#actually not really it's just the narrative that plays out like that

[utilitycaster]

Something I think actual play is uniquely good at showing is, for lack of a better way to put it, narrative choice. You see the story that people decide to play out; you see the threads that people wanted to follow. You also can, if the GM shares their concepts, get an idea of some of the other possible paths not taken and stories not told, but ultimately they are untold. And finally, ironically enough for a medium with a random element, it makes creator intent unavoidably clear.

We see it all the time in Critical Role. There probably was a really fascinating story to be told with Vox Machina working with The Clasp following the fall of Emon. The party chose not to do it; we don't know what would have happened. I like many am intrigued by the Augen Trust path Matt had planned for the Mighty Nein; they didn't take it. We can't judge the story on what might have been, even if we find it interesting; we can only judge it on what was. And we don't follow the Clasp nor the Augen Trust as a result, because it's not where the PCs are; at most we might see the effects their actions taken without the aid of the PCs had on the world when their paths cross again. The camera, in D&D, always follows the PCs. You see what they see.

Essek was redeemed because the Mighty Nein wanted him to be redeemed. In actual play especially there's a weird tendency to switch to the passive voice to describe things one dislikes, but this choice was anything but passive. The party learned Essek had been lying to them and made their choice to remain his friends, and the story continues from that presumption, and while I am the first to reject the "but the cast liked it" argument, the fact is, one can't reject this redemption without rejecting the party's choice, and the party is controlled by the cast.

It's great to discuss paths not taken, and it's even true that you might believe those paths to be a better story. But you cannot rely on the camera - or the audience's interest and sympathy - to abandon the PCs desires and decisions just to suit yours. You can't do this as a GM, as another player, or as a viewer. Nor can you expect people to judge based on potential once it is no longer potential; a strong concept that is never followed doesn't count as the story; at best it counts as the GM or player's creative intent.

Actual Play forces people to take a story for what it is. I think the fandom can be so fraught because many people do not understand quite how it's limited in scope nor what is under GM control and what is not and so they act like choices are inevitable and inevitabilities are choices.

[ofbreathandflame]

Well, again, the issue is not that Rhys has done bad things, it’s how those actions are framed in the story. Let’s think about this – if Rhysand’s actions UTM were framed as negative then perhaps we would not be having this conversation.

Of course, we can argue that Rhysand (1) has developed negative coping mechanisms / perspective (2) Rhysand’s trauma informs the things that he does (both pre, during, and after UTM), and (3) Rhysand’s position was uniquely isolating because of the nature of the role he was forced to play. These are points that I believe can be argued and offer an interesting view; but for any of that to happen, we have to acknowledge that the behaviors are negative. That’s often the problem with the arguments that begin to arise – no one wants to admit that Rhysand has developed (or just has) negative qualities and behaviors. No one wants to contend with the reality of consequences. “Rhysand has always admitted that he would be willing to do terrible things for his family” – and yet there’s no elaboration on those “terrible things.” No one wants to talk about those proposed negative qualities. The story (and the audience) don’t want to admit that Rhys doesn’t really have a solid moral high ground over Tamlin, or admittedly other villains. Just because Rhysand “admits” he’s prone to basically being abusive doesn’t…make it any less abusive.

My proposed argument about Rhysand’s actions UTM are this: he chose to sexually assault Feyre, he chose to “protect” Feyre in ways that were extremely sexually explicit. I believe these are choices that Rhys chooses to make – and I believe they say something about him. It’s noted, to me, that Amarantha scarcely makes Rhys do anything that he does to Feyre. I also believe that his actions regarding Feyre were done with an air of autonomy; as in, I believe Rhysand takes these measures into his own hands. Ultimately, I believe that while Rhysand has to contend with the horrors, he himself becomes beholden to them at some point and ends up perpetrating the same behaviors.

