#Endwalker

[tt-vision]

little Elpis background ruminating 🔹 (giving myself a reason to try to draw these two)

[autumnslance]

Ancient Transformation

I know how we all love to meme on how it's stated transformation is seen in the Ancient society, but I also tend to think it's one of those cases where the actual meaning of the passage has been, well, meme'd a little too far.

(Like how the devs have had to go out of their way to point out Estinien does bathe, guys, it was aetheric alteration to his armor, and he does regularly wear armor which might lead to funk and helmet hair but he likes to be clean when it's off.)

Let's look at the actual passage in the Elpis quest "Their Greatest Contribution" where they're trying to help the charybdis fly (bolding by me):

Hermes: I shall transform and fly with it, helping it to manipulate wind until it finds its wings. Troubled Observer: What!? Y-You needn't go to such lengths… (Emet-Selch notices the WoL's confusion) Emet-Selch: You don't know? But of course not… Emet-Selch: Transformation is an art in which one manipulates a vast quantity of aether to construct another body around oneself. Emet-Selch: In practice, this allows one to assume any conceivable form, and thereby transcend the limits of one's flesh. Emet-Selch: Yet convenient though it may be, transforming in the presence of others is considered vainglorious in the extreme. As uncouth and unseemly as running about robeless. Shameful. Emet-Selch: Am I to understand you make a habit of this? Hermes: N-Nothing of the sort. It's just that, when transformed, I can wield the wind and fly. Hermes: It may seem excessive, but what is our shame next to the lives of these creatures? Hermes: They deserve a chance, and we owe it to them to do all in our power! Emet-Selch: Be that as it may…

What everyone tends to focus on, of course, is his analogy of "running about robeless" and equating that it's the same as nudity. Which makes for funny memeing.

But look again at the actual description of how transforming is seen:

Yet convenient though it may be, transforming in the presence of others is considered vainglorious in the extreme.

"Vainglorious" is the adjective of "Vainglory" which Merriam-Webster defines as "excessive or ostentatious pride especially in one's achievements; vain display or show; vanity."

the "uncouth and unseemly" part isn't so much the nudity part, but the showing off. Visibly boasting about one's power and strength by displaying one's transformed state.

So why the nudity analogy? Well, for one, is it actually discussing nudity, or walking around in outfits/ways that don't conform to societal standards? Ancient society seemed to be striving for an egalitarian system, which their magics made easy enough, though there's still stratification of some kind (based on peoples' roles). But the robes and masks are an attempt to produce a visual equality among members with variable magical skill (and that would otherwise be seen via those transformations if they indulged in them). It's about the conformity (for better or worse) to community.

The other reason I can think for that analogy is how common Ancient Greek inspired words and names in Amaurot's world are. And what many people also equate to Ancient Greece, aside from the tales of the Olympians, is the myriad artwork, often in various forms of athletic bodies in competition, whether war or sports. While there's plenty of fully clothed/armored imagery, classic nudes are common imagery in popular culture and not even in a sexual way; they're showing off their prowess as athletes and warriors.

(The third possible reason is Emet-Selch has ever been a Dramatic Bitch Like That and tends to the theatrical in his wording, even at his most traditional and conservative.)

Emet-Selch's concern about Hermes transforming is because it's considered bad manners to just transform on a whim--because it would indicate he's a boastful show off, or reliant on his transformed state, or otherwise cavalier about societal norms--which however one reads the line about transformations, would, from Emet-Selch's view, be a bad look for a potential member of the Convocation!

And the poor charybdis observer is all too aware that a member of the Convocation is standing right there, boss! Even if this is something Hermes does at times in extreme cases to aid their creations in his role as chief, this is not the best time to break out the transformation, even for the sake of a troubled creature.

And of course we do eventually see Hermes in his transformed state, and just how capable he is at manipulating wind magics in it.

In the end, the question of transforming for something as simple as the charybdis's struggles strikes me as yet another indicator, despite his mentor's nomination, that Hermes was not Convocation material despite his role as Elpis's chief; his shaken state post-Ktisis would be seen as a reaction to the "accident", and he likely knew how to mask (in the social emotional sense) and give the right answers despite his own depression and doubts. And with none but Venat remembering what else happened in those days at the facility, he managed to obtain the role anyway, now that he believed his Meteion project to have failed.

[travelling-hydaelyn]

Endwalker Patch 6.55 Quest: The Coming Dawn

[marronbunnie]

her…

[mothwingwritings]

I will never be normal about this cutscene.

[parallelkozak]

finished endwalker a few days ago 🌟

[aotopmha]

I keep going on and on about the gameplay/story integration in Endwalker, but I think Vanaspati is another great example.

In my eyes it's a little bit of a milder narrative example than anything that came before, particularly all of the level 82-83 gameplay sections, but I think it excels at a different aspect of storytelling, which is specifically creating an atmospheric story set piece.

Especially the run towards the final boss feels incredibly impactful because of how massive in scale the destruction of the forest below is shown to be.

I've seen Vanaspati be compared to Holminster Switch and I agree with that comparison.

They're both equally good at creating a similar set piece of selling the scale of a new unknown enemy force with the difference that at this point in the story, we don't really understand the Blasphemies and how they truly work at all.

