antagonists and deserved a much better development or plot, another case of characters introduced in a special with a great design and interesting fairytale legacy that wasn't explored (*cough cough* CHASE REDFORD *cough cough*)....

....Sorry for any potential fans of this ship that see this, but I. Absolutely. HATE. ROSABELLA AND DARING! Not only it was out of nowhere, not properly developed and so obviously a copy of Disney's version of Beauty and the Beast, but it also doesn't make sense if you take a look at the original fairytale, where the Beast was actually quite sympathetic and sweet to Beauty and she was the one who judged Beast for his appearances at first (there is also the whole drama with the fairies in this tale, but that's for another day lol). If anything, Rosabella should have been the one to turn into a beast since she's the Beast's daughter too, but instead of hating it, she would embrace her beast side. But honestly, I feel like they should have kept the Beauty and the Beast elements for another special since the focus of Epic Winter should be on being a parallel to The Snow Queen.

I feel like they should have put at least one or two of the last girls EAH introduced at that time in the Epic Winter lineup instead of Rosabella, Daring or even Ashlynn, but only Farrah really had a bit of relevancy plot-wise as she helped the girls discover about the Roses of the Seasons. The Spring Rose could've been related to either Jillian or Nina as a rose that stands out on its own, while the Summer Rose that wears a disguise could've easily fit either Justine or Meeshell, THERE COULD HAVE BEEN A WAY TO FIT THEM IN THE PLOT! 😭

[bimboficationblues]

inspired by @dorothylarouge, Mass Effect squadmate tier list. I was more interested in talking about squadmates than the other crew members so I just ranked those. I haven't played Andromeda.

S-Tier

Wrex is awesome, a font of pithy one-liners, righteous indignation, bitter hurt, generally likable but with a (justified) mean streak, an excellent tank. His story can end in a lot of narratively interesting, tragic or uplifting, directions if you let it. The "Renegade" conclusion of his story (or the krogan's story more broadly) in ME3 is horrifying, the "Paragon" conclusion is fantastic pulp sci-fi. He's honestly the main reason I bother to replay ME1 at all.

Legion offers a perspective totally unlike any other character in the game and transforms the geth from a totally alien, hostile, and largely flat entity into one of the most interesting and dynamic elements in the Mass Effect setting. As far as AI characters go I think Legion manages to come across really well-rounded. His deadpan humor is funny and he's got a cute-cool design. He's like if WALL-E would shoot your jaw clean off with a sniper rifle!

Thane's placement might be the result of a repressed and since eliminated bisexual streak bubbling up, but like as far as offering a "straight female romantic fantasy" goes he's basically ripped from the page of a cheesy sci-fi romance. "My Amphibian Alien Assassin Lover is a Widower!" But nevertheless I find him an extremely engaging character, although truthfully you get the most out of him as a romance (unlike some other characters). He has an interesting philosophy of life, an intriguing backstory, and a good supporting role in the overall narrative.

Again, possibly me thinking with my heart, but I love what Jack brings to the table. Jack's abrasively bad attitude and explosive biotic power, exquisitely acted by Courtenay Taylor, makes her stand out even amongst the underdog and outlaw cast of ME2. Her backstory is an unbelievably insane A Little Life-esque trauma conga line but Taylor performs it with a lot of pathos to make the character feel grounded in both sincere anger and sincere pain that also does a nice job of hammering home Cerberus's malevolence. Also one of my favorite squadmates mechanically, a glass cannon who sets up devastating combos.

Okay, so Mordin is technically an evil eugenicist mad scientist, which is quite bad. However, he is very fun to watch, and I think ultimately his shift in worldview is convincingly told and well-informed by the hegemonic perspectives of his culture as well as how he conflicts with them. The deepest cut is that only if you are an asshole and try to keep the krogan sterilized, do you get one of the best dramatic readings in the whole series: "I made a mistake."

Tali is very charming, her potential romance is cute, her evolution across the three games from naive pilgrim to bold explorer to somewhat reluctant and conflicted diplomat is probably one of the best supporting character arcs in the game. The quarian/geth conflict ends up being a microcosm for the main overarching conflict of the series so her presence in it as a well-meaning anti-geth type, and seeing that run up against reality, is really engaging. Being a character that only shows up around the halfway points of ME2 and ME3 does make me a little less fond of her, though.

A-Tier

Javik is similar to Legion for me. A man out of time both literally and in personality, he's alien even compared to some of the other cast members, gives a unique (imperially Social-Darwinist) perspective on the main conflict, and is unlikable in an interesting way that Shepard can challenge or reaffirm. He even manages to wring some interesting personality out of Liara through his civilizational condescension.