We cannot argue that Rhysand sexually assaulted Feyre, and then argue that it doesn’t say something about him. It does. In the realm of the story – from a writing standpoint – I think a good author can still make a character like that sympathetic and understandable (see: Nahadoth and Itempas from N.K. Jemisin’s Hundred Thousand Kingdom). If I were analyzing Rhysand’s actions, I would simply make the argument that perhaps Rhysand’s abuse of Feyre mirror’s his own abuse by Amarantha hands, and he potentially sees Feyre (and her hope) as something to be threatened – or even shamed by. If Rhysand’s actions were written in a way that clearly exemplified that his actions are not meant to be praised (and are NOT are reflection of love) then he could be salvaged. I actually believe a lot of the abusive things Rhysand does makes sense given the environment and if the story leaned into this from a storytelling perspective and did away with needing to moralize, then this would all be fine. Framing Rhysand’s abuse of Feyre as something to be praised, admired, and loved for is actually quite insane. If we frame his actions as purely preservational and self-serving, that would make so much sense. Imagine being in Rhysand’s position; I guarantee everyone would do whatever they could to stop such extreme amounts of abuse and sexual violence. And even then, the story could still create a narrative that warns of the danger of sexual violence and consent, it would just be subtextual and more allegorical than concretely written in the text. Starting Feyre and Rhysand off in such a tragic place, having Feyre and Rhysand acknowledged truly what happened, having them discuss ways for both of them to move forward while building up the mating bond in the background. Have Feyre acknowledge this untrusting, sly, slick part of Rhysand and have her not assume her mate does everything out of the kindness of his heart. Build their romance out of a place of mutual atonement – play on the theme of guilt Feyre feels and the whole premise of the court. Let the connection between Feyre and Rhys be that they truly acknowledge each others darkness (and also let Feyre do selfish things – maybe she knew damn well Clare Beddor’s family might suffer a bad fate but its not her family and Feyre would do anything for them; Let Feyre kill those fairies with ease because she cares about her life. Let her contend with reality that she would actually do anything for her family and then have that be a connection between Rhys and Feyre.

Something that has always bothered me about the “we don’t talk enough about Rhysand’s trauma” argument that gets thrown around when we earnestly discuss the validity of his actions is the presumption of innocence in that statement. The unwritten statement is that the trauma somehow explains and simultaneously absolves him of the implications of his actions. I objectively agree with the sentiment – Rhysand’s trauma is not talked about enough and it should be. The argument dancing in the corner is the fact that people believe that Rhysand’s extreme amount of trauma absolves him – even going as far as essentially say that Rhysand’s abuse operates out of fear (or because of fear) which is essentially the exact same ideology the book bashed Tamlin for. In the end, the cycle just comes back around and the abuse gets pushed into the backdrop.

[austinramsaygames]

Thinking about Actual Play series and how there are 4 parts that IMO determine if people will want to listen to it.

1. High Concept: this is what the show is about narratively. Setting, plot, characters, themes, all the stuff you'd find in written fiction.

2. Performance: how compelling are the actors involved in the show? Are there suitably funny voices? Do they all have good chemistry? Is there buy in to the High Concept? And so on.

3. Production Quality: Bad mics and poor volume balancing between players can easily take some listeners out of the story. Some of this can be fixed in post, but it's always better to start with the best raw audio you can. That's the baseline stuff but some shows also add music (whether as theme songs or for ambience) and sound effects.

4. The Rules: the most unique part of Actual Play as a format. What rule system are the performers using to inform their performances? The rules place limits on how well the High Concept functions. If you try to tell a story where all the characters are super heroes but you're using Delta Green, there's going to be some friction (which of course could be the basis of the High Concept but absolutely needs to be accounted for).

Different listeners will have different priorities for each of these, and even within them. Really liking one of these aspects within a show may allow a less enjoyable one to get a pass.

For example The Adventure Zone's Balance season is something I listened to every week. I do not give a single shit about D&D actual play and am pretty ambivalent on the High Concept but the audio quality is great and the performances are stellar.

Another example: Friends At The Table's Autumn In Hieron has frequently bad audio quality but the great High Concept of the two diverging parties and the setting, combined with the good performances makes it stand out. Also doesn't hurt that I was interested in Dungeon World.

I don't think I'm saying anything groundbreaking here, but it may be useful for those interested in actual play, fans AND creators, to consider when starting a new show.

More thoughts like this from me on my Patreon! Patrons get early access to my game design work and thoughts. Just $1 a month!

[scintillyyy]

actually. i was thinking, though. what exactly *is* the metric of a tim civilian friend. as in, what exactly makes a character tim's friend vs a kid he goes to school with who he happens to friendly with (because tim is generally friendly with everyone). what's the distinction?

and i think the answer falls on "does tim's civilian life and robin life intersect in a significant way around this character"

because, listen. we all know that tim is a compartmentalizer who tries to keep the ideas of "tim" & "robin" separate. however, we also know that it's not one or the other with tim--he's both. and the closer you're allowed to that narrative intersection of both tim & robin, the more the civilian in question can then be seen to have importance in *tim's* life and a reciprocation of friendship interest by tim.

because you think of the gotham heights high crew--not only does tim use his skills to investigate what's wrong with ives at one point (he got an embarrassing job), he's also used the W&W crew for unknowing assistance against the joker, hudson leads him to a case at one point, & he runs into a case whole hanging out with them to see a play at the park. despite tim's best effort to seperate parts of himself the close interactions of his other life to his friends is not just tim accepting friendship, but tim narratively showing friendship in return--they are narratively allowed to be a part of his life as robin though they'll never know it.

and the brentwood boys are no different. though they're not allowed the secret, their lives are affected and improved by tim as robin. as they give friendship, tim gives friendship in return. and when tim leaves his friendship and reunion with ives is marked by a case, the one with charaxes.

and even later, with zoanne, her life and relationship with tim is complicated by tim's life as robin, but she is allowed that narrative closeness to his life as robin, closeness to the entirety of his life. she even makes a cameo as having spoken to vicki vale about tim, and vicki's story during that era is finding proof of the hidden life of the batfam.

louis grieve is interesting because darla is the friend of the era who meets this metric--her life as a mob daughter is doomed to return tim to his true life. her resurrection as warlock's daughter is what intersects her with whole of tim's life, not just tim. and bernard surprisingly doesn't have any narrative markers that would indicate these kind of particularly close feelings from tim towards him--tim does not help him on a personal level with his personal life, there's, hm. like bernard does bring him the news of steph being robin, but there's really no personal intersection of *tim as robin* with bernard or because of bernard or for bernard. they do interact during the school shooting but it's no more personal than tim and the rest of the kids. in post-crisis, at least, the lack of tim's as robin having any sort of notable personal connection to bernard narratively indicates a fundamental distance between them where tim is not shown to have any significant personal investment in/towards bernard unlike all the other civilian friends. i would say bernard does make in on account of his presence at the school shooting, however when tim's true self is both robin & tim, for him to not have any significant personal narrative connection to the real tim, it does makes him a notable outlier among the civilian cast.

[atthebell]

i think one thing that's always been interesting to me is that people really believe/take for granted that the federation's goal is the islanders' happiness, when we really don't have any way of knowing if that's the truth. cucurucho says it a lot, claiming to care about islanders' happiness above all else, and it's been scattered throughout some federation lore (as well as being hinted at with the reset cinematics), but that doesn't mean it's actually true-- it could still be a smokescreen of what they really want. which, imo, is not happiness.

if it's all one big experiment, supposedly one of many, the idea that this one is the one that involves seeing what happens when islanders are happy is not a provable thing still, nor is it clear what that actually means to the federation. does happiness mean the islanders are content to remain on the island? does happiness mean building relationships and connecting with others? does happiness mean self-fulfillment (something deeply immeasurable)? it's not clear what it means to the federation, nor if that is their true goal. it could be that that has nothing to do with their goal, and is a complete misdirect. it could be that cucurucho's prime directive is the islanders' happiness (not that it's very good at that), but that's meant as a tactic to stymie islander curiosity/resistance. it could be any number of things.

and i think viewing it from a more meta lens of "we cannot tell what is or is not the truth; not only are all character povs biased but so is the larger narrative presented to us." i think comparing this framework to something like the good place is helpful, in that when you assume that what you're presented with is the truth and don't look at the setting critically, you will miss the fact that things presented to you as fact by any kind of source (including the framework of the medium itself or the established setting) are suspect and should be examined further.

i can even put it in a smaller way; there are ways within a limited character pov to present things as directly happening when they are not, and these are ways that mcrp creators have utilized. playing out an event that did not actually happen, canonical hallucinations, dream sequences that are not explained as such, physical representations of metaphorical experiences, etc. etc. are ALL things that mcrp creators of done. tricking your audience is an incredibly interesting and at times vital part of mcrp. so if just one creator within their own pov can do it, why can't the whole narrative? why can't you be convinced you're in a different genre, why can't you be convinced that the physical location your characters are placed in is someplace that isn't?

all this to say, i think a major issue in terms of analyzing media like this is allowing yourself to go along with assumptions without thinking about why you're falling so easily into them as truth. making all of your lore assumptions based off the notion that it is objective fact that the federation cares about and has the goal of islanders' happiness means you are going to miss details and fixate on others without looking at the full scope of possibilities. which i think was a serious issue during the height of investigation/mystery stuff-- people fell into the trap of "i KNOW this to be true" without considering the man behind the curtain. sure, cellbit found documents indicating that the federation was founded on isla quesadilla-- considering who sent him on the trail of said documents, who's to say that that's the truth?

i think bagi is a particularly interesting investigator when it comes to this kind of thing-- she's VERY good at holding onto a lot of different possibilites in her mind, even going so far as to act on a lot of them at once, and that means she doesn't take anything for granted. having all of the data in front of you, without attempting to skew it to a theory you already have in mind (which i admit is very difficult to do! humans are biased and are geared towards pattern recognition), is an important skill when it comes to any kind of data analysis or investigation.

anyway idk where i was going with this i just started thinking about like. what is involved in good theorizing and how focusing on something you believe to be fact can lead you in the wrong direction, and i think the idea of the islander's happiness as the federation's main goal is one of those very fraught assumptions people get caught up in.

[bengiyo]

Unknown Ep 11 Stray Thoughts

Last week, Wei Qian tried to hide his health problems from Yuan, but Yuan knew the whole time and was super pissed about Wei Qian always choosing to shoulder every burden on his own as well as lying to Yuan. We left them at another critical moment where Wei Qian admitted openly that he also can't live without Yuan.

Of course Yuan is a "if he looks back" gay. Where are all my Andi Mack girlies?

Episode 11: Embracing Regrets Magnifies Courage

Wait, when did they start making out?

Oh, I see, they're playing with time. This is the first time I've really felt like the show's stylistic choices have gotten in the way of its storytelling. We have been building to this moment with Qian and Yuan, and I don't like this choice to show them connecting sexually while intercutting the emotional decision to be intimate and Yuan's flashbacks. Both of these moments are important and happen sequentially, not simultaneously.

I feel like they really botched this sex scene and I'm annoyed about it. I really don't like that we didn't lead with Wei Qian's choice to be intimate with Yuan. It feels like we skipped an important decision. I also don't like all the constant cuts of flashbacks interspersed with the pre-sex convo. This is a huge moment for Wei Qian and I really feel like they got this wrong by making it primarily about Yuan's feelings culminating. We know that Yuan has wanted to fuck this man for like a decade at least. We know Wei Qian hasn't let anyone touch him. We really needed to stay in that moment and not constantly jump around to other moments. It feels like the show got shy about sex, or that the sex scene itself lacked a narrative when they filmed it.

These walls thin as fuck! Like Li Li didn't hear what was happening!

Okay, Li Li is still capable of being adorable when it suits her and I love her.

Man, I'm grumpy from earlier. Wei Qian daydreaming about sex with Yuan at work would have worked a lot better if we weren't flashing back to a scene dominated by flashbacks.

I hope this is the last of the gangster stuff.

Okay, I'm having fun with the dinner date and the decision to be public about themselves.

Test results?? They denied me seeing this man choose to go to the hospital???

Mhmm, we recognize that Li Li is smart. She definitely knows what's up.

Okay, I actually like Qian not answering about the hug and instead just kissing his head. That feels appropriate because that line is quite blurred.

I'm feeling mixed about the mom stuff resurfacing on the episode they had sex for the first time. We suspect that Yuan's mom abused him, and that feels unresolved for me. I'm having a hard time separating his sexual trauma from his abandonment trauma in his breakdown here.

"Nobody cares about Qian." Okay, I cried. Wei Qian's siblings saw and understood what he was doing for them the entire time, and they both wanted to care for him in return. Also, San Pang is a great listener in this scene. Truly one of the best characters of the year so far.

And we deal with the rest of their people finding out next week. Okay.

I said what I said above. I didn't think the turn worked this episode, and I didn't fully connect to Wei Qian's emotions this week. It's a letdown and I'm disappointed.

[groguandin]

No but I’m obsessed with the promo process, it’s actually fascinating.

When Nicola and Luke know that they are on camera, they are definately playing a fine line between themselves, what Netflix want and the narrative the show needs. Yes there have been good moments of chemistry during pressers, but I doubt that’s how they are together once the cameras stop rolling. I doubt they are even remotely as close or as friendly as they make out.

I’m so glad I’m a no one because wow the pressure is immense, especially with the multi million dollar budget the show has.

oh it's gorgeous isn't it?!

yeah, the stuff at the moment like the hand holding, etc etc is press motivated. it causes a stir, it causes chaos, it causes attention.

they do have a really lovely friendship and relationship together, i don't think that's PR or faked. i mean, they lounged in between sex scenes on bridgerton completely naked with one another on the set. if that doesn't form an unshakeable bond idek...

it's a joy to watch but it must be exhausting for them. i couldn't do it so im happy to watch and just awe over them.

[wolfscarr]

Helluva Broken Narrative and the most useless character..

Disclaimer: Not saying you can't enjoy this show folks. Enjoy it all you want, this is just a rant about the lack of a cohesive narrative!

I really was completely dead on posting, but I just can't get this out of my head.

I feel people should be acknowledging this far more than it has been, this is extremely important. This goes beyond just episode pacing, this goes beyond the characters....this is something that without it? There is no real show, which is....

Helluva Boss has a BROKEN NARRATIVE.

Some fans wanna claim it has this 'complex' writing and I'm sitting here going like "really? Where?"

It doesn't sorry and know why? Because Season 2 of this show, basically broke the narrative that Season 1 was building.

These past posts of mine, will show you why the narrative is broken.

Now can they continue on with the story they are telling? Yes of course they can, but it won't fix the fact that it's not coherent to Season 1, that it's not needed.

Wanna know who the most useless character in the show is now? If you guessed Stolas, you're correct! In the meaning of making Stolas this guy who did nothing wrong and who's sad....they took away his character purpose.

Stolas has ZERO purpose being within the show now, given how things have played out.

But you might say

"Well he's needed to give Blitz the Crystal and end the deal!"

Except....no, he wasn't. Remembering my posts above, where you can have I.M.P. killing in Hell as a Season 1 thing?

Maybe they're just getting started with their company? So Blitz wants to supplement with killing in Hell by killing those up top so he goes to see about getting an Asmodean Crystal?

See let's backtrack here folks, the episode Oops it was mainly about Blitz and Fizz reconciling right? Which they do at the end of the episode. Now follow this, if we take into account the above, Blitz' dialogue could be.

Blitz: "Fizz look, I know what happened to you was horrible. I don't...expect you to forgive me, but I'm struggling to support myself, my daughter and my employees with my company. I....if you can just think on it, perhaps I could get one of those Asmodean Crystals?"

The scene ends and Fizz goes back to Ozzie, while along the way he's thinking about Blitz' words and how he was saved by him where in the end, Fizz agrees to send Blitz a Crystal because he's earned it from saving his very life.

Or here's another scenario, Blitz has a Crystal from the start(which he took from Verosika when they were dating), but as things get far more hectic up on Earth with more dangers. The Crystal ends up shattering after I.M.P. gets back to Hell after a job, thus Blitz goes to actually confront his past and reconcile with Fizz in order to try and get a new one.

See how easy it is now, to just remove Stolas entirely? They took away a character's purpose of being in the show....that to me, is completely disappointing. Characters, especially those that are suppose to be IMPORTANT, should have a purpose...without that? You may as well just delete them entirely.

Blitz could have had 2 whole Seasons with relating to the past and those that he hurt, that he TRULY hurt(Verosika, Fizz and Barbie) that would actually matter to him as a character. But instead, all these characters are instead shoved to the wayside, for a character who doesn't matter anymore and only actually matters because the writing is FORCING him to matter.

You can write the narrative in so many different ways with what Season 2 gives us, that completely destroys what Season 1 told us. Are we now expected to just....IGNORE AN ENTIRE SEASON?

They can do this whole "sad Stolas is sad and Blitz is hurt and Stolas is going to give him a crystal." Thing all the way to 'try' and fix things, but it'll fix nothing....because the deal between them was retroactively made completely pointless.

The show will continue obviously, but in the back of the minds....it will be a broken narrative and Season 1 is basically buried 6 feet under. As a writer, this really annoys me....because they had how long between Seasons to nail this down? How long have we all waited just in-between episodes? This shouldn't have happened.

Yes, is storytelling hard? Obviously, none of my stories are perfect....but at least the narrative is coherent from beginning to end.

Anyway...I just...had to get this out of my head, because it was really frustrating and I want it to be acknowledged more. The narrative is important folks, if it's broken...that's not a good thing.

I'm still watching this show....if only because I'm knee deep in it now and I still somewhat actually like the characters, but what I don't like...is this broken narrative that is still hanging around with a pointless character that doesn't matter to the show anymore.

Narratives, coherent narratives are important to a story, without it? You don't have characters and you don't have a story.

[a-cat-in-toffee]

me: yeah im gonna go to sleep

also me: *proceeds to send my friend 650+ words of pepsisprite analysis*

thinking about john being a literal embodiment of the narrative and davesprite being an embodiment of the game. the game and the narrative are intrinsic to each other's existence, but without each other they would be useless. what's the point of the game if no ones watching, and whats the point of watching if no ones playing? john and davesprite’s relationship sort of mirrors that, davesprite wouldn't exist as a sprite if john had never died, but john WOULD have died if davesprite didnt save him. they're necessary to each other's creation and to each other's continued existence and relevance. 

they're the world's shittiest soulmates because their relationship is so riddled with the game and narrative but davesprite and john are tied together in a way which ends up with davesprite always ending up right next to john again. johndirk and pepsisprite are very related what with davesprite mirroring dirk in a bunch of ways, but the difference between the two ships is mainly when they would happen imo. (canon) johndirk can only work postcanon, mostly because they simply don't actually get to meet each other until then, whereas pepsisprite HAS to happen during the game, the 3 year trip to be precise. 

all they had were those 3 years together, really, before everything went to shit. obviously they had known each other before then, but that was john and dave. the "real" dave, before the specifications had to be made. it's kinda sad how because of the timeframe that pepsisprite would be able to work out in, they could never actually have a relationship. like they were both dealing with their own issues (most of which never were resolved, not fully) but it mightve fixed them tbh.

thats really why I'm a big fan of back to the beginning post game aus that include the splinters because their stories are never really completely resolved, most of them are sort of just brushed away or swept into something new (e.g. davepeta)

also going back to what I said earlier on how johndirk mirrors pepsisprite in a way, it does! but there's a lot of nuance to the situations? davesprite is more like bro than dave is, thus making him more like dirk, but he's still a dave yknow. pepsisprite is actually a closer parallel to jakehal, especially by the end of the boat trip with the vaguely antagonistic relationship the two of them have.

actually i think they should be kismesis sometimes as a treat. john has so much emotion and anger built up and having somewhere to vent out that frustration would probably be really good for him. at the same time, though, they're also moirails because john and dave are quite literally the closest humans can get to moirallegiance. john and davesprite transcend quadrants in the actual definition of it, embodying the quads all at once instead of vacillating.

davekat (a ship most people consider to embody all quads) sort of does something similar, however a lot of the time their characterization is of vacillation between redrom and blackrom vs where pepsisprite is happening simultaneously. 

davesprite *is* proud of john and he does really love his friends, however because of the trauma he went through growing up (which was later reinforced by all the shit that went down in the game) he can only express so "ironically" or backhandedly, and john is so repressed to hell and back that *he's* not even sure what emotions he's feeling half the time

I think the fact that the two of them can so effortlessly communicate despite all that, though, really shows you their relationship. john can see the genuine in davesprite's "ironic" statements, and davesprite can pick out john's feelings through all the happy freedom bullshit. they communicate so well despite everything because they're best friends and because they've known each other so long. davesprite is important to john just like john is important to davesprite, and they always end up right back next to each other.

[myuminji]

the bride walked down the aisle to where the groom stood, and there they exchanged their vows in front of the altar...

[i-sveikata]

okay so just finished reading dark heir and let me tell you THEORY TIME:

-okay so my guess is that anharion was actually being magically controlled by the sun king when the lady betrayed sarcean thats why he walked away like it was nothing

-sarcean managed to free him from it and thats why he was able to switch sides in the battle/ follow the desire he feels for sarcean and go against those in the sun kings court and the 'light'

-despite popular belief the collar doesnt actually control him, thats why james didnt feel any compulsion when it was put on again. it was devised by sarcean to ensure anharion has control of his own mind forever and nobody else can ever compel him if he gets magically drained (whilst also being a show of ownership because hes a possessive bastard)

-i also think that how james/anharion was acting once the collar was on wasnt even about being forced to do what will says. it could honestly just be that he understands him so well that he knows the exact right things to say to reassure him? and will was just too afraid at seeing the collar on his throat to look beyond it and consider the possibility of james/anharion actually not being under his control. which could explain that weird moment where he realised james/anharion was mirroring sarceans desires and not actually his own. like those last few moments to me seem like james/anharion trying to talk to sarcean- not will.

-because like maybe they were just genuinely lovers in the past?? Esp if the collar doesnt work how everyone assumes that it does.

-but all the rumours etc surrounding anharion and sarcean and anharions sudden switching of sides could only have been understood as by force because ppl always viewed sarcean and his magic as different and evil?? and anharion being so pure and of 'light' that they could only see it as being corrupted by sarcean and anharion not following him willingly

idk i just feel like theres so much of the story that we havent heard from either anharion or sarcean themselves and these books are about how bad perceptions of people can lead them to ruin and fuel a story rather than the reality of their actions. so anyway im so down for the next book in the hopes that we can learn more about their history!!

[skitskatdacat63]

Boy King AU | Vettonso + Martian | 1.3k

There's something about putting the future emperor of the Holy Realm on his knees like this. About how easily he goes, how willingly, how obediently. What would his adoring public think if they could see him now. If they saw their beloved king pressed down like this, in the cramped space between Fernando's legs. When they realized their little boy king took it like he was a little concubine instead. 

Fernando's bitterness is lifted away in moments like these, like taking off a heavy cloak on a winter's day. It was hard to feel humiliated about his own situation when watching Sebastian debase himself like this. 

He always gives himself up so easily. When Fernando threaded his fingers through his thick curls. When he pulled them, and then when he pressed his face down further down into the vee of his legs.  Sebastian rubbed his cheek into the coarse fabric of Fernando's breeches and blinked up at him. Fernando had to smother an embarrassing sound; he was just like a little cat!

Sebastian quirked his lips up into an odd little smile and slightly rose up on his knees, "What's funny?" Fernando swallowed lightly and schooled his face back into being impassive, "Nothing. As you were." Sebastian simply smirked at him and let himself be pushed back down by the fist clenched in his hair. 

Fernando scoffed internally, there was only so much pleasure in putting the other man in his place when he instead acted like this, this degrading action, was his birthright. He took to ruling and indulging in carnal pleasures as if they were of equal gravity. To be privileged to hold such high station and also let himself be taken apart like this…Fernando felt embarrassed for him.

He is dragged away from his musings when Sebastian moved to settle his hands in Fernando's lap, clutching his hips over the fabric and slightly squeezing; Fernando fought against the urge to shiver. Sebastian pushed up the skirt of Fernando's waistcoat and smoothed his hands over the opening flap of his breeches.

His eyes darted up at Fernando again, a daft smile on his face. Fernando scowled at him, "What?" Seb's grin sharpened, "You could stand to be a little more gracious. This is your future emperor, and future husband might I add, kneeling for you on this dirty, depraved, derelict- ah–" Fernando tugged on his hair again and hissed, "Well then, why don't you show me how eager you are to perform your marital duties?" 

Seb licked his lips, completely unconcerned by Fernando's annoyance, and unbuttoned one side of the closure to Fernando's breeches and moved to open the other–

The door to the carriage flew open, arrival announcement dying on a wheezing breath as the servant took in the image the two kings made. One splayed across the seat, exuding power, the other kneeled, debauched, between the former's legs. 

One would be hard pressed to determine which was higher on the totem of power and titles. 

There was something gratifying about this to Fernando, about being caught. He had been humiliated enough throughout the entire courtship, what was one more thing? And, certainly, what was one more thing if he could drag Sebastian down into the dirt with him. 

"Oh Mark, don't act so abashed! It's nothing you haven't seen before, in fact, we have been in this very position not even a fortnight ago!"

Oh. Yes. That. 

It was hard to be completely pleased when he remembered how Sebastian had already spent years prior to their engagement sampling the palace's ample selection of fellow high-born men. And how all those men seemed to be completely and utterly wrapped around his little finger.

Fernando released his hand from Sebastian's hair as if it had burned him. He did not understand why he felt ashamed with Mark looking in on them like this. Fernando was the one marrying Sebastian, not Mark; Mark was just a lowly courtier who had the esteemed duty of spending practically every waking hour with the brat…something he himself was decidedly not looking forward to. 

Sebastian stayed kneeling, staring impassively up at Mark, still fiddling with the clasp on Fernando's breeches. Fernando gritted his teeth and looked up from where he was watching Sebastian's clever little hands; Mark stared back at him placidly. 

