#THAT'S ... THAT IS LITERALLY THEIR ROLE IN THIS STORY...? THIS IS THEIR FATE THIS IS THEIR PURPOSE THEIR DESTINY.

[ibelievewhatyousaid]

The Sinner’s assigned Abnormalities in L. Corp are very intriguing to me, as not being a general “resonance,” that Limbus uses with its current day Ego. But! They were assigned that for a given reason, even if only on a meta level, so I’d like to put my two cents into it as I love the Lobcorp Abnos so much. These are simplified summaries of the Abnormalities and speculation on how they fit said Sinner.

Faust - Forsaken Murderer

I do not believe she has an Ego Gift adored to her except the one for this Abno, so we can focus in on this purely; all being of Forsaken Murderer. (On this note, although I am not talking about the realization Ruina Egos, Meursault has Ego for this Abno as well) Forsaken Murderer in his original logs was said to have been a murderer in federal prison to have been sentenced to death. Before that could take place, a bunch of researchers decided to experiment on him. They wanted to prove an innate “evil,” existed and on a further level, they wanted to “cure,” him, although unclear what it really was they wanted to cure. Their experiments twisted out all of his penitence for violence, turning him docile, until he came to this belief of ringing in his head, that his head itself had became metal, leading to self harm against himself. Eventually a fatal accident happens, the researchers jump the ship and decide to simply dissect his brain, until the end he muttered, “ends, begins, ends, begins, end.”

NOW, this is hard to shape into Faust’s story, given how little we know about her on a deeper level, but, I think there’s already (shallow-ish) connections we can make. Faust has a lot of implications of science experiment (Child in a Flask, Telepole) whether we take this ‘literally,’ it’s safe to say either way Faustcord keeps her on a tight leash as being an “experiment” of a Faust who is willing to take a gamble. A lot of Forsaken Murderer focuses on the fact he is chained and tied up but “free as any other man,” we could take this as Faust’s expectation of being a skilled scientist and genius who is bound by those around her, to fulfill that role, yet “free,” at the sake of being all knowing. Faust is “omnipresent,” yet she is just another in a chain of command. In TKT she mentions to Vergilius that both of them “know their place,” despite how great she is, how “free,” of knowing she is, she is just another chain, in both the City and Dante’s contract to the sinners. We can also go deeper with this concept of “inevitably,” of the city, given to her by a predestined plan of fates, in every mirror world, how it all will end has already been put into motion. To know of how tied you are to fate surely must be a token of freedom as well, can’t it? He also seems to have a bit of an ego, a Ruina line of his being, “Don’t look at me with those eyes. You’re the most pitiful one here.” Which, fits Faust’s need to be above others, such as “Faust is brilliant, smart, Yi Sang is a genius.” An implication that Yi Sang had a cap on how brilliant he can be, something he must’ve lucked into, Faust was born to be great. Even if she is regrettably pitiful in every other aspect. An inability to connect to others or form meaningful attachments, this especially rears its head in events were her intelligence creates gaps between her and others, all of MotWE or Dante’s brush off of her in Canto 6 when she cannot given them an answer, or, even earlier, Sinclair accusing Faust and Limbus using the Sinners as compasses to boughs. In all situations it leaves her isolated and awkward, unable to answer, creating a larger, pitiful wedge between her and others, despite how great she is. She is still a thing to be “studied,” whether from an actual scientist or to other versions of her, or those around her, she is a spectacle.

Outis - Der Freishütz / Bloodbath

The story of Der Freischütz in Lobcorp was of a marksman making a deal with the devil, the devil proposed that the gun could shoot anyone, on the last bullet it would pierce the person the marksman loved, in return, the devil would gain the marksman soul in hell. The marksman thus went through all his bullets, killing off all his loved ones. The marksman traveled, simply doing good and bad deeds in impulse, no sign of an actual moral code. Eventually, he realized that the devil had long since stopped following him. He realizes that the contract had long been fulfilled, since the very beginning of him giving up his loved ones, did he fall to hell. And so, now a devil as well, the marksman continued to shoot anyone he wanted, forever.

Again, another sinner we’re left out in the cold for. But, to tap into Outis’ source, The Odyssey, the story follows Odysseus’ desperation to finally reach home, to his family. As the stories play out the more Odysseus gives up his morals. To sacrificing his men to no mercy, a king who was once gentle and kind, gives up all people around him to succeed in arriving home. Of course, from the start, Odysseus had given up his family, a mother who died alone, a wife left waiting for over a decade, a son who had never known him. Odysseus also makes many deals with Gods around him, something he pays greatly later for. Of course, none of this is a one for one, but I think it is to mimic Odysseus, or here, Outis’ slower decent into someone who hurts those who she loves (or should’ve) by her cruelty, once Odysseus had set off to war was the moment he was bound to lose everything. Which, is very similar to how Der Freishütz is, he had lost his humanity the moment he made the deal.

Bloodbath is a Abno based overtly on Carmen, but, to ease it into a more general baseless story, the Abnormality represents: “the pain of all those who couldn’t take their sorrow in stride.” A huge focus on Bloodbath is the guilt of love, of unable to achieve success, using “scars” as marks of failure. The bath mocks the person peering in with hands reaching out desperately, as if begging to be saved, or joined, in this misery. It’s a sign of endless despair, unable to ever reach the climax of this, the only outcome is to accept this wave of despair and let yourself accept it.

So, arguably this fits Outis really well just on the bases of the line: “Many hands float in the bath. They are the hands of the people I once loved.” This once again, is more of a line of thinking born from her source, but a lot of Odysseus’ guilt is haunting to him, specifically that of Penelope, but overall, he gives up many men, including people very close to him, to never truly “succeed,” I feel like this one is easier to connect to, given what I said of the previous Abno to Outis, so.

Don Quixote - Meat Lantern / Void Dream / Fragment of the Universe

Meat Lantern is quite.. obtuse, in its logs, both in Lobcorp and LoR most is left obscure. Which is terribly fitting. Meat Lantern, by your guess, is obviously not a tiny little flower. The logs say that it is gigantic, underneath the entire facility, always waiting, it lures people in, in L. Corp’s lens, it lures in employees by being a lantern, something shiny, full of hope, they haven’t seen stuck underground for so long. Any nature, any lights, something that wasn’t horrific or artificial has long since been lost to everyone there. It’s easy to feel it calling to them, to reach out, to touch, but it’s all a ploy to devour and eat whoever trusts it.

So, Donqui’s Abnos are actually what made me originally want to write about them. I had written out my analysis of hers a few months before, but it was too hinged on my own reading of her that it felt easy to write off as me sounding insane. But! With the reveal of MotWE.. this seems, pretty obvious. (Glad to know I’m not too crazy) Don Quixote wears a mask, one of “hope” something born from really just being .. silly, of something rare in the City. Someone who genuinely believes in good? In hope? Here? As “Don Quixote” stands as an ideal, a concept, “too good to be true.” and beneath that is a “reality,” no one’s has “really ever seen.” (as the log says about the “real body” of Meat Lantern) and then “devours” people. Yeah. I bet.

Void Dream’s logs follow someone who has Void Dream eat all their nightmares, giving them the best dream they could have imagined, the person they love had returned, even working in such a horrible company that is L. Corp was good. Everything was so, so amazing, a perfect ideal world for the dreamer. When waking up, the person was crushed by reality, when forced to confront the truth they became despaired. They tried to find those dreams again, in an obsession, but, they never did come back. The employee comes to the realization that Void Dream’s deal was too good to be true, that from the start, the Abno had set them up. And they had lost, unable to enjoy either sides of reality or dreams, they find their way back to Void Dream and beg them to eat all their dreams. Stealing away all their dreams, nightmares, hopes and despairs, virtually leaving them empty. When Void Dream is accused of leading people on, it brushes off the person, insisting it just wishes the best for others. The line, “a demon must change its shape to deceive others.”