Grunt is a lot of fun, a krogan without a sense of cultural identity (or a sense of cultural identity that is "artificial"). He's not particularly deep, but he's likably hotheaded and gruff, makes for great comic relief, is well-performed by Dee Bradley Baker, and he fucks up an enemy squad like nobody's business.

Garrus, cop on the edge, is fun and gives good banter, but I think ultimately his status as a fan-favorite limited his narrative potential. The Garrus we meet in ME1 is a renegade cop trying to decide between whether to be more "by-the-book" like his father and society demand of him, or more of a rule-breaking Dirty Harry type. However, Garrus's ultimate character direction across the series isn't really shaped by Shepard in the same way that other characters are. In the third game he professes to "not being a very good turian" because he doesn't follow bad orders, but this isn't actually true. He's got some good stories, and I'm never going to pass up recruiting him, but he's less active in the overall story than I would like.

While I absolutely *despise* the romantic subplot between EDI and Joker that swallows up both characters in the third game, and equally despise the ridiculous big-titted metal chassis that she occupies in that game, EDI is funny, interesting, and provides another distinct synthetic perspective within the series for the characters to bounce off.

B-Tier

Zaeed and Kasumi rate about the same for me: I like them, they are good squadmates, they have interesting backstories and loyalty missions, but their status as DLC characters means they never really get explored as much as everyone else.

Samara's inflexible devotion to justice mixed with her personal demons is interesting, and she's well-written and very distinct from many of the other asari characters in the games. But she's a little cold for my liking and there's never really an opportunity to challenge her code, just one singular opportunity in ME3 to challenge her interpretation of it.

C-Tier

Liara is boring and carried by being the only remotely tolerable love interest in the first game. Sorry! I do like her Shadow Broker storyline but it could have been a lot more in a less-rushed finale.

Of all the tedious "I'm just a reg'lar human soldier...with a chip on my shoulder" characters introduced across the games, Jacob is probably my favorite because he's just a well-meaning dumb guy with Sad About Dad Syndrome. However, everything surrounding his romance plot is terrible and bizarrely racist.

Morinth is practically a non-character but she is at least conceptually interesting, a natural-born hunter of people. Could have done a lot more with her if she was actually allowed to be the "Token Evil Teammate" in a more direct way.

D-Tier

There's a lot to dislike about Miranda (racist, arrogant, cynically cruel, weirdly ogled by the camera, British) but what I really dislike about her is that her edges get sanded off and replaced with nothing. The boldest and best decision the writers could have done was make her a supporting antagonist in Mass Effect 3 (or make that a possible outcome) instead of making up a Definitely Super Cool Cyber-Ninja (OC Do Not Steal) character that has no role but to be annoying and make plot happen. Imagine having to hunt down your indoctrinated former comrade! Or having to talk down your indoctrinated former lover! My favorite Mass Effect characters feel like you can actually influence them to be different; Miranda flips her whole worldview to be on your side, no matter how much of a dick to her you are.

I have nothing to say about Kaidan.

On top of how grating I find having yet another Alliance soldier in the crew - one who is seemingly here to pander to a Call-of-Duty playerset - James is just obnoxious. He really hits on his commanding officer on like his first day. Hate.

Ashley is racist, but also boring and stupid.

[mllenugget]

Hello I mcyt fandom-ified la Team du Lundi members and wrote a shit ton of text about it

After exhausting myself on trying to catch up on the current QSMP lore I got a sudden craving for a more familiar and fast paced kind of minecraft content and ended up rewatching all the Team du Lundi's SMP best of's I could find

And while doing so with my brain still hazed in fandom brainrot, I started picking up on minor details or info the players casually dropped, and drew parallels to the French speakers' QSMP counterparts This is going to be a long wordy post I don't even know what I am rambling about and for. Three things you need to be aware of about la Team du Lundi before reading :

Baghera, Antoine and Etoiles are the only QSMP players that are part of la Team du Lundi

As far as I remember the only two elements that suggest that la Team du Lundi's SMP could be canon to QSMP are Antoine being pressured into building another Tower of Shit, and Baghera's infamous fountain being mentioned when she was asked if her character remembers anything from her past before the island

La Team du Lundi's SMP was NOT a roleplaying server, it was just a private survival server for a small circle of friends casually playing together. So whenever I quote someone in this specific post, it is the streamer : there is no character other than the persona the streamer is usually showing on stream, but I just thought it would be fun to interpret certain situations while keeping in mind the QSMP lore. And here goes :

Baghera claims that when she was a kid she strongly believed that she could breathe underwater. The others joke about her having fins

Antoine jokingly tells Baghera he doesn’t need oxygen at all

Antoine claims he will still be alive thousands of years forwards

Antoine’s voice shifts when he wants to appear creepy

Baghera built an aquarium at her place, then helped Antoine build one at his tower, then built a giant swimming pool, then a fountain, then a waterslide- do you see a theme ?