Mark's indifference made the entire situation worse. Fernando now felt as if he was not doing anything unique, not doing anything particularly new. How many other men had Mark caught Seb with in this exact position? Fernando felt like he was just another plaything of the boy king, soon to be boy emperor, except his position was forever, permanent. He was the "Kept King", the king who only kept his throne due to the whims of a boy who doesn't even understand what power is.

Mark coughed, "Well," he says, "Your Majesty, I do believe you have a meeting to attend." Seb pouted at him and whined, "We were just getting to the main course," but still braced himself on Fernando's thighs and got up off the carriage floor. 

Seb pranced down the steps Mark had placed next to the carriage, miming tripping sown the stairs, snickering when his action made Mark reflexively reach out to grab him, and then playfully skipped off the final step. 

Fernando couldn't help but stare as Mark made the weirdest grimace in response, and he inexplicably felt all his mortification seep away from him. Huh. Maybe Mark is-

Seb then turned around and frowned at him, seemingly disappointed, but his eyes are deceivingly sharp, "Fernando, I regret to inform you that I have other duties I must attend to, you will simply have to wait." He then grinned up at Mark next to him and giggled as the other man stiffened when Sebastian looped both of his arms through Mark's. 

He leaned all his weight on the other man, Mark not so much as shifting his weight, "Oh Mark, won't you carry me back to the palace? I'm so very tired after all the horse riding," Seb looked up at him imploringly.

Fernando observed as Mark rolled his eyes and shrugged off the man, though notably not pulling his arm from Seb's grasp, and he got the distinct feeling that this exact scene had been played out countless times before. 

Fernando clenched his jaw as he watched Seb turn and saunter off, Mark trotting alongside him like a loyal dog. Fernando was supposed to be the unaffected one in this partnership, the unflustered one, the unconcerned one. And yet here he stood, in broad daylight, in a foreign kingdom, on the steps of a carriage with his breeches half unbuttoned and his cravat in disarray. 

He heard a cough from beside him, jolted and looked to the side. Sebastian's loyal Horse Master stood there, lounging against the side of the carriage. Fernando had forgotten who had even been driving the carriage in the first place. After Seb has let himself be pushed down, his hair still windswept from their ride together, everything else seemed to fade away. His thoughts were reduced only to how he could mess up the younger man's hair further. 

Jenson grinned at him wolfishly, and casually crossed his legs,  "First time?" he inquired. Fernando glared at him. The other man laughed openly at him, "What? He's a busy man with big prospects. You're not his majesty's only conquest, you know. Now your throne on the other hand…"

Fernando seethed, it was one thing to be humiliated by the future emperor, but to be patronized by the king's horse boy? No. It would simply not do. He closed his eyes in annoyance, pinched the bridge of his nose, exhaled, and prepared a speech about how he was not about to be talked down to by a man who didn't even have a throne to speak of! 

But when he opened his eyes again and opened his mouth to begin his tirade, Jenson was already wandering away to tend to the horses. Dios mío, Fernando was not mentally prepared to spend the rest of his life with all of these impertinent morons. 

[velvetjune]

Spoilers for Alan Wake/Control games and DLCs: one of the things I really like in Alan Wake 2 is the confirmation that, no, Alan can’t create something out of nothing. There were implications in-story that supported that, but it was good to have that be a big part in the sequel. The AWE control dlc easily made it seem like Alan himself had a role in the events of the game and the formation of the FBC, and, personally, seeing it through that lens cheapened a lot of the game and Jesse’s story. Instead, having his writing influence the Hiss and try to manipulate (even out of desperation) Jesse/the FBC to end Hartman and get help, fit right into plot and conflicts of Alan Wake 2, with Alan being sympathetic, but also an asshole for trying to change and control people’s lives in his writing.

[mommytimmy]

what do you mean people can make posts on the internet without knowing anything about what they're talking about? 🤯

[elegyofthemoon]

ok but i'm just thinking about one of the memory logs for sakura and how mobius tells sakura that what happened to her after her mantis surgery is at least better than what happened to both mobius and kevin after theirs, but from then on, sakura is no longer human and no one else will look at her like a human like before

then you timeskip over to when sakura is trying to save rin from MOTH, and she's arguing with kevin about how the MANTIS soldiers will always be outsiders and a threat to MOTHs because of the surgery. and how this treatment is what makes sakura afraid for rin and inevitably leads to her doom i :(

[mofffun]

rita scream scene from the movie: trailer #2 vs. final product. it was horrifying to see rita haunted by ghosts and look how many there were!