Originally, I had read this purely as Don Quixote being put into the victim’s prospective, someone who “wakes up” from a perfect dream to be crushed by reality. And, I don’t actually disagree, I think this still 100% fits. But I think her fitting “as” the Abnormality makes perfect sense, too. Obviously, the whole “deceiving others,” line fits. To change one’s shape, a “demon” a Bloodfiend, to deceive others into seeing it as innocent, pure, true to the ideals it preaches. But, and this is a bit speculation on what we know very little of, “Don Quixote,” was given, or is a dream herself that a Bloodfiend wishes to dream, that Bloodfiend must’ve spun this tale, this “perfect” dream is an “act of kindness,” despite not being kind at all. Despite giving out this dream, not only to herself, but to others around her, does it lead to destruction and a harsher fall to reality itself.

Fragment of the Universe.. actually isn’t an Abnormality. At least, not traditionally, if the logs are true. The log mentions how it let itself be caught and studied, and through studying they declared it “intelligent enough” to communicate via language, thus, it learned more and more of humans and humanity. It became endeared and loved people. It reflected what it saw, leading to it looking like a kid’s drawings of hearts. When asked why it had came to interact with humans, it said it wanted to spread messages. One being its song, a song of the universe that drove people crazy, but also let them “finally see the stars,” and also to inform everyone that “there are no coincidences in the universe.”

FotU is really intertwined to its love of humanity, even its design is rooted in this love for the species. Its aim to spread its song is to “relieve” people, as well, even if misguided or unable to be understood. I think Don Quixote, as a concept, is so terribly human. She’s overly emotional, she’s quick to action, strong morals, she’s clumsy and brave and fearful and determined. She is so very human that it backfires. Given Cassetti’s lines, “we are so, so hideous behind the mask.” and his dedication as well as other Bloodfiends to “run” from being monsters and Elena’s lines of her wondering if she was desperate enough to “chase after being an ordinary human again.” I think the Bloodfiend behind Don Quixote genuinely loves humans, and, most likely, wants to “be” one. And “reflects” what she sees, which is a habit Donqui has, mirroring Merusault in TKT, or wishing to “copy” other sinners from Outis’ wristwatch. Donqui also has a huge tie to stars, so, so many of her IDs have her mentioning them, not to mention her tagline. I think an Abno who knows far more than it lets on, powerful, letting itself into humanity, coming to love them, but never being one, is dreadfully fitting.

Yi Sang - Funeral of the Dead Butterflies

FotDB is an Abnormality born from the pain and suffering of.. Lobotomy Corporation, actually! It’s a mourner who is rumored to wandering the halls of the facility with a coffin for those who are bound to be lost, an early mourning for those who are destined to die, and an incomplete sorrow for those already gone, the coffin too small to fit them all, unable to fall asleep or escape. The ending of the log decides that there is no escape, these butterflies are damned to wait, because there “must be an end to every world.”

I think, just like with Gregor’s case, although the original Abnormality is directly tied to L. Corp, in a more general definition, it is about the pain and sorrow of those inevitable deaths born from things such as K corp, or the Smoke War. Cases of people’s lives being thrown away and devalued, not given proper burials, no home to escape to, a fate to dying here, leaving the mourning to the others in the same situation who simply “lucked out.” In Yi Sang’s case, an “ending for every world,” feels very deliberate to the “world,” in which he was locked up in a cage, passively awaiting the days for it to end, one way or another, only to realize he was able to walk out, that the door was never locked. Yi Sang’s grief and attachment to the League of Nine, the only person who seems to grieve over those loses, alone, carrying that pain wherever he goes. In that sense, “an ending to every world,” could also be turned into a guaranteed ending of things he loved as well. There is more to be said, but this one seems very obvious.

Ryōshū - Spider Bud / One sin and Hundreds of Good Deeds / Scorched Girl / Bloodbath / Big and Will be Bad Wolf

(Oh my God girl. Do you need that many???)

Spider Bud is an Abno that is deeply protective of her babies, quite literally her alternative name being “brood mother,” she reacts negatively and violent if an Agent hurts or steps on her children

Ryōshū has gotten this Abno thrice now. It’s gotta be important, and yeah, it is! This is born purely from her Source, but Yoshihide’s tragedy is losing his daughter, Spider Bud’s entire gimmick is being peaceful (as an Abno can be) unless someone hurts her children, she stalks and watches and exacts revenge against those people. I didn’t want to bring in Uptie stories, but Ryōshū’s uncharacteristic gentleness to the spiderlings who nip at her is really.. striking. Once again, this one feels kind of.. duh, so I won’t go much deeper into it.

One Sin is an Abnormality with the purpose of being confessed to, to relieve one of their sins, it’s tied to religion to Hell’s screen gimmick of.. Hell.. feels, yes, but I feel as though this is more general and disingenuous from One Sin’s connection to Christianity while Hell’s screen is about Buddhism’s hell. Instead this felt more interlined to Parallel Gebura. A lot of people have jumped on this for power scaling fun, but! I think it’s important to realize why Carmen would’ve said “At least similar in this regard,” my take is that a huge aspect of Gebura’s woes in Lobcorp was her unable to protect those she loved. Given Yoshihide’s tragedy here, unable to protect his daughter. I think that is the aim that makes the most sense right now with how very little we have about Ryōshū.

Scorched Girl is another Abnormality she’s already gotten, all in all, SG lives on a sense of angered revenge and self destruction. Her logs depict her to be torn in two from her desire of affection to one of wishing harm on others.

Her attempt at hurting others involves hurting herself, which lines up with Yoshihide’s ending, of his natural self destructiveness, how he makes his art and his death. Her rage also lines up with Ryōshū’s, a want to have back warmth, love she’s lost, but only able to be a match of destruction.

Bloodbath, we already covered this in Outis’ section! I think Outis and Ryōshū naturally align similarly, (Hong Lu, Mr. “Horrific family” isn’t ever the one getting cold or aloof to mentions of family or parents or children, it’s only ever these two!) A guilt of unable to succeed despite how much you gave up and sacrificed, including others And to lose those you love, the hands in the water being everyone you’ve ever loved, by your own faults.

Finally, Big and Will be Bad Wolf! The Abnormality is about being set up from birth being one way. From the way society sees you, you will always be what they depict you as. The Abnormality doesn’t feel remorse over the violence it causes, because it was “inevitable” he’d turn out this way. Who is he to blame nature? Regardless of nurture.

This one is the most hard to really fit without going “well, just a hunch.” I think this could be in regards to Yoshihide’s further and further acts of violence and pain to others around him, but unable to feel that remorse (until it is too late) because he was born with this way. He was “born” an “artist.” Who is he to defy things sacrificed for art? He is unable to be anything but cruel and vindictive, and he doesn’t try to be.

Well, that’s everything I could remember off the top of my head! Apologies if it starts to get a little weaker by the end, I’ve been typing for hours. In general, there’s more I could say or conclude, but, because of how loose Abnos are in concept, as well as how most of these Sinners (everyone but Yi Sang…) haven’t had their cantos yet, it leaves a lot of assumptions built upon their sources and short behavior ticks we’ve seen them display. I won’t say these are confirmed or sure fire takes but more so a jumping off point in fathoming these choices.

[raayllum]

Invert Life and Death Theory

Yesterday, the fandom received two season seven synopses that detail similar mysterious concepts:

The stakes have never been higher as Aaravos and Claudia are on the warpath, determined to destroy the Cosmic Order and invert life and death. With the world’s fate on the line, our heroes must be ready to sacrifice everything to save it.