While Holminster sold us the horror based on knowing, Vanaspati sells it by us knowing basically nothing.

The revelations in the cutscenes after the dungeon fix this, and I just really like how the story manages to still create enemies that you fear after making some characters survive the craziest circumstances possible.

The nature of the Blasphemies is horrific because anyone who turns into one is automatically gone. The souls do not even get a chance to be reborn. They're just gone.

(Shoutout to the Arkasadora family turning into Blasphemies one by one as they succumb to despair at one point during the dungeon.)

I love, love the monster design for them. They were great in Amaurot and I dare say, the bosses in here are also mechanically more interesting. Amaurot is a great set piece, but I'm not sure I care for any of the bosses in there mechanically.

While I think there are some really neat mechanics here, particularly for the final boss.

I really like the "meteor" mechanic here. Was a cool variation in Zodiark, is cool here, too.

And with finishing Vanaspati and learning more of the foe we face, we're firmly back from the moon and at the lvl 85 quests, about half-way through Endwalker.

I have nothing else to say here, really. I think it's just a really good story.

[artctrlcee]

Closed Waitlist available: HERE Thank you everyone for the support!

May VGen applications now OPEN

VGen link: HERE

Before we trail to the new dawn, let's spend a little more time in these iconic Endwalker memories. Requests will remain open for 24 hours, with potential to remain open if slots not filled.

Scion choices: Alphinaud, Alisaie, G'raha, Urianger, Y'shtola, Estinien, Thancred Ancients choices: Hades, Hythlodaeus, Hermes, Venat, Themis, Erich, Lahabrea

[junjou-laina]

die

[caemidraws]

Endwalker

[varethane]

Just remembering that final fight with Zenos..... no one tell the Scions about this.

[autumnslance]

G'raha's Leadership in the Final Days

Finally got PunchyCat to the Final Days, and while we often speak to the big cutscene where G'raha "goes into Exarch mode" and takes command in the chaos, before that he and the WoL run around Radz-at-Han investigating the Blasphemy, and even there, G'raha's many years as Exarch really show through in how he interacts with the traumatized and terrified people.

Rahdvira: Sisters have mercy, what is happening to the world!? What am I to do…? Is nowhere safe!? G'raha Tia: Settle down, friend. The danger has passed…at least for now. If it's not too painful to remember, could you tell us what you saw?

and at the end of the man's tale:

G'raha Tia: That is enough, my good man. You were brave to share with us your tale. Many of your fellow merchants are safe. The High Crucible, too, has survived mostly unscathed. Pray stay close to your friends and loved ones, and rest your body and mind while you are able. G'raha Tia: I suspect that is the most we can expect the people here to tell us. I think it best we find a place outside the bazaar where we might rest and review our findings.

Choosing to Speak with G'raha...

G'raha Tia: It might distress those still traumatized by the incident to discuss what we've learned within earshot…

He also remembers the details of how WoL knew Khalzahl (thanks to that great memory of his, hearing the reports of the first trip to Thavnair). As Mihleel is shaken by remembering the terror erupting at her tables, however...

G'raha Tia: Forgive me. I would not have you recall the memory if it brings you pain. If I could, I would ask just one more thing.

After getting directions to Khalzahl's neighborhood, WoL and G'raha question an older woman:

Mahti: I don't travel much these days, but my daughter's told me not to venture outside. Stuck in here as I am, I've heard little about these bizarre goings-on. G'raha Tia: Rest assured, the city is safe for now, but the situation may change without warning. G'raha Tia: I urge you: stay close to your daughter, and be prepared to take refuge should the satrap order it. Mahti: Yes, I shall do just that. Thank you for your concern, and pray stay safe as well.

And then the sleepy Arkasodara down the street:

Parigha: Hmmm…? Could you come back another time? I just woke up, and I'm not exactly in the mood for idle chitchat. G'raha Tia: Well, that's one way to avoid the panic, I suppose… G'raha Tia: Pardon our intrusion. You may not have noticed, but a great danger has come to Thavnair. I encourage you to stay alert, and prepare to flee the city should the situation turn dire. G'raha Tia: But before we leave you in peace…pray allow us to ask a question or two.

And finally, when dealing with Djinabaha at Ruveydah Fibers, helping the employees pack things away before he'd even talk, G'raha finishes with this as we go on to the next quest (and Ahewann's fate).

G'raha Tia: My friend, we must take our leave. I pray that your establishment is spared further tragedy. But remember: your lives are far more precious than any wares. If you are ordered to flee, do so without hesitation. Djinabaha: Indeed… I thank you for your concern, and pray you two take care as well.

G'raha knows how to talk to people shaken by disaster, calming and reassuring, and giving them clear advice and action to take to keep themselves safe. It's a handy precursor to his taking command in the next cutscene, reminding us that he is, unfortunately, all too familiar with events similar to these, and this steadiness, thoughtfulness, and concern comes from too many years of practice.

[pilinonia]

some keychain concepts

[figgyroo]

She’s so cute!!

[itsmeishmi]

Year of the Dragon Year of the First Brood! HAPPY LUNAR NEW YEAR! With my attempt at a Bahamut and Ratatoskr too! ;v;

[gigghoul]

the award for the worst dialogue in ffxiv GOES TO...........