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#all the world’s a game | writings
tariah23 · 3 months
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The manga industry, especially JUMP, needs to hurry up and do away with weekly scheduling for mangaka. There needs to better regulations put into place for their health and safety because this is pitiful. Two weeks - monthly updates should’ve already been the standard for the manga industry at this point. These money grabbers will only continue to put the lives of these artists at stake for the sake of capitalism unless some serious changes are implemented.
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blacklight-shadows · 2 years
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Tag Dump! (General)
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blueskittlesart · 4 months
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at a certain point i think we need to acknowledge that art is very rarely created accidentally. if you can see a theme in a work than that theme was, more likely than not, at least somewhat intentional on behalf of the creator. you don't put a piece of yourself out into the world without thinking about what it means at least a little bit.
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okthatsgreat · 5 months
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rewording a post i made a while ago just bc it was a bit nonsensical but something that definitely needs to be examined in the danganronpa fandom is how a lot of characters seem to be interpreted through one single lens of intelligence. does that make sense. like in order for a character to be “smart” in this fandom they SPECIFICALLY need to be book smart and well spoken, regardless of their talents. we gotta shape up guys .. examining other types of intelligence is FASCINATING and really highlights each characters strengths and weaknesses, and this especially applies to emotional intelligence.
like is byakuya smart? absolutely. but is he emotionally intelligent? fuck no!!!! and aoi used that against him in chapter four!!!!!!!! and even though she is misguided as all hell, tenko has the ability to understand her opponent mid-battle and use that to determine how she continues the fight (likely something other fighting ultimates do as well!!!) which is crazy. mikan is able to read facial expressions well, even if she IMMEDIATELY misinterprets this as something she personally did wrong lol. these characters navigate through the killing game differently and in some cases survive because of it, and if you want something interesting to write on it’s definitely something to be examined!!!
also straight up sometimes the fandom interprets characters who don’t speak super formally/are optimistic as dumb too which is so strange. more of the “buff” talents like mondo and fuyuhiko need to understand battle tactics and serious team management/planning in order to get anywhere in their field, but are pushed aside quite a bit because theyre these super gruff macho characters that swear a bunch. sonia as well because she's a fish out of water type of character. and yes he isn’t very well spoken and is very trusting but gonta is an actual scientist guys… i could make a whole separate post about this weird trend of pessimism being seen as smart and optimism as stupid but yeah seriously
anyways all this to say, when writing for a “dumb” character take a step back and ask just what makes them dumb in your eyes. is it because they aren’t considered academic or a scholar?? is it because they’re a “happier” character that might not be as well-spoken?? theres nuance there and this obviously doesn't apply to all of them, like clearly akane isnt super good with emotions or smarts in general, but even THEN her spacial awareness and heightened sense of perception is something that is often under-utilised in fics!! it provides a whole lot of depth to remember that a lot of danganronpa characters are very talented and well versed in other forms of intelligence than what might be most obvious !!!!!
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whynotimtired · 2 years
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The best part of Will saying he wants forever with Mike so blatantly is that he isn't the one who brought it up, Mike was. In an act of projection he asks "What did you think? That we'd actually get to be together forever? When we're both boys?" and will says yes. He says yes, and Mike immediately regrets it.
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inkdemonapologist · 7 days
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My BatDR Take That Used To Be Hot But I Left It Out On The Windowsill To Cool So You Should Be Able to Eat It Now Without Burning Your Tongue
its not actually that hot, is what im saying
Anyway my BatDR hot take is that BatDR's story is not fundamentally worse than BatIM with one exception; an exception that, for BatIM, covers a multitude of sins:
BatIM has a theme.
I can't presume the intentions of the creators, but if I had to write an essay on the themes in BatIM, it wouldn't be hard to pick one out: the cost of obsession, or even just, the ruin Joey brought on the studio. In the very first chapter, Henry asks "Joey, what were you doing?" and every single thing in the rest of the game revolves around that central question: what WAS Joey doing? Each audiolog is a snippet of the studio's path to this messed up state; each character you meet is someone ruined by Joey. The major antagonists echo Joey's flaws -- obsession with Bendy as more than a cartoon, obsession with perfection, obsession with fame and greatness and legacy -- but even without that, they're also each a picture of how the lives of people caught in the path of Joey's dream were ruined by it. Bertrum, for example, doesn't match the concept of rubberhose cartoons, but as yet another person screwed over by Joey, he fits the central question of the story, so he feels like he belongs here. Ultimately, in a narrative sense, the Ink Demon isn't the story's monster -- Joey is; the Ink Demon is just the consequence of his reckless ambition.