As Aaravos and Claudia seek to destroy the Cosmic Order and invert life and death, our heroes must be literally ready to sacrifice anything and everything love and believe in to save the world!

I will touch on the 'sacrifice' portion likely here, and then further in another meta that was actually already sitting in my drafts about it (as we've known for a while that S7's main theme is sacrifice, even if I didn't expect it to be so blatantly spelled out in the summaries). But I digress.

Aaravos (and Claudia) want to destroy the Cosmic Order. They want to invert life and death, to turn it upside down (much like Aaravos' chest star I might imagine). Presumably this is to make the Cosmic Order mortal-mortal so that they can be permanently killed and Aaravos can have his proper revenge. He might also be working towards trying to reassemble Leola's spirit somehow.

But what is that attempted inversion going to look like? Well... It does contextualize the weird consistent emphasis his plans have had on the Moon and Sun specifically:

And we might finally know why:

Sun and Moon, Life and Death

In previous posts, I'd speculated there was more than just politics or revenge at stake in Aaravos seemingly killing Luna Tenebris and Queen Aditi 300 years ago. Of course the in-story explanation that's most obvious is that he wanted political instability, which I think is certainly true.

However, thus far there's not really a Reason in-text that it had to be those two. Why not another Earth dragon instead, or a Tidebound king? Throughout the series the elves that have gotten the most focus and worldbuilding have routinely been Moonshadow and Sunfire elves, and it didn't really have to be. And of course we could get into the weeds and say that Earth could've been associated with Life and Sun with death, etc etc. but the point stands that I think this series long focus on Moonshadow and Sunfire elves/philosophies in addition to Aditi and Luna Tenebris' deaths/disappearances makes a lot of sense if Sun = Life and Moon = Death, and these are the things that Aaravos wishes to invert upside down.

The fact that this reflective relationship between Sun and Moon possibly ties into Aaravos being in a mirror, characters having shadow selves running around in the narrative, and the emphasis on mirrored images in the dark magic dreams we see also makes sense.

Aaravos already toppled the Sun Forge and thereby Sun Primal on his way through to the Storm Spire. Going back to the Moon Nexus in S6 was a welcome callback to Through the Moon, but the Moon Nexus specifically having a portal between life and death... reminding us of that location because it's going to play a much bigger role next season (potentially like other characters, like Aanya) could be on the table. In taking Lux Aurea, Aaravos got the corrupted Sun staff after all.

Speaking of which, let's talk about

Rayla and Claudia

I don't think I have to explain why or routinely how Rayla is associated with the Moon as a Moonshadow elf. Secretive yet open, caught between love and duty, life and death, truth and lies, light and dark, Rayla embodies all this and more. Callum has also asked for her to be his Death if push comes to shove and he's possessed again, but she's also what has saved him in S6 from said threat of possession (and likely will again). This isn't to say that Aaravos needs a Moon arcanum and is going to take Rayla's (though I suppose he could), I think the likelier outcome is corrupting the Moon Nexus (and hence why you animate/rig Lujanne, Allen, and a new Phoe-Phoe design under your software at all). But it does mean I think Rayla will be a mirror to Claudia / whatever is happening with the Moon Nexus as a way to manipulate Callum, per usual.

Conversely, Claudia has wielded the corrupted Sun staff — a literally corrupted light that represents dark magic to her outright in S6, and one that she uses as a literal and metaphorical crutch — since season three, only occasionally using her father's staff with Viren only using the Sun staff for the Hearts of Cinder spell. She's a sun that's already been eclipsed by Aaravos, by death, in more ways than one. Someone who's walked a continually bloodier, darker path the further the show has gone on.

If and when Claudia gives up dark magic, she'll be 'restored' as the Sun — uncorrupted, bolstered by the truth ("Careful, if you tell the truth you will lose her"), shining brightly again. In the meantime, though, if Claudia is brought home in parallel with Callum being saved from dark magic corruption in S6, I think someone else will be Claudia's 'sun'. So let's talk about it.

Trials and Tests of Love

While we might see more — I could see Karim getting a trial on a technicality in S7 — as it stands now we see three former trials in the series. The first is in S4 among the Sunfire elves with Lucia, who ruined a sacred ritual by putting out a light, and is declared not innocent but worthy of life over death. Then we see Leola, who despite being truly innocent is condemned to death by the Star/First Elves and is made into nothing more than a light star known as Leola's Last Wish. Finally, we're going to seemingly have Rayla, whose actions did lead to the death of her troupe of Moonshadow assassins in the Silvergrove.

Just like with starlight vs moonlight vs sunlight with the Celestial elves, and Astrid + star magic creatures like Sir Sparklepuff in particular....

AARAVOS: Otherwise the sun will rise, and you will not.

We see this pattern of sun, star, and moon again with the trials alongside ideas of mercy, innocence, and concepts of paying the price.

Meanwhile, in season six, both Claudia and Callum were searching for their deep truths. Their path. Callum found his in Rayla and accepted it wholeheartedly. Claudia thought she'd find hers in Viren ("I'll look at him and I'll know / I need him to show me the right path"), but found only his body and the prison he left behind. Of course, the main reason that Viren died in season six was that he wanted to save Katolis, and more than that, he wanted to save his son.

She said that this was my home, and that my brother and I needed each other.

If Claudia is an eclipsed sun, a form of life turned death, than Soren is the uncorrupted version of the sun, ready and willing to guide her back if she'll just give him the chance. And in going back to Katolis, in sparing/saving Soren, Viren did help give Claudia what she needed in order to find her true path some day, too: a life with her brother and Terry at her side.

Claudia's first real test of love in the series was whether to choose the egg — the world, her father's wishes — over the safety and wellbeing of her family — her brother. She made the right choice.

I'm here.

It'd make sense if one of her final tests of love was a similar trial — maybe even if Callum under possession/Aaravos' control hurts Soren ("Oh I've been stabbed by the stab-prince!") — and Claudia once again chooses her brother over everything, just as he chooses for and fights for her. She ultimately chooses life over death, reflecting the massive change in herself and her character arc.

Likewise, Rayla being a Moonshadow elf saved from death ("I leapt to my certain death, but you spread your wings and you saved me" / "Finnegrin was going to kill you, I didn't have a choice") from Callum means breaking his promise, yes.

However, it also frees her up from needing to be an assassin and therefore from needing to behave like she's "already dead" or that Callum is. The possession/corruption would be a fate worse than death / metaphorical to literal death and rather than delivering either, Rayla would save him in turn. Like Claudia, she chooses life over death, symbolizing the same turning point. Callum, meanwhile, could get the Moon arcanum by realizing he has dark and light inside him; this may not mean a total blank slate (idk if they'd repeat that) from corruption, but a way to permanently throw off Aaravos' control of him regardless.

Life, over death.

Life and death working in harmony under principles of justice, mercy, and compassion.

Conclusion

This is more of rambling "notes on top of all this" place than a proper conclusion, but just a summary of stuff / some speculation for later:

Aaravos needed Moon and Sun stuff specifically from Luna Tenebris and Queen Aditi and that's why he killed them

Aaravos is going to successfully make the Cosmic Council mortal, even if that means making himself mortal.

This makes him more powerful than the Council and they may have reason to ally with our main team in order to take down Aaravos and/or be destroyed themselves

Rayla as Moon and Claudia as Sun reflect both life and death, but each will likely choose life over death; for Rayla this is about a certainty, for Claudia it's more up in the air if she'll have her redemption arc yet (I could see it getting pushed further to arc 3).

I think it'd be really nice if the inversion of life and death had broad implications meant some characters got to say goodbye, like Callum and Ez having a moment with Harrow and/or Sarai

And I think that's about it! What do you think inverting life and death may mean?

[evenings-at-the-seaofquanta]

Having a moment rn

Also on a more general note:

[teafiend]

Reviews (summaries) of a few of the drama adaptations for [Legend of the Condor Heroes]/ 「射鵰英雄傳」 from the last three decades:

*Drama posters are from oldest to latest (from left to right, top to bottom)

1983 version (starring Barbara Yung and Felix Wong):

Too young to remember and never rewatched. A feted classic from Hong Kong TVB’s heyday. The only thing I will unequivocally say I love about this version is the iconic theme songs, which are the only musical tracks I can easily recall and identify when it comes to the numerous adaptations.

1994 version (starring Athena Chu and Julian Cheung):

First love. Good performances. Beautiful and ultra-cute JingRong. Favourite balance of visuals for JingRong. Solid production (HK TVB). Newish classic. Faithful to the main storylines. The version which made me fall for Guo Jing and the saga. Sometimes, however, first love only goes so far.

2003 version (starring Zhou Xun and Li Ya Peng):

Gritty. Jiang Hu. Sweeping epic. Mature vibes. Tragic and heartbreak-tinged. Faithful to the main storylines. Brilliant JingRong. Elegantly cultured Huang Rong. Earnestly chivalrous Guo Jing. Love both the portrayals of Guo Jing and Huang Rong (despite the many criticisms received). Loved the veteran gravitas of many of the supporting casts. Performances were fabulous. My only gripe is with Yang Kang (and his actor, Zhou Jie, whose performance I was not especially partial to, but he did okay though). The best Mongolian segment(s) out of all adaptations. Favourite drama adaptation (to date). The main and ending theme songs are fantastic, and the opening track has quite an epic saga feel.

(Some audience disliked ZX’s portrayal, and criticisms abound about her using her own voice during the show - which is a bit husky - but I had absolutely no issues with it. I thought the criticisms weirdly petty, actually. As someone who does not find dubs at all nice, I appreciated her using her own voice/dub for the series. LYP also received his fair share of criticisms for his portrayal. Personally, I enjoyed both tremendously).

2008 version (starring Ariel Lin and Hu Ge):

An adaptation I skipped as neither mains appealed to me, and Liu Shi Shi as Mu Nian Ci was not enough of a draw to make me trudge through an adaption I read was not particularly faithful to the novels. Visuals and vibes wise, I just could not see Hu Ge as Guo Jing - which is simply a personal preference - but I do not doubt that his performance/portrayal would have been fine. That goes for the rest of the cast and their performances.

2017 version (starring Li Yi Tong and Yang Xu Wen):

Pretty. Vibrant aesthetics. Wuxia vibes. Relatively youthful. Commendable production. Sweet, lovey-dovey and affectionate JingRong. Cutie - and handsome - Guo Jing. Excellent Huang Rong. Faithful to the main storylines. Highly enjoyable. Main instrumental track a clever nolstagic callback to the classic Hong Kong songs/themes. Good production. Superb performances overall.

(I found this version’s GJ a bit too prettily handsome, which is lovely but also felt a bit not-GJ. Still enjoyed his portrayal a lot though).

2024 version (starring Bao Shang En and Ci Sha):

Strong Wuxia vibes. Solid aesthetics and production. Youthful. Squee-worthy JingRong. Adorably devious Huang Rong. Favourite Guo Jing and JingRong (to date). Wonderful performances all around. Faithful to the main storylines. Some distinct emotional beats.

Especially noteworthy was the beautifully shot and conveyed scenes from near the end during GJ’s mental and spiritual struggles with his grief and martial abilities. Superbly done and went to the heart of the novel’s themes.

Flaws included pacing and issues with storylines length. Uneven focus. Lack of epic-ness.

(Ci Sha is not really my cup-of-tea visuals wise but he looked and felt like what Guo Jing *should* be and his performance was compelling and layered. His portrayal embodied the 靖 of 郭靖, and I think that meant something significant. He truly came into his own by the last third when the confidence and composure GJ cultivated throughout the series made his nuanced portrayal fangirl-scream worthy. *fainting away* Love his steady, gentle and devoted GJ to bits. The focus and complexity they afforded Yang Kang in this version made him a much more complex and conflicted antagonist, which was fascinating. This Wanyan Hong Lie inspired major feelings for a character I already found especially interesting and tragi-complex since the 2003 adaptation. The soft-spot I have for him is too real).

[helleboresoul]

Vax’s love is so strong for Keyleth he’s willing to be punished by the Matron to make sure he visits Keyleth and keeps her safe

[lameow-l]

so wait… furina is the name of the archon role that “furina” had to play

wouldn’t make more sense narrative wise to give her a name of her own?? like scara gets his own epic chapter about him ridding himself of his past and adopting a new name then proceed to ignore said name in favor of “hat guy” but the actress playing “furina” doesn’t get to be known for her own name?

like people of fontain (partly maybe) know the truth so why not let her free? let her enjoy the simple human life she so so longed for? even the other furina wouldn’t want this

[bylertruther]

i wish some villain enjoyers could just be regular about liking villains. a character can be tragic, incorrigible, piteous, and abominable all at the same time. i mean, a majority of the time, it's that exact mind-boggling dichotomy that makes them so alluring! reducing them to a dull "uwu abused little neurodivergent minor babyman who isn't actually evil 🥺" is just... so boring, and tame, and not what that fictional cunt in question would want you to do lol.

there's nothing inherently wrong with exploring evil and morality through fiction—it's the same as exploring any other topic or theme. liking cersei, the joker, azula, hannibal lecter, chucky, and so on and so forth doesn't mean you're going to go out and commit war crimes or kill people lol. just like liking spider-man, eleven, jessica day, or finn the human doesn't mean you're going to protect the elderly from getting mugged or save the world.

like... all i'm saying is at least do it with your chest like everyone else does with heroes. you don't gotta close your eyes and pretend that the genuine evil these characters have committed doesn't exist because all of a sudden that goes against your sorry bastardization of them. i promise you that no one is going to come into your room and punch you in the tit for daring to acknowledge the entirety of this character you claim to love and their purpose within the narrative.

just.. why gun for a villain if you're not gonna love, accept, or even look at their villainy? what's the point? where's the fucking pizzazz? isn't the whole point of a villain that they do villainous things, at least in the eyes of the heroes? the horror isn't a bug, it's a feature. it's... literally the entire fucking point lmao and you're missing it entirely. talk about cringe!

[potatoesandsunshine]

the fact that none of u were there for my last campaign like... only i know about bee & it makes me insane. during her epilogue she got her heart ripped out and replaced by a different one if you ever wondered.

she fully lost all her holy power and wandered the edges of the fey realm a little too long and now flowers grow in her hair every night and occasionally try to ensnare her lover. she's everything.

and she raises horses now. she never picks up a sword again until the demon war situation comes back into play

[theatricalmage]

The brainrot took over and so here's a vat7k hadestown au!! Don't know if I'll develop it fully but I liked designing it at least!

More info under the cut:

- Varian, the Coronan royal alchemist, tasks himself with deciphering an incantation capable of bringing the world back into tune. Times are tough, and the royal family + Quirin are doing their best to cope with the meagre crop yields and desolate weather (Corona not really being the sunshine kingdom - hasn't been for a while). He wants to help and do good and I think he'd be a good Orpheus.

- Hugo, having moved about from place to place, still has his interest in alchemy and does what he can to get by. He plans on temporarily staying in Corona before looting, but he encounters a certain like-minded scientist at the Snuggly Duckling. I think him being selfish works especially well in Eurydice's role, having a more pessimistic view of the world. It also works with how he gets drawn to Donella's offer of working for her later on, leading him to his death.

- Ulla as Persephone! I was initially stuck on whether to have Rapunzel (and either Eugene/Cass) as her (and Hades) but I was drawn to the connection that Hugo has to Donella and the Donella/Ulla relationship in vat7k just works too well. In this case, Ulla won't be Varian's mother. She's still gonna be somewhat of an inspiration to him though, being the previous Coronan royal alchemist and for her intelligence. For half the year, she'll return to Corona with food, drinks, and alchemical compounds/inventions, bringing Spring and Summer to the world, if only for a bit.

- Donella would be such an interesting Hades, losing sight of her love for Ulla, heart filled with fear and hurt, leading to bitterness and cruelty. Ingvarr being Hadestown and how by being the esteemed Ingvarrian engineer, she'd be in charge of major technological advances across the kingdoms and so would wield a significant amount of power (like how Hades is literally the ruler of the underworld). Ingvarr essentially being a near death sentence for its workers while also displaying its technological prowess, all still shrouded in mystery and corruption - a place so otherworldly compared to the rest of the kingdoms.

I didn't want to modify the outfits too much nor the personalities,, if anything I imagine the general plot beats being the same as the original musical/story but with slight differences that'd you get inherently as a result of these characters. I wouldn't want it to be the case where it's just the show but the names are changed. I'd want this to still make reasonable sense in this AU, with the actions being understandable for this particular cast of characters.

For Hermes, I ended up picking Xavier, as he's most knowledgeable of old legends and stories, which would work in reference to the Hades and Persephone myth (and so Donella and Ulla)! He'd act as a mentor figure for V, someone who can guide him in uncovering the forgotten incantation. Quirin would still be the good supportive dad he is (even if he doesn't fully understand his son's project).

Last but not least, the fates!! often lurking in the background, I'm still a bit stuck on who it could be? I'm tempted to have it be Raps, Cass, and Nuru as they've had celestial connections at some point (and ya know how stars can represent fate), but I also love the freckled siblings dynamic so much. Also Team Radical... Maybe Raps and Cass can be their normal selves but their Sundrop/Moonstone counterparts are the manifested physical forms of the fates? They wouldn't be visible to the characters though, just voices in the wind.

Anyways yeah!! Those are my thoughts. Do let me know if you've got any cool ideas or questions. I'm really combining my interests at full force and there's nothing anyone, not even myself, can do about it quite frankly. 😮‍💨

[la-pheacienne]

The level of gaslighting is so high in this fandom that someone who is not familiar with the actual story will think "Targnation" is a bunch of weird fangirls obsessed with toxic blond men. Meanwhile what defines most "targ stans" normal asoiaf fans who are not pretentious holier-than-thou nerds is merely the belief that:

Dany tries her best at using the enormous power she has for good and it will be really cool to see her take her home back, unite the kingdoms against a common threat and instigate a positive, radical institutional and structural change. This is a very hopeful arc that fits into the romantic theme of asoiaf and contrasts nicely with the nihilistic/grim-dark perspective of the show (and the show's dudebro fanbase).

Rhaenyra was usurped and burned alive because she was a woman. If she was more conforming to Westerosi norms she would have still been usurped. If she was a man and much worse in political skill or character, she wouldn't have had that fate. Her behavior/flaws/decisions had little to no effect on her demise. It was misogyny pure and simple that caused the dance. This is a very nice foreshadowing for Dany being the last descendant of that house, the one who brought back the dragons, and the one destined to save the world in the war for the dawn.

Rhaegar Targaryen was not conceived by the author as a Machiavellian pedophile but as a positive role model for Daenerys contrasting with Aerys and Viserys and kind of prophet-character foreshadowing Dany and Jon's arrival and role in the war for the dawn which is what the book series is all about as per 1) the title (which he gave to the book) and 2) the very first page of the book.

Jon will probably give a fuck about his parentage and he will probably want to connect to his Targaryen father and family in some way. Which will probably happen through his relationship with Dany.

Like that's literally it. For some reason all of the above ended up being controversial in online spaces, as if we're part of a weird and sinister conspiracy theory and saying those things suddenly gets us in the "oh oh, targ stan alert" zone . Ahm, that's not targ stan bias that's kinda what the book series called asoiaf is all about, but you do you!

[heliads]

Hey babe, if you're still taking requests, can I request something for Harry Hook from descendants? It takes place in an AU where basically all the kids are "chosen" to be parts of fairytales. (Think Ever After High mixed with School for Good and Evil). This world is complete with everything you see in disney movies with epic fights and songs. Heroes get love ballads and villains get traditional villain songs. Reader and Harry are friends (with feelings) on the isle and get chosen for a story, and are both super excited because they think they'll both be villains together. So imagine their surprise when they get their first song together and it sounds an awful lot like a love song.

This AU has been living in my head for a long time tbh but I have no writing skills T-T. Feel free to ignore it this is not your style or I accidentally sent this after requests closed.

'one story leads to another' - harry hook

masterlist

On the Isle of the Lost, a story is everything. Receiving a good story catapults a promising villain into a fantastic life of infamy, but a lackluster story seals your fate forever to menial satisfaction alone. Henchmen, not gods. Lackeys and thugs, never the criminal boss in charge.

Then again, a worse fate still could befall you. Many would-be villains go their whole lives without receiving a story. They’re not meant for everyone, at all, even if they mean the difference between a true life or a false existence. You can’t fathom training your whole life just to go without, but it’s the reality for many on your island. Even the deck swabbers get to go on exciting adventures with the great pirates of the sea, and even the lowliest prison guard will still live in a cursed palace.

The story controls your life, both literally and figuratively. Once you’re given a story, you’ll have no choice but to follow it out, even if it ends with your death. Then again, a story isn’t over in a matter of days. It’ll shape your life for decades. Even if the main plot is over, you’ll still be someone, and maybe you’ll feature in other people’s stories, too. There’s no way to make it without a story.

That’s why you’ve been throwing yourself into the pursuit of becoming the main character of your own story. You’ve perfected the arts of all things villain– sword fights that always end with you pulling a secret dagger out of a sleeve to tip the scales in your favor, maniacal laughter, elaborate plotting. You could scheme in your sleep or double-cross a traitor with your hands tied behind your back. Although it’s been a long time in the making, everyone on the Isle can admit that you’re the best of the best, and that a story surely has to be coming your way.

The problem, then, is attracting one. Although no rules are set in stone, there are expectations for how one’s story will come about. There will be an inciting event, of course, and then the songs will begin to appear in your head, the footwork and movements placed in your memories without a second thought. You’ll know you’re in the story, and then your life will change forever.

You’ve already seen one play out with some of your closest friends. Mal, one of your best friends since you were kids, got to live out her nefarious dreams, although even she didn’t see the twist coming in her story. Then again, becoming queen of Auradon is certainly a fine trophy for the child of a villain, even if a true marriage of love isn’t quite the way anyone expected her to steal the crown.

Mal has assured you many times over that your story will be coming too, it has to. There’s no way the magic would skip over you, not when you’ve dedicated so much of your life to being the perfect villain for any role. You can lie and cheat and maim with the best of them, surely you’re shaping up to be the arch nemesis in some hero’s grand journey? Your story will be coming your way. Surely. Surely.

And then, all of a sudden, it does. You feel it like a puppet knows its strings. All of a sudden, you have a purpose that you didn’t before. Your feet carry you out of the training yard and out into the sprawling mess of streets that makes up the Isle of the Lost. Your heart soars, and you take to the roofline, staring out at the world before you. It’s yours, all yours, and you know it’s true, so you sing it. The words come to you in a flash, perfect rhymes curling around your tongue as if they’d been there all your life. 