Baghera knows that her skin is actually that of a chick and not a duckling, and calls it so here

Chat said that Baghera has a middle child syndrome, justifying that she bullies Angle Droit because Etoiles bullies her in the first place (Etoiles has also called her « little sister » in a derogatory way)

Etoiles has repeatedly asked people to play Valorant with him at least once

Here's a clip of Etoiles getting languaged in french and owing "a gifted sub in the swear jar"

Unrelated random clip of Etoiles because it creates happy hormones in me brain

Etoiles is regularly refered to as "the warrior"

Etoiles guided the whole group during an expedition to the End and he was literally glowing doing so (enchanted arrows effect) Everyone called him "the guide"

Baghera was the one who gave the final blow to the Enderdragon (and died from magic right after)

Etoiles spent most of his time adventuring in order to bring stuff and gear back to everyone for their builds

Etoiles asked Aypierre for help in order to design a redstone door for his cave which could only open upon solving a puzzle (which was egg & arrow related) (Aypierre was not a member of the server)

Etoiles built a nightclub with the walls and ceiling covered in wardenblocks making it look like a starry sky. He also rehomed Allays holding golden apples inside claiming them to be the souls working for him and that they lived there peacefuly

Etoiles jokingly talks about Antoine acting jealous and violent towards him because Etoiles told him he wanted to go and visit Kameto (who also was not a member of the server)

Baghera (along with Horty) had a rivalry with Joueur du Grenier (host of the server with admin powers) after he decided to build a massive parking lot right next to their house. They countered by covering the whole thing with dirt, followed by JDG building a factory and the two parties went back and forth. Baghera argued that it was stupid because they didnt even have cars to begin with (which is a sentence she reused when talking about Forever's roads) Also she tells JDG that he could've built a seaport instead, which makes JDG contemplate the thought of building an airport (and though he ended up never building it, I am side eyeing the French's plane crash)

At some point JDG wonders about what a roleplaying minecraft server would look like (RPZ 2), to which Baghera replies that she has a hard time picturing the thing "We'd all just build things you see ? I don't think we'd create stories, we would all just be like "I'm a builder, ah you too ? Well awesome, builders, cool"" and I find this to be hilariously ironic (fun fact : Baghera had no idea that QSMP was a roleplaying server when she first joined and often claims she would've taken a different approach with her character had she known right off the gate)

As I was finishing to write this down, these fuckers (/lh) decided to host a closure night for the server as they've never really officially did it, everyone just sort of deserted the server after a while. Baghera, Etoiles and Antoine kept referring to QSMP throughout the night, mostly talking about how weird it felt without mods. Among other meta commentary things

They mentionned Cellbit and Bad multiple times as the group was trying to solve enigmas. Antoine talked about "the cultural sharing" between communities as he taught insults to each others with Mike, Roier and Maximus in their respective languages Multiple more players were namedropped (including eggs) while Antoine was talking about how the server functions

Yes, Baghera and Etoiles kept their QSMP skins. Etoiles with his code corrupted purgatory one, and Baghera with her fading pink disheveled hair (with the addition of her cubito wearing Horty's merch)

Baghera admits that going back to this small familiar vanilla server feels like coming back home to your family during the holidays

Team du Lundi's cameos in QSMP :

Though Pomme has never canonically met JDG (even though most of her parents have talked about him to her at least once), she occasionaly breaks the 4th wall to refer to him. She once compared one of BBH's "vacation" flower shirts with his, and when Foolish and Bad asked her to elaborate (obviously not getting the reference) she proceeded to play JDG's music theme with the flute instead (Also I really feel the need to once more point out how mindblowing it is for your average french speaking viewer to have JDG's intro theme being added to the mod they use in the QSMP because of how anchored it is within french internet pop culture. Like this shit has been existing for 14 fucking years, it's part of the childhood of a lot of us, so to find a clip of British hardcore player Philza peacefuly listening to Mexican egg admin Tallulah play this theme on her flute feels like a multiverse fever dream)

Horty has been on Quesadilla Island through cc!Baghera's account, but neither of them really wanted to justify it RP wise. Baghera just wanted to give her best friend a tour of the island. Horty only got to meet Richarlyson who gave her a tour of Cellbit's castle and made her pick a room (she chose Chaos). She also chatted with Etoiles who tagged along for a bit and (this is obviously justified by it being a one-shot out of roleplay filler episode kind of night) they both already knew each other and were on friendly enough terms to bicker with one another Also she was part of the French speakers Quackity reached out to to invite on the server, but she had to decline because she was very busy at that time (and also not interested) Also also she was Baghera's teammate for that Formula 4 event, and Baghera has discussed it and showed pictures to a couple of islanders, including Richas who was very hyped about it

Another player the viewers were hoping to see on Quackity's server is Mynthos. He exists within the server with the picture of him that hangs in Pomme's art gallery, the cursed animation video that used to play in La France, as well as with Aypierre's health potion factory that bears his name

Angle Droit and Zerator are sometimes namedropped when the French speakers talk with their chat. Angle Droit frequently raids Baghera's and Antoine's streams, and though it has never been confirmed, a lot of viewers theorized that she was the +1 player Baghera and Etoiles wanted to invite on the server had they won the elections.

As for Zera, Etoiles went AFK on QSMP a couple of times in order to test some of Zerator's TrackMania maps (which he later discussed with Pac). I also remember a very trivial conversation Etoiles had with Mouse and Aypierre where he laughed about hurting his back very badly after carrying a fellow streamer during a caritative event, said event was hosted by Zerator (he's also the one judging them with concern from his desk)

I'm done.

Bonus alternative design for Angle Droit because at first I thought she was a fox then it turned out she was a corgi but then she changed it again to a fox and woop

[kiraridertime03]

We need to free the Weasel

A brief discussion about the way that Creature Commandos uses politics in its narratives.

Spoilers for it and everything else James Gun DC up to this point though, below the cut.

Also, it is a busy post, content warnings for discussions of white supremacists and cops, as it is necessary.

With the release of the trailer of James Gunn's Superman film, hype for his grand DC Universe has kicked into high gear, and for good reason. That trailer, no matter the quality of the final film, is a goddamn work of art. A piece of film that understands Superman better over the course of 2 minutes and 20 seconds than Zack Snyder did over the course of 3 overlong movies. That mixed with his solid back catalogue of Superhero films. However, slightly more obscurely, this universe has already started with the animated series Creature Commandos, and especially with the fourth episode, which released hours before Superman's trailer, shows the kind of skill and thought Gunn and co. are putting into this new universe.

At its front, Creature Commandos feels very... blunt, in a lot of ways. It's like The Suicide Squad but with Creatures! It's big and raunchy, being an animated series with blood and swearing and sex and whatnot. And, when it comes with its politics, some of the early villain's mooks are a bunch of weird incels, and one of the main characters constantly advocates for killing Nazis. It is a work that immediately shows its hand, making the type who would decry the wokeness of modern movies and games or whatever. However, with these early examples, it can feel like a bit too much, maybe. I love it, don't get me wrong, I'm the type to really enjoy blunt earnestness. Though, given the more comedic approach that many of these elements take in the early episodes, it can feel a bit like it's only there for the bit.

Where the series really starts to excel, though, is when it starts integrating its flashback segments. As a whole, even outside the point of this post, the flashbacks feel like a wonderful decision. A way of fleshing out our characters while giving each episode a distinct feel, justifying the series as, well, a series rather than just one long movie. However, here, I want to discuss some of its political ideas, and how they integrate. Because, for these, they integrate more thematically, being an undertone to each character's own story.

For the bride, her story is centered around this idea of the objectification of women. I mean, it makes sense. She was literally made to simply be the bride of Frankenstein, an object of his affection. However, as she gained her own independence, the masculine figure who feels he is owed her hand in marriage breaks out into a rage, harming her and the person she actually loves. This story is what gives her the cynical edge she gains in the series proper, giving her an interesting, sympathetic story while using the elements of said story to say something about how many men perceive woman. A strong enough parable that acts as an undercurrent for her character.

Then, we get to G.I. Robot's episode, a real tear-jerker of a thing about a silly robot character, the exact thing to set my brain off in all sorts of ways. Much of this story is designed to set up his tragic past, so that we can feel catharsis once he gets his big moment, then feel the tragedy when he gets brutally murdered. However, it again is saying a lot of complex things. Many have discussed the PTSD angle for GI, which I do see, however, in GI's story specifically, I see the way that the American state treats veterans. Like, think about it. This being who was forged and created for the purpose of making war, goes to war, then once the war is over, they are, best, used for spectacle on live TV (Where they are unable to properly adjust to the tone of peacetime, accusing the audience of being Nazis themselves), studied not to help them, but to make the next generation of soldiers even more efficient at their goal of warcraft, then thrown to the side when they are no longer useful. The man selling GI to the collector literally says he slipped through the cracks. It, again, is a wonderful metaphor that takes advantage of what GI is, and uses it to emphasize these issues in a more literal way. It is a lot easier to show a robot who was programmed in a specific way weird the room out than the rocky adjustments a veteran may have to go through. It then, also, shows the kinds of people who really benefit from this warcraft, those it appeals to. The collector who buys GI turns out to be a part of a White Supremacist group in America, a group of people who gladly use Nazi iconography, identify with it, and gladly push it. Those also happen to be the types who want to buy old war memorabilia. Obviously, not all war collectors are Nazis. But these are people who see this kind of might makes right ideology that America so often employs with its military, and latch onto it. GI, rightfully, finds this appaling, and kills them on sight. It is this wonderful moment from this delightfully twisted series.

However, even that could be seen as a tad blunt. Again, GI is very clear with his words, he doesn't hide much. So, where I see this series going from good to great is with Weasel's flashback segments. This begins when a lawyer, a member of a nonprofit, demands she see Weasel, as she is putting on a case for him. In essence, she states that, at least to her and her organization, he was unjustly prosecuted. To both Rick Flag and us, this seems absurd, as we have a lot of predisposed biases towards Weasel. You see, he is one of the few pre-existing characters in this cast. Weasel was previously seen in James Gunn's The Suicide Squad, though only briefly. There, as a member of the Decoy Team, he makes weird, gross noises, they make a joke about him having killed 27 kids, then have him promptly drown before the mission even starts (Though, in the post credit, it turns out he survived, because that's even funnier). Even if you hadn't seen that film (Which you should if you haven't), they reestablish all that in this series in the first few episodes, portraying him as a stupid, vulgar, violent creature who isn't worthy of rights. However, expertly, this is all a front.

In the flashbacks, we learn that Weasel only interacted with about 8 kids, a bunch of students left at an after school program. Contrary to what we had been told, he really just played around with the kids, chasing around a ball. They eventually get inside the school and, while messing with stuff they shouldn't have, start a small fire. However, some antics are afoot. While he is playing around, an old senile man sees this and, rather than asking about what's going on, decides to run back to his home, call the cops about what is a clear, if odd, misunderstanding, then grab his gun to try to take things into his own hands. And, as he does, shakily trying to shoot Weasel, he makes the problem of the small fire worse, shooting a gas canister behind them, turning the small fire into a school-destroying explosion and fire. Then, the cops show up. Many of the kids are already dead, seemingly, but one survived. So, as he pulls her out of the wreckage, what do the cops do? They start shooting. Throughout this whole sequence, the cops do nothing but shoot and get in the way of things. It all culminates in the final shots, where Weasel has dropped the kid after being shot. And, instead of either of them going to get the kid, they both pin Weasel down, try to pull him out. This leaves the young girl to be crushed.

This is a massive tragedy, a game of tragic misudnerstandings that gets kids killed. However, again, it does this by hiding its politics into a genuinely moving character based story to make them more effective. It is a story, in part, about our predisposed biases. I mean, the narrative literally sets this up. Characters around Weasel say things about him without him being able to have a say. Because he's a Weasel. Then, our characters make judgments based on what they believe and what they've heard from secondhand sources over what they actually see. Even when Weasel is his most violent (taking down Circe in episode 3), he does it to protect his teammates, and he doesn't actually kill her. In his backstory, characters make rash decisions based on their misinformed judgments in hopes of "protecting the kids," when all they are actually doing is harming them. They get 8 kids killed all because Weasel is a little freaky.

Then there's the cops themselves. It so masterfully uses showing rather than telling. The most it tells us is of the trail at the start, and again, this is moreso used as setup, playing into our dispositions. However, when it is time to actually depict the injustices, it shuts the fuck up. It doesn't just say that cops are bad with a couple of clear shitheads and moves on. It shows how cops are bad. Their only answer to this situation is violence. They don't actually serve their community, in this instance the children stuck in the fire, their only answer is to start shooting things. Because they have no other answer than state sanctioned violence. And they did this all with an episode about FUCKING WEASEL!

Now, imagine what they can do with Superman. It doesn't even have to be political, like these previous examples. However, to me, this shows that he can do what, to me, some of the best storytellers do. They weave every element of their story together with deliberate choices that strengthen each other. If anything, more than any well edited trailer, it is that that excites me about everything James is working on. Of course, he is doing this with a team, but James is the type to surround himself with smart people who understand these things inside and out. That one David Corenswet quote about the shorts proves that to me in shades. That's what gives me hope about these works. That they will be movies and shows that mean things. Which seems like a low bar, but hey, so many fail at it that it's kind of impressive.