But what's the theme or central question of BatDR?
You can... try to pick out a theme. There's some promising options, because it feels like the story WANTED a theme, stating its emotional intentions more overtly -- "there's always a choice" to leave the darkness and chose hope; family and the struggle of living in a heavy legacy's shadow; or even just good old mewtwo-brand The Circumstance's Of One's Birth Are Irrelevant, It Is What You Do With The Gift Of Life That Determines Who You Are.
I think, even WITH the clumsy execution of Joey's "arc" and Audrey's lack of real choices, any of those could work about as well as BatIM. But unlike BatIM, the majority of the game doesn't tie in. Joey's tour can be considered relevant -- a picture of the family legacy and the "darkness" that Audrey doesn't yet know she's inheriting -- but like, the audiologs and hints and environment of BatDR are mostly teasing the question of What Is Gent Up To, and the takeover of Gent is detached from Audrey's choices, her family, her legacy, and Gent never really becomes a relevant threat to those things in this game. The Cult of Amok and the Ghost Train have nothing to do with any of these ideas. It might've been neat if Audrey had ever considered, "Did my father really drive all these people insane?", a hint of actually having to wonder about the darkness in her past. Even Wilson only barely brushes against these concepts; he doesn't like Joey and he also is trying to escape his family's heavy legacy, but it doesn't really reflect on his actions and we don't find that last part out until he's about to be dead.
There's also the question Wilson poses of "real" people versus ink creations, and what counts as valid "life." It would be an interesting theme with a lot to build off of in this setting, it ties into Wilson more as Wilson seems to represent the opinion that Inky Things Aren't Really Alive, which could've tied to Audrey (as an ink-person who has yet to accept that part of herself) and maybe given Wilson a reason to think it's fine to sacrifice her, it could've even tied to Gent (who don't even seem to value human life) -- but after Wilson asks the question, it doesn't tie into the direction things go. He smooshes a little Bendy, we see hints of his disregard for Betty, and then everyone continues with their plan to destroy the Ink Demon without any further moral quandaries about inky life.
The thing is, when you compare an element like, say, audiologs, there's a lot of differences you can point to -- but I don't actually think Lacie Benton's audiolog is notably better, taken on its own, than Grace Conway's or Kitty Thompson's, and yet tons of people were intrigued enough to flesh out Lacie. None of them are big plot points or compelling characters on their own; Lacie and Grace both give us a little note on what it's like working in the Studio, and Kitty shares a little bit on how Gent's expansion is affecting people. But when Lacie talks about Bertrum trying to make a creepy animatronic, that ties back into Joey's ill-fated schemes that are the point of the whole story. The question we're asking through the whole game is "what happened here?" so the fandom is interested in who Lacie is and what her life was like and extrapolates a whole person out of a couple sentences. But that's not the question in BatDR -- what has Wilson done to the Cycle and the Demon? Why? Who is Audrey really, and why is she here? Telling us new things about the Studio's fate seems strangely irrelevant to those questions, just an attempt to create a Mystery To Speculate On like the previous game did... but what question you're asking and how it fits into your story's main theme, like, matters. I absolutely believe that one clock animator guy would've been in EVERYONE'S crew if he'd been introduced in BatIM, but the context makes a difference; fleshing him out feels less relevant here.
The explanations of how and why Wilson did everything he did are baffling and handwavey, but in and of itself that's not a worse problem than anything else in the franchise -- I STILL don't understand why the Ink Machine needs pipes in the walls or even how it works, there's no good reason for Sammy to believe the Ink Demon will "set him free," most of Alice's motives don't make sense, etc etc etc. But the thing is that in BatDR, the wibbly bit is the closest thing to a central question we have! Wilson, what were you doing? The theme doesn't really explore or connect to that question, so the explanations that are finally tossed our way feel lacking in a way that BatIM's handwaved elements don't. There's a lot about Joey's motivation in BatIM that we can't know, but the heart of it resonates -- Joey wanted something, he was willing to exploit people to get it, and he became obsessed and prioritised that dream at any cost. We'll weather a thousand logistical inconsistencies if it's got heart.
But all of that said.... to be honest, I don't think Lacie overtly fits that theme anyway. Even, like, Sammy is iffy -- we don't really know what happened to him, only that he didn't used to be made of ink and worship Bendy, and now he does. We assume Joey's nonsense had something to do with what happened to him (though the books later assert his influence was indirect at best), because when there's a pattern, we can fill in the blank. So many fan creators found a place for Lacie, Grant, and Shawn in the cycle as butcher clones or lost ones, so many people imagined that Wally must be the Boris we meet, because that would've fit the pattern, the idea that the point of what we're seeing is the downfall of the studio. It's not actually that BatIM did a great job tying everything together -- it's that BatIM gave us a compelling idea and that was all it took to make everything else SEEM like it could find a place to fit. This is what I mean when I say BatIM's theme covers a multitude of sins. There's a LOT of characters in BatIM that don't make sense. There's a lot of inconsistencies and things that just sort of happen without any real reason. Characters don't really have "arcs" so much as different states they happen to be in at different times. But because there's a central question and the story doesn't wander away from it, our pattern-loving human brains will slot in all the pieces and do all the work to make the story feel at least somewhat coherent.
The things that happened in BatDR aren't a whole lot less coherent than BatIM imo, they just don't tie into a bigger theme or any of the questions the story's asking, making "how do they fit into all this" feel irrelevant, making it easier to forget entire sections and harder to get invested in audiolog characters. I think a lot of the other criticisms people have for BatDR's story are very valid, but I also suspect that if BatDR had a more successful theme/central question, then a lot of its flaws would be easier to overlook -- just like BatIM.
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toxintouch · 8 days
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Hyperspecific modern era Ais Headcanon:
He still collects physical newspapers. He likes to do the crosswords.
He knows he could do them online or buy a book of crosswords, but something about the smell and the feel of the paper and the morning routine...
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pollyannawog · 4 months
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The Boy with Starry Eyes - Chapter 1
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Chapters: 1/5
Summary:
"Kieran couldn’t hold it in anymore. “Don’t you think the ogre in that folktale sounds kinda... sad?” Floriana looked back at him, surprised at the sudden outburst. He fidgeted, tugging at a lock of dark hair. “Maybe... maybe the villagers just didn’t understand it, you know? It might not have wanted to be… scary.” Floriana’s face creased with thought. “You think?” They murmured, and Kieran felt his stomach sink. “It attacked the village, right? I don’t blame them for being scared.”" Kieran's life has always been anything but normal, a tenuous dance of practiced gestures and actions that kept people from asking too many questions. But when a new face shows up during his yearly trip back home, his ability to cope is thrown into dramatic disarray. Updates Mondays & Thursdays
Inspired by @shima-draws's Kieranpon AU.
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ganondoodle · 6 months
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one of the few zelda youtuber guys that seems to actually love totk made a video about it (i guess bc so many talked about why they dont like it) and while i didnt watch it i took a peek into the comments and of course its full of people going "LMAO people only dislike it bc it didnt validate their crazy theories!!" "its always the same when a new zelda comes out lol at first they hate it and then later its a classic haha idiots" "people who dont like it are just caught up in their nostalgia and cant accept anything new being introduced!!"
also thanking him for "speaking up" about loving the game ... which i find kinda mind boggling bc the internet is full of praise and 10/10s for it
i obviously dont want to villainize people that love totk but like .. these kinds of comments are so unecessarily judgemental? how dare someone NOT like an entry in the franchise and voice legit criticism, how dare someone not worship the game just bc it has zelda on it! CLEARLY they are just made delusional by their own fantasy and will realize later just how wrong they were! hah! those fools!