This is what it feels like to be in a story, then. It feels right, more right than anything you’ve known before. Easier than breathing. Simpler than hoping that something like this would come your way, and at last, it has. Nothing could make your flinty heart more proud.

The song ends, and you can hear a ghost of a distant chorus fading out as you make your way back to the ground once more. Your stroll is casual, but the steps are definitely in a specific direction. The last notes fade from the air, your feet stop firmly in place, and you realize that you’re not facing down a potential heist or daring escape but the end of the dock leading into the sea. Directly in front of you lies a pirate ship. 

At first, you’re thrilled– an adventure on the high seas would be fantastic. You’re friends with many of the pirates, even if you haven’t yet gotten a chance to test your fortitude against seasickness before. You cast your mind back to the words you’d just sung, trying to remember if you’d chorused anything about an exciting voyage ahead, or maybe the possibility of sunken treasure.

Instead, your heart sinks as you realize you were talking about exploring what was right in front of you. More specifically, someone right in front of you. And, as you stare with no small amount of trepidation at the pirate ship in front of you, you discover that someone else seems to be in a similar situation as you. Someone who’s just stopped singing a very similar song, who’s standing directly opposite you as if placed there by some immortal hand. Someone you know already.

Someone like Harry Hook.

A belated understanding is beginning to nestle itself between your ribs like a knife in the heart. No, this can’t be. You refuse to believe it. Still, when Harry is the first one to make a move, and walks briskly down the gangplank to stand in front of you, and says in an increasingly cavalier tone, “So, you’ve got your story started too, haven’t you?”

“Harry,” you say weakly. “I didn’t realize that you’d also gotten a song.”

“More than a song,” he says grimly. “I’ve got the whole story.”

You stare at him. “You know how it’s going to end?”

Harry had been doing his best to keep his gaze firmly pinioned on a nearby wall, but his eyes flicker briefly, traitorously, over to you when you pose the question. They snap back immediately, though. For a pirate, he’s never been the best liar, although he tends to make up for it with excellent swordsmanship. “No one knows how their story is going to end until they follow it through.”

You narrow your eyes crossly at him. “But you have a guess, don’t you? Spit it out, Hook. I don’t have all day.”

“Actually,” Harry contradicts, seeming to take great joy in the opportunity to be bothersome, “you do have all day. You’re a part of a story now, love. Your whole life is going to be wherever the wind takes you.”

You roll your eyes. “Thanks, Harry. Very helpful. Don’t try to dodge the question, though. You know how this is going to end, right?”

He sighs. “I have an inkling. Very vague. Probably untrustworthy.”

“All pirates are untrustworthy,” you remind him.

He grins broadly, sharklike. “And all children of villains are saints like you, of course.” He groans at your exasperated expression. “Fine, fine. Although I’d suggest you get better at pretending you like playing my little games if you’d like to keep this up.”

Your eyes widen. “What do you mean?”

“You’ve guessed it already, haven’t you?” Harry says testily. “Think about the songs, Y/N. The melody. That wasn’t a villainous monologue, not even your basic pledge for debauchery and ruin. That was a love song.”

You shake your head frantically. “No, Harry. That was so not right. What is that supposed to mean?”

“Well,” Harry says slowly, “I ‘spose it means we’re meant to fall in love.”

You draw back so quickly that you think you’ve insulted him. “No. Absolutely not. No offense, Harry, but I don’t want to fall in love with you.”

“I’ll try not to let it go to my head,” he says dryly.

You wave a hand dismissively. “It’s not about you, I swear. It’s just– this was supposed to be my story, you know? My whole life. I was supposed to have a glorious adventure, or engage in fantastic battles, but I get one chance at a story and it’s about falling in love? No way. I won’t accept this.”

“You’re acting like I enjoy this too,” Harry retorts. “Quite the contrary, sweetheart. You’re not the only one who’s been dreaming about their story for ages. How do you reckon I’m meant to tell my father that I got a love story? He’d laugh at me so hard he’d probably stop getting scared of that crocodile once and for all. I’m just as unhappy with this as you are, but I’m willing to do something about it.”

You eye him cautiously. “Like what?”

“Let’s play along,” he suggests, and when you look like you’re going to snap at him, he raises his hands defensively and adds hastily, “I know, I know, but hear me out, will you? The faster we get things going, the sooner this ends. You know as well as I do that characters from other stories can take part in other ones, too. ‘Sides, maybe this one isn’t just a love story. Maybe we do travel somewhere exciting, we just don’t know it yet. You don’t have to fall in love with me, alright? We can pretend. We’ll sing our songs, then do whatever we want with our hearts. Me, I’m planning to show my strength by carving mine out of my chest and wearing it as a necklace. It would make a pretty pendant, I wager. Plus, all the crew would be awestruck over it.”

You can’t help but laugh at his words. “Harry, if you cut your heart out, you’d die. If you want a necklace like that, use one of your enemies’ organs.”

He nods appreciatively. “That might work better, I think.” Then, eyeing you apprehensively, “So, does that mean you’re willing to do it? To play along with our story?”

You sigh. “I think it does. It’s not like we have any choice, do we?”

Harry pulls a face. “A girl is cosmically destined to fall in love with me, and in the heat of the moment of her confession, she says it’s because she doesn’t have any choice. Be still, my heart.”

This makes you smile. “You know it’s not personal, Harry. We’ve been friends for ages, I should hope you know when I’m teasing.”

“And I should hope the same,” he says with mock solemnity, although his faux stony demeanor cracks with a wide grin within moments.

You hold out your hand for him to shake. “To falling in love?”

“To falling in love,” he says, and shakes it. So the story begins.

You’re not going to say that it’s difficult, pretending to be in love with Harry Hook. You’ve never had an issue with his company; he’s one of your oldest friends, all of the villain kids on or around the Isle of the Lost have come in contact with each other before, and you and Harry just so happened to cross paths more than a few times. In fact, you’d go so far as to say that if you were forced to sing love songs with any of the villainous children on this island, Harry would be your preferred choice.

And– the problem with that, see, is that it makes this whole thing sound like something it isn’t. You’re not in love with Harry, even if your story seems designed to make you think otherwise. You know how you felt about him before the story began, and a couple of ditties about finding something special in a person you previously overlooked isn’t going to change anything. Harry is your friend. Nothing more than a potential ally.

But then the story takes you two away from the island for a spell, the two of you co-captaining a small sailing vessel by yourselves in search of a magical talisman that would have the power to make every one of your days enchanting. You had assumed it would be a talisman of some sort, that is; yet when the two of you arrived at the hiding place of this supposed treasure and split up to each pursue one length of a split crossroads, your paths looped around so you came face to face with each other again. 

No artifacts, no charms. Just Harry almost stumbling into you, having to wrap one arm around your waist so you don’t fall, his chest rising and falling rapidly as if he’d been running in an attempt to beat your time. You’d chastise him for it were it not for the fact that you were sprinting, too. You wait for Harry to let you go, but he doesn’t, and instead leans closer, so close you can feel his breath hot on your cheek, and then–

You pull away quickly. Harry looks at you like a wounded dog, which makes you feel sick to your stomach. “No,” you say through gritted teeth. “This isn’t– this isn’t us. It’s the story.”

“Is it really just the story?” Harry asks you.

“Yes,” you say, refusing to consider any other option for a second. “You didn’t love me before it started. The magic is messing with our minds. This isn’t real, Harry.”

He starts slowly walking towards you, and afraid you’ll make a mistake you’ll regret once the story ends, you back up in turn, up until the point when your back hits a wall and you can go no further. Harry, however, has nothing in his way but you, and there is nothing to stop him from closing the gap between you once again.

“Tell me it’s not real,” he says lowly.

“It’s not real,” you repeat.

His hand rises to your chin, tilting it up so you have to look in his eyes. He drinks in the sight of you like he’s been marooned alone for days, like salt water has been his only benediction for as long as he can remember. “Tell me,” he says again.

“It’s not,” you insist, but your conviction is gone, drifted away from you on uncertain tides. “It’s the magic. Not us.”

“Not us?” He asks, and kisses you. Slowly, terribly slowly, he kisses you, and in between silently begging him to move faster, do more, you think about all the times you’ve been under a spell in the past, and how this feels nothing like that. Not at all. Whenever you’re under an enchantment, some small part of you knows it’s wrong, giving you just enough hope that you might be able to fight free.

When you kiss Harry, though, you don’t want him to stop. Not at all. Every single particle in your body is beating along to the same erratic pulse through your veins, the one that leans into his touch, reaching for the front of his salt-stained shirt to pull him ever closer to you. If this is your story, you don’t ever want it to end. If there is a writer out there somewhere, feverishly scribbling out your chapters, you hope they never cease, that every one of their movements until the day they die and then past that will bring you more moments with Harry, moments just like this one in which you never have to let him go.

“It’s not just the story,” you tell him amidst ragged breaths when he finally breaks away.

“No?” Harry asks, one brow quirked. Usually, he’d never pass up the chance to gloat, but he looks sorely disheveled, and he can’t take his eyes off of your kissed lips long enough to give him the chance to revel in his victory like he normally would.

Just in case, though, you distract him from the triumph by kissing him again. Somewhere in the surrounding uncharted territory, the waves crash against the shore, the seabirds wheel and sing on the marine breezes, and you find the magic in the one boy who has always been there for you, and always will be, even after your story ends. That is the magic of love, you suppose. Adventures come to a close. Battles are won, heists are accomplished, but what you and Harry share will go on forever. A fitting legacy for the best two villains who ever lived.

[shorthaltsjester]

seeing people use the various pinterest “pain that just made this person kind” quotes about laudna over the past few months truly grind my gears. like. textually no actually all that pain has irrevocably changed laudna in ways that are not kind, has changed her ways that means she dehumanizes herself, views herself as a dead end unworthy/incapable of having a life let alone a happy ending, and she can be calculated and cruel like. it is true that she is playful, but (and this is a theme across all fandoms about women in fiction honestly but especially in cr fandom) the reason her kindness is resonant is because we see that it’s not the only option that she’s resorted to out of her own pain, in fact it’s probably the hardest option faced with the trauma that she has. like the reason the moment in whitestone when she apologizes to percy because she recognizes they are both in pain from the same source, to me that’s as resonant as it is because up until the moment she made that choice to be kind, it seemed equally possible that she would lash out because of the different places they currently are in and that her pain still takes up such a huge role in her life.

this is probably a bigger issue i have with the notion of pain making people kind as if it the people in question have no choice but especially in cases like laudna where currently we’re seeing exactly how unkind her pain can make her — not in a Shes Evil way but just in a. it isn’t actually kind at all to hate yourself even if it makes you docile or willing to bend yourself to the plans of (even well intentioned) others. like, it wasn’t actually the years of solitude and delilah manipulation that made laudna kind, and in fact i’d argue that textually we’ve only seen proof that those years have made it harder for laudna to be kind in a way she might’ve been when she was still matilda; i think particularly of her attitude with children that would be taken more kindly from someone more alive and someone less literally haunting. that also shines in the whitestone exchange with percy, because it’s the recognition that underneath the cold and calculating city leader and the haunting witch come back from the dead again, they’re just two kids who had the unfortunate fate of having been targets for delilah briarwood, as different as the reasons for that were, they still both have to live with the pain, and they both likely would’ve been much kinder people if they didn’t have to.

kindness is a social skill that requires both practice/maintenance and awareness of those who you direct it at, neither of which are particular strengths of someone who has spent 30 years alone with her own voice mediated through a rat puppet or her patron’s in her head. and i do think it’s important for recognize that laudna tries to be kind, but i think the tragedy of her story and the complexity of her character is harshly undersold if you look at her and just ascribe her to the “all that pain and it just made her kind.” it makes the most interesting parts of laudna flat and static and worst of all, agencyless.

[won4kiss]

𖠵 . ׅ ࣪ ⌇𝑀𝐴GN𝐸𝑇IC

ᯓ ᡣ𐭩 bad boy! 𝑙ee heeseung x 𝑓! reader. 𝒢enre fluff. 𝓢ynopsis. in which one single detention session with lee heeseung changes everything ! 𝑤𝑐 𐙚ㅤㅤ 873 ⸝⸝ not edited, kissing, skinship ⸝⸝ ୭ৎ — 𝓵𝗂𝖻𝗋𝖺𝗋𝔂 ᥫ᭡

PLEASE LIKE & REBLOG ! 𓂃

GROWING UP, YOU HAD ALWAYS BEEN THE GOLDEN GIRL. — completely on the top of your all your classes, effortlessly charming, and admired by everyone at school.

heeseung, on the other hand, was the bad influence type boy with a magnetic allure that drew whispers and gazes wherever he went, even having his own fan club.

your paths had rarely crossed throughout all of high school until that fateful afternoon when you found yourself in the same detention room, sentenced to spend an hour together.

the moment you saw lee heeseung in the room, you knew it was going to be one long hour for you. — more under cut !

heeseung leaned against the wall, his expression unreadable as he watched you cautiously take a seat across from him.

"no way— if it isn’t our little golden girl, y/n!" he drawled, breaking the silence with a smirk.

"what trouble did you get yourself into, walking into class two seconds late?"

you shot him a playful glare, feeling a rush of adrenaline at his sudden proximity.

"maybe i just wanted to see what the bad boy was up to,"

you countered, with the boldness of your words, even surprising yourself as you muttered the words out.

his smirk widened into a grin, somehow resembling a cheshire cat as his eyes sparkled with amusement.

"curiosity killed the cat, you know."

but despite his teasing demeanor, there was a flicker of something in his eyes when he let out that genuine smile — a vulnerability that made your heart skip a beat.

and a smile you’re sure you haven’t seen in your four years of attending school together.

as the minutes passed, you surprisingly found yourselves sharing funny stories, telling jokes, and learning unexpected common ground about each other.

you quickly realized after that hour with lee heeseung, he wasn't just the bad boy; he was witty, perceptive, knee-slapping hilarious and somehow very kind beneath his tough exterior.

when the bell signaling the end of detention finally rang, you both hesitated, reluctant to part ways after bonding so well, you both felt a connection you just couldn’t ignore.

"same time tomorrow?" heeseung asked nervously, a hint of hope painting his tone.

you nodded, unable to suppress the smile that spread across your face.

"well, why not? but only if you promise to behave not to get into too much trouble before then."

heeseung chuckled, a deep, magical sound that sent shivers down your spine.

"deal."

over the following days, your secret meetings in detention became the highlight of your everyday routine.

you laughed together, quarrelled over dumb things, and slowly unraveled the layers of each other's personalities.

the golden girl and the bad boy— total opposites yet you two couldn’t possibly deny that you drawn to each other like magnets.

on a rainy afternoon, as you sat together in comfortable silence, heeseung turned to you with a deep look in his eyes that made your breath twitch.

"you know," he began softly,

"i used to think being the local delinquent was my only role in this world. but then i met you, and suddenly, everything feels… different."

your heart raced, literally feeling it pump in your chest as his words hung in the air, charged with unspoken thoughts and emotions.

without thinking, you reached out and intertwined your fingers with his, feeling the electric warmth of his touch against your skin.

heeseung's gaze softened at the sight as he let out a soft smile, his thumb gently tracing circles on the back of your hand.

"i don't want to be the bad boy anymore,"

he confessed, his voice barely above a whisper.

"not if it means i can't be with you."

in that very moment, the world around you faded away, leaving only the two of you and the strong intensity of your connection.

with a surge of courage and impulse, you leaned in, cupping his cheeks gently and pressed your lips to his, almost feeling like a silent confession, a promise.

heeseung responded eagerly, his kiss gentle yet filled with a passion that ignited a fire within you.

time seemed to stand still as you lost yourselves in each other, the feeling of your body’s pressed together and souls intertwined.

the weight of unspoken words and shared feelings finally making its way out in the sweetness of your embrace.

when you finally pull apart, breathless and cheeks flushed pink, heeseung leans in once again and smiles against your lips.

a smile that signified and spoke of newfound possibilities and a future together filled with sweet moments like this.

"i think i'm done being the bad boy," he murmured, his voice tinged with a certain softness and wonder.

“really?” you asked with a hint of amusement on your face.

"mmh, because with you, i’ve finally found something worth being good for."

you let out a soft grin as you leaned into his embrace once again, the rain tapping softly against the windows, the rain blocking out your intimacy and vulnerability you could only share with each other out from the rest of the world.

you knew that this— whatever it was between you, was just the beginning of a love story written in whispers and stolen kisses.

© won4kiss 2024

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[felassan]

From Game Informer:

Solas plays an important role in the game as a central figure and significant character, but the game is not about Solas, hence the title change

Rather than focusing on a specific individual, the focus and centerpiece of the game is Rook's team, stopping the end of the world with this group of specialists

"I think you could argue [these companions] are the best the franchise has ever seen". We will have the opportunity to interact with them in a way that both shapes their story and also influences the main story, including having the opportunity to impact their fate

"Arguably, this game has kind of, in a way, been called Dreadwolf to some degree since its earlier days"

Excerpt:

"When I ask about Solas' role in the story after I learn his namesake is no longer in the game title, Darrah says Veilguard is still taking the Elven God's narrative in a good direction. He adds, "It allows us to, hopefully, give a good conclusion to all the varied attitudes toward Solas that are going to be coming from people who love Solas, who agree with Solas, who hate Solas, people who want to kick Solas off of a building – I think that we give you the opportunity to bring that to a close, but then tell a greater story about The Veilguard and about the world as a whole." Talking to Epler, I learn more about how Solas isn't exactly the big bad I expected before seeing the opening hours of Veilguard. There's a lot more nuance to everyone's favorite bald elf.  "The most interesting villains to myself, and honestly most people, are not just straight up, 'I want to end the world.' To them, they are the heroes of the story, and Solas is no exception," Epler tells me. "Solas always feels that he is a tragic hero but a hero nonetheless, so he's coming into this believing firmly that what he did, that which you stopped him from doing, was the right thing – that you made a mistake. But now he's trapped and can't reach out and actively affect [Thedas], so he needs to work with you. "That allows us to provide a lot of nuance to that relationship," Epler says."

Solas is literally trapped in the Fade after the game's prologue. Rook and co stop his attempt to destroy the Veil. Rook passes out and wakes up in a dream-like landscape to Solas' voice. He explains that he was trying to move Elgar'nan and Ghilan'nain to a new prison because the old one wasn't containing them properly anymore. The two blighted gods are now free and roaming Thedas. Rook has to stop them, but it seems that they will have to work with Solas ("or at least listen to his guidance and advice") to do so

Excerpt:

""So one of the principles we took to when we were building the story of The Veilguard early on was we wanted the beginning of the game to feel like the final chapter of an earlier story and you're coming in right at the end, you're coming in as if you've been chasing Solas – the [Solas at the end of Dragon Age: Inquisition's Trespasser DLC] who said he was going to end the world and tear down the Veil," Epler adds.  Epler says players will see early on (and as the narrative develops across Veilguard) that Solas sees much of himself in you, the player-controlled Rook, especially "the parts that maybe he doesn't like to face." As a result, there's an interesting push and pull between Solas and Rook. He says players can define the relationship between these two characters with their choices in dialogue.  "You can continue to be suspicious and hostile towards him, or you can start to see him and find that common ground, that connection between the two of you, and really develop a different relationship over the course of the story," Epler says."

[source]

[catboymoments]

for your inverted fate au

what is this version of Camila like and how would her story in escaping expulsion, reaching out, and clouds on the horizon play out

OKAG SO. CAMILA AND HER VIBES.

I cannot stress enough that even though she’s technically in the role of both Odalia and Alador she’s literally just canon toh Camila but a witch. She’s a great mom but she struggled growing up in the coven ruled system and doesn’t want her smart and talented and silly daughter to struggle too, especially after She lost her husband and Luz’s dad. So she makes some decisions that aren’t the best but are well meaning and made out of fear rather than as a punishment or a means of control, MUCH like sending Luz to camp in the show. (More below the cut)

In escaping expulsion I’m thinking that she has a meeting with the principal and the gang (I’m considering switching Bump with the three eyed :3 mouth monster lady but she doesn’t have a name) and is like “Luz, I love your creativity, but all the trouble that you keep getting into isn’t okay.” and she’s worried about these kids she’s hanging out with!! However they just get suspended instead of expelled. But I’m thinking that amity’s headstrong dramatic ass would go to the Noceda house and be like “MRS NOCEDA. ILL STRIKE A DEAL WITH YOU AND PROVE THAT WE ARE IN FACT GOOD FOR LUZ AND ILL HELP WITH YOUR BEASTKEEPING JOB TO DO IT!!! Luz is a sweet girl and this isn’t fair!!!” And Camila is already like “oh this girl is so nice to do this maybe I misjudged her and her friends, I should-” in her head but Amity goes and does stuff anyway before she can respond and shenanigans ensue LOL but it ends really well

I’m not sure about reaching out quite yet but I know that COTH would be like. Nixing everything about Odalia’s bullshit and be Camila being a badass mom against the throne (the mats)

[hustlerose]

as i slowly exit my "bethesda's writing and design are literally satan" era, i find myself less angry about their many missteps, and more melancholy about what might have been. fallout 3's pre-broken-steel ending, for example

everyone makes fun of that one moment. your super mutant buddy you just met tells you "we all have our own destinies, and yours culminates here. i would not rob you of that." like sorry player 1, you have to die here for no good reason because it's dramatically satisfying

i submit this ending pissed people off not because it's bad, but because it's the wrong ending for fallout 3. fallout 1 and 2 had endings and they felt just fine, but fallout 3 is not a narrative-driven game like those ones. it's a big fun sandbox that you play in to your heart's content. a bittersweet ending with hints of destiny is unwelcome here. even ending the game at the climax is a mistake. the only sensible ending to a bethesda game is "play til you stop having fun." so they did that ending instead, as dlc

what pisses ME off about the ending is that it's so inspiring. i can't help but wish i'd played the game that matched that ending. imagine a version of fallout 3 where all the characters talked like that. imagine the chosen one narrative was dialed up to 11, where every moment of narrative was suffused with tragedy and inevitability. imagine if more characters talked metatextually, musing on your role as player and protagonist. think about all the cool foreshadowing that could have been done to set up a tragic ending where you make the ultimate sacrifice for the greater good. you could wring so much moral complexity out of this moment, as it could force you to reflect on your charcter's choices. you are the most important character in this world. fate bends around your story. what if the other characters could tell, and had opinions on that fact?

i want to read that story god dammit! sometimes i think it's up to me. maybe i have to rip that great ending right out of fallout 3 and stitch up a whole new story around it. one that actually supports fawkes' dialog as its central theme