on my rants there were quite a few people who actually said they like the game but agree with alot of my views on it regardless, it is very flawed but i can also see that the good things outweigh the bad stuff for others, even if i legitimately hate it; but i also had to block multiple people bc they got so butthurt about me criticising it
and i dont think its 100% just an opinion thing either, totk, even when i disregard my personal feelings on the matter, has alot of problems, moreso than the other zeldas (each judged for how it was in their time) and in pretty much every part of the game too (story, lore, continuity, gameplay and rewards, UI-) and i think alot of it stems from its conception, they have never done a true direct sequel before and it came from a DLC idea, and it shows (though i still believe even coming from that you could have done something way better..... bc they also made botw, which seemed to prepare fertile ground for more storytelling that was all discarded for NO reason)
BUT that doesnt mean you cant like it anyway! there are some very horribly shitty games out there that are beloved by people anyway! and thats fine! i love ww and botw, both of which HAVE flaws too! and thats okay!
you dont need to be dismissive of any hint of criticism like that, there is no holy honor to defend, it just makes you look like a jerk
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emry-stars-art · 10 months
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i love your royal au so so much, it brings me life. I'm also about to go read your college au because it looks amazing and i just love your writing sm asdfghjk
also! i read in the tags of one of your posts that you want to talk about abram and branding. and i want to hear about abram and branding. so really it's a perfect match!
really though i just want you to know that youre amazingly talented and i love what youre making🥰 have some validation✨ you deserve it!!!
Two asks about the branding + two parts of the branding = I love you, it IS a perfect match! (Also ty very much I saw your ao3 comment as well and you’re SO nice ahhh)
Anyway find part one of Abram’s brands [here], welcome to part two (feat. a buuuuuunch of ideas from @jtl-fics ✨)
Find the royal au writing masterpost here 💕
In the morning, Abram wakes not on the carpet but in Day’s bed. He can make out Day’s blurry form across the room, hunched over and focused at his desk.
Abram stays there for a while, fighting sleep and crushing disappointment to try and figure out what he’s going to do now. If the prince doesn’t want him around anymore, he’ll have to go back to a cramped barrack room. He’ll need to gather his admittedly meager belongings, he’ll need to figure out how to handle sleeping around strangers.
He doesn’t bother to get up until there’s a knock at the door. Shortly after, Day comes to check on him, finally realizing Abram is awake. The prince is outside, Day tells him. He wants to see you.
Abram takes a long while to think, to panic a little, to let himself shake. But he tells Day he doesn’t need to send the prince away. Eventually Abram can get up and go to the hall.
Andrew’s been rehearsing this ever since he’d determined to come find Abram. He can’t just say we need to talk or I need to know or come with me. Even just at the door he can see how close Abram is to running. They don’t even need to have a real conversation. Andrew just needs to explain himself.
“Good morning,” Andrew says, though it’s closer to midday, and is happy with how easily Abram finds his eyes even with the blurry sight. He brushes his fingers against Abram’s knuckles the way he’s seen Day do when he wants to lead Abram somewhere. “I have much to tell you about.”
After a hesitation, Abram slides his hand up Andrew’s to take hold of his sleeve, silent agreement. Day watches them go from his doorway.
Much like every time before, Andrew is as transparent as he needs to be. Abram’s always needed clarity, now more than ever. Andrew tells him that yes, Day explained the brand. (Not much to lose in translation there. It was exactly what Andrew thought it was.) He’d explained Abram’s panic over it. Yes Andrew had been surprised and angry, but he doesn’t need Abram to leave. (He doesn’t want Abram to leave.) Nothing has to change. Andrew never needs to mention or see that brand again if Abram doesn’t want him to.
After that, Abram’s fears shift wildly, if not diminish. Where before Andrew brushing against the bandage, clothed or not, made Abram shudder in discomfort, now he thinks it wouldn’t be so bad. Andrew had been very clear that he didn’t think less of Abram, he’d even threatened High Prince Riko for it in such a way that Abram almost really laughed. It’s more convenient to have a second person able to help him with it until he can see well enough.
Maybe later, well into their courtship, Abram gets in his head about it again. Could be a trigger, could be something more about him and the prince and touch - Andrew doesn’t try to touch him much, he’d been avoiding even more casual contact ever since Abram returned from Evermore. Maybe Andrew doesn’t like to feel the new scars and marks.
(Of course, Andrew is just being conscientious of Abram’s new boundaries. He has no way of knowing those boundaries have changed since then until Abram tells him, but Abram still hasn’t quite figured out that kind of communication.)
Maybe Abram asks if Andrew is going to turn him away. Or if Andrew is only tolerating Abram’s touch, the feel of his skin. If it isn’t comfortable, Abram promises to never ask again, as long as it means he gets to stay at Andrew’s side.
Andrew takes a moment to process that.
He asks again, “Do you want me to touch you?”
“Not if you don’t want -”
“I already know what I want,” says Andrew. “Don’t concern yourself what you think I like and dislike. Do you want me to touch you?”
Abram gives a breath that shakes his shoulders.
“Yes.”
With communication comes understanding, comes Andrew realizing that Abram still hates that cattle brand. Abram thinks Andrew hates that brand. Or at least that it makes him want Abram less. Andrew can’t tell Abram not to hate it, but he can prove that he doesn’t. He takes Abram’s hip and presses his palm squarely over the place he knows the brand is.
“You don’t have to believe me now,” he says, “but there is not a single part of you I would not want to someday be allowed to touch.”
And miraculously, incredibly, finally; that isn’t something Abram dreads.
(And oh, when that day comes it would be a hip kiss to rival canon.)
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cerise-on-top · 5 months
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heya, could you deliver someone kate head canons on how’d she’d be in a relationship! i adore your stuff by the way!!!! Thank ya
Yeah, of course I can! Glad to hear people like my silly HCs, imagines and drabbles! Thank you for the request, I hope you can enjoy it!
General Dating HCs for Laswell
First things first: There’s a chance you might not see her as often as you’d like. She has a very high position at the CIA, and thus works a lot in other countries as well. While Laswell does her best to make time for you, this isn’t always possible due to her job. However, when she does finally have time for you she doesn’t particularly want to leave your side either. Regardless of whether the two of you are relaxing while sitting on the couch and drinking tea or you’re at an amusement park, chances are Laswell will be by your side.
She’s not a fan of PDA, and that’s something you’ll have to respect. Laswell, generally speaking, isn’t that into physical contact with other people, not even you. You can ask her to cuddle every once in a while, you can ask her for a hug too, she won’t mind that too much, but too much physical contact is just suffocating to her. Laswell prefers to show her affection through other means. She has an amazing memory and remembers just about anything you say that might be useful. If you ever wanted a certain gift, Laswell has the means and the money to get it for you, even if you just made an off-handed comment once a few months ago. It will be yours eventually. And because she has a good grasp on how people react to certain things, chances are most of her gifts to you will be something you’ll like.
While she may not be a chef, she’s a pretty alright cook too. Cooking isn’t something she does very often, not that she hates it either, but she, more often than not, doesn’t have the time for it. Usually she just gets something on the go, eats out or orders takeout, but with you, if cooking is something you like, she’s more than happy to help you out. Just give her the order to cook the noodles or cut the tomatoes and she’ll do it. While she does like to make some chit chat with you at appropriate times, especially during cooking, if you prefer silence so you can focus better, then that’s okay as well. When she thinks a meal turned out especially well then she’ll have you try it by spoonfeeding you a bit.
Laswell is an older, but classy woman, she will want to go to fancy restaurants with you at some point just to drink some wine and maybe eat some fresh seafood. Naturally, you don’t have to eat some salmon and shrimp, but you don’t have to hold back either. If you want the pizza, the schnitzel or the burger, then that’s more than alright as well, but please, at the very least, consider the steak and the champagne. Considering the restaurants she picks are very expensive, it’s very likely that she’ll be paying for the food there. You can return the favor by paying next time you’re out to eat Chinese at the buffet or, if you want to, you can also just help her a bit with the chores and do a few more of them. This isn’t her trying to get out of doing them, though, she just wants to spoil you and show you the world of upper class people.
If you want to spoil Laswell as well, then I can tell you that unless your workplace pays you very well, you likely won’t be able to afford the things she likes. Whiskey or wine of several hundreds of dollars are not very cheap, so Laswell won’t mind you not getting her anything like it as well. However, she can appreciate you remembering the small things about her. You remember her liking lambs and got her a cute keychain? You made her the salmon filet she likes so much? Bought her favorite movie on DVD? Yeah, she notices and will be grateful. Those small things, however, might sometimes turn into something bigger with how she always likes to repay her “debts”. And so, an I love you has turned into a vacation in the Maldives at one point.
Will want you to be acquainted with either Nikolai, Price or both, preferably. Because she’s aware something bad can happen any time, she wants you to know them so that, in case something bad happens, you have someone to turn to. Besides, they’re her closest friends, she knows she can trust them with you. If you get along with them? Even better! That way she can invite you to the occasional drink with them and you can talk about anything and everything. And if you ever were in trouble and couldn’t reach her, then either of them would always pick up, no matter what. Your safety goes above all else, of course, but sometimes, some things can’t be prevented entirely, so it’s for the best you know them.
Overall, she’s a very caring partner, regardless of whether she’s your girlfriend, fiancée or wife, she’ll make sure you’re always happy. She’s been through enough herself to know what it’s like to be unhappy with where you are in life, so it doesn’t matter to her what she needs to do in order to see you smile again. Make sure to return the love and you’ll find yourself with one of the most loving, loyal partners out there. She’ll go to the end of the world and beyond to find you and make sure you’re okay. Make her a warm meal, give her some nice gifts and spend your time with her, the last thing is all that Laswell really wants in her life. As long as the two of you are together, she’s sure everything will be alright.
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northern-passage · 6 months
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i've shared some of Alex Freed's narrative writing advice before and i recently read another article on his website that i really liked. particularly in branching/choice-based games, a lot of people often bring up the idea of the author "punishing" the player for certain choices. i agree that this is a thing that happens, but i disagree that it's always a bad thing. i think Freed makes a good case for it here.
...acting as the player’s judge (and jury, and executioner) is in some respects the primary job of a game’s developers. Moreover, surely all art emerges from the artist’s own experiences and worldview to convey a particular set of ideas. How does all that square with avoiding being judgmental?
[...]
Let’s first dispel–briefly–the idea that any game can avoid espousing a particular worldview or moral philosophy. Say we’re developing an open world action-adventure game set in a modern-day city. The player is able to engage any non-player character in combat at any time, and now we’re forced to determine what should occur if the player kills a civilian somewhere isolated and out of sight.
Most games either:
allow this heinous act and let the player character depart without further consequence, relying on the player’s own conscience to determine the morality of the situation.
immediately send police officers after the player character, despite the lack of any in-world way for the police to be aware of the crime.
But of course neither of these results is in any way realistic. The problems in the latter example are obvious, but no less substantial than in the former case where one must wonder:
Why don’t the police investigate the murder at a later date and track down the player then?
Why doesn’t the neighborhood change, knowing there’s a vicious murderer around who’s never been caught? Why aren’t there candlelight vigils and impromptu memorials?
Why doesn’t the victim’s son grow up to become Batman?
We construct our game worlds in a way that suits the genre and moral dimensions of the story we want to tell. There’s no right answer here, but the consequences we build into a game are inherently a judgment on the player’s actions. Attempting to simulate “reality” will always fail–we must instead build a caricature of truth that suggests a broader, more realized world. Declaring “in a modern city, murderous predators can escape any and all consequences” is as bold a statement on civilization and humanity as deciding “in the long run, vengeance and justice will always be served up by the victims of crime (metaphorically by means of a bat-costumed hero).”
Knowing that, what’s the world we want to build? What are the themes and moral compass points we use to align our game?
This is a relatively easy task when working with a licensed intellectual property. In Star Trek, we know that creativity, diplomacy, and compassion are privileged above all else, and that greed and prejudice always lead to a bad end. A Star Trek story in which the protagonist freely lies, cheats, and steals without any comeuppance probably stopped being a Star Trek story somewhere along the line. Game of Thrones, on the other hand, takes a more laissez-faire approach to personal morality while emphasizing the large-scale harm done by men and women who strive for power. (No one comes away from watching Game of Thrones believing that the titular “game” is a reasonable way to run a country.)
These core ideals should affect more than your game’s storytelling–they should dovetail with your gameplay loops and systems, as well. A Star Trek farming simulator might be a fun game, but using the franchise’s key ideals to guide narrative and mechanical choices probably won’t be useful. (“Maybe we reward the player for reaching an accord with the corn?”)
Know what principles drive your game world. You’re going to need that knowledge for everything that’s coming.
[...]
Teaching the player the thematic basics of your world shouldn’t be overly difficult–low-stakes choices, examples of your world and character arcs in a microcosm, gentle words of wisdom, obviously bad advice, and so forth can all help guide the player’s expectations. You can introduce theme in a game the way you would in any medium, so we won’t dwell on that here.
You can, of course, spend a great deal of time exploring the nuances of the moral philosophy of your game world across the course of the whole game. You’ll probably want to. So why is it so important to give the player the right idea from the start?
Because you need the player to buy into the kind of story that you’re telling. To some degree, this is true even in traditional, linear narratives: if I walk into a theater expecting the romcom stylings of The Taming of the Shrew and get Romeo and Juliet instead, I’m not going to be delighted by having my expectations subverted; I’m just going to be irritated.
When you give a player a measure of control over the narrative, the player’s expectations for a certain type of story become even stronger. We’ll discuss this more in the next two points, but don’t allow your player to shoot first and ask questions later in the aforementioned Star Trek game while naively expecting the story to applaud her rogue-ish cowboy ways. Interactive narrative is a collaborative process, and the player needs to be able to make an informed decision when she chooses to drive the story in a given direction. This is the pact between player and developer: “You show me how your world works, and I’ll invest myself in it to the best of my understanding.”
[...]
In order to determine the results of any given choice, you (that is, the game you’ve designed) must judge the actor according to the dictates (intended or implicit) of the game world and story. If you’re building a game inspired by 1940s comic book Crime Does Not Pay, then in your game world, crime should probably not pay.
But if you’ve set the player’s expectations correctly and made all paths narratively satisfying, then there can be no bad choices on the part of the player–only bad choices on the part of the player character which the player has decided to explore. The player is no more complicit in the (nonexistent) crimes of the player character than an author is complicit in the crimes of her characters. Therefore, there is no reason to attempt to punish or shame the player for “bad” decisions–the player made those decisions to explore the consequences with you, the designer. (Punishing the player character is just dandy, so long as it’s an engaging experience.)
[...]
It’s okay to explore difficult themes without offering up a “correct” answer. It’s okay to let players try out deeds and consequences and decide for themselves what it all means. But don’t forget that the game is rigged. [...]
Intentionally or not, a game judges and a game teaches. It shows, through a multiplicity of possibilities, what might happen if the player does X or Y, and the player learns the unseen rules that underlie your world. Embracing the didactic elements of your work doesn’t mean slapping the player’s wrist every time she’s wrong–it means building a game where the player can play and learn and experiment within the boundaries of the lesson.
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static-radio-ao3 · 3 months
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friday snippy
thank you for tagging me @fruityindividual <33
He pulls back, just the slightest bit. Regulus’ lips are full, the lower more so than the upper. A defined cupid’s bow and a teasing smile permanently tugging at the corners of his mouth. Like he is about to tell you a secret, or a joke. James cannot help but to lean forward again, desperate to steal the joke right from between his lips. He sighs into the quiet space between them. The tips of his fingers tingle with the need to touch. But he cannot. James forces himself to take a step back, despite his desperation to stay in Regulus’ orbit. James thinks of the moon and the tide. Thinks that maybe Regulus is his moon, a gravitational pull he cannot resist. He leans in again, a press of lips against lips.
no pressure tagging: @veryinnovative, @itsjaywalkers, @carniferous, @foursaints, @spacexcowgirl, @imdamagecontrol
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blueskittlesart · 10 months
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if you’ve ever wondered why i am the way that i am just know that i was raised by a man who built a 1:1 scale model of mont saint-michel in survival mode minecraft over the course of several years with nothing but google maps screenshots of the place. and he refuses to put the fucking thing on youtube
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THE BEST OF SHENKO 1/?
The end of the world has a way of reminding you of all the things you forgot to say do. Mass Effect: Legendary Edition (2021)
#mira makes gifs ✨#kaidan alenko#sophie shepard#EDI#shenko#fshenko#mass effect#mass effect legendary edition#dailygaming#OTP: you're real enough for me#i learned i am physically incapable of creating less than like 20 gifs at a time#but shenko stonks are up right now!!#gif’ing my favorite bisexuals gives me joy 🥹#even though ME2 is dry as shit for shenko content like it’s literally the sahara desert#like a whole ass 10 minutes max of cutscenes between shep and kaidan like come on#like 2 minutes in the prologue and like 8 minutes of cutscenes on horizon#and then an email and looking at the picture in your cabin before the suicide mission#i'm so sorry y'all ME2 shenko canon is absolute shit (besides kaidan being rightfully angry on horizon) which is why we ✨ignore it✨ 🥰#but i rant about ME2 VS treatment too much so i will not write another essay about it in the tags#i will say the EDI line isn't the exact quote from the game but i think about it a lot tbf#same with the quote i borrowed from anderson too lmao (which is also a tiny bit paraphrased)#i just love EDI asking shep for relationship advice when you get to follow shep and kaidan's relationship/struggles across 3 games#and anderson's quote about all the things you forgot to do in relation kahlee to is just *chef's kiss* when you think about shenko#like whether it starts in ME1 or ME3 shenko has some really fantastic moments across the series#two characters with strong morals who realize that they're falling in love and literally start to become each other's strength??#their soft place to land?? their support when they need it?? shenko will always have my heart#also the shenko quotes you get are the most fire thing in the world#you're real enough for me?? you make me feel human?? i want to be your strength- your soft place to land?? shenko you will always be famous#I FORGOT IM GONNA FIGHT LIKE HELL FOR THE CHANCE TO HOLD YOU AGAIN TOO LIKE??#but i’ll stop ranting now bc i do that wayyy to much in my tags lol. have a good day wherever you are! <3
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oathkeeper-of-tarth · 7 months
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Moon Above And Stars Beside Her
Me, rising from the dead after a hundred years to post fic? It's more likely than you think! These specific characters were laser-targeted and lovingly crafted to activate every single one of my neurons and I am immensely grateful for them. Please enjoy the result of me endlessly rotating them in my mind ever since I met them.
Be warned that this fic is pretty much made up entirely of spoilers for Act 2 of the game.
Fandom: Baldur's Gate 3 Characters: Dame Aylin/Isobel Thorm, Ketheric Thorm, Balthazar, Withers, and a smidge of Selûne herself Length: ~11000 words Rating: M, for canon-typical violence and sexual content
Hurt/comfort, dealing with trauma, an overabundance of righteous anger, a smidge of Came Back Wrong, and some pretty complicated and peculiar parent/child issues.
Summary:
What of the gnawing in thine holy gut, the rage clawing up thine throat? A great weight, inclined to tip the scales once more. Which way shalt thou cast it? When you had nothing else, caged in darkness, you learned to cultivate your anger like the finest of crops. And yet there seems to be so little for you to reap.
The Nightsong is no more and Dame Aylin is returned to her most holy duties. Isobel Thorm is free of her grave. How they handle their past, present, and future is, perhaps, up to them.
Also on AO3.
Moon Above And Stars Beside Her
"And what of thee, god-child, moon-graced, silver-blood?"  
It is the Scribe who addresses you one entirely unremarkable evening, looking up from his scroll to arrest your gaze with his deathless one. They introduced him, a camp guest most unexpected, by some nonsense name you cannot even call to mind. But you would know him anywhere. And so you stop in your path, as you are bid, and listen. 
"A tipping of the scales most severe: thine mother freshly spared mourning her daughter, her dark sister's triumph snatched away at the very last moment." 
"You have guided these adventurers well, Scribe," you incline your head in respect and a small measure of thanks.  
"I do not guide," the grave-wind voice is raised just enough to convey something resembling annoyance at a minor inaccuracy he simply must correct. "I offer what services I am bound to, nothing more."  
You arch an eyebrow at him. "And yet you wish to speak to me, who did not ask any service of you." 
"Yes," he responds, and leaves it at that for a few moments that feel like an eternity. A timescale he is used to, one would imagine. 
"Dame Aylin. Thou art a curious creature, I admit - immortal, yet appearing in my records many times over. Moreover, thine fate stands indelibly entwined with one whose name has been freshly struck from the archives in a manner most uncommon and highly questionable." 
A tension floods you as you realise he talks of Isobel, and your hands tighten into fists at your sides.  
"What of her, pray tell?" It comes out more curt than you intended, perhaps, but the words are spoken before you can properly settle on them. 
"She lives, and shall do so for the time that is given to her, as it is to most. And still," he nods, unnervingly calm, all taut paper-thin skin, a being of unlife if you've ever seen one, "thou wouldst cleave thine malefactors in twain and rejoice in their screams. Thou, who burnest so deeply to reflect back upon them every spear-strike, every lash, every cut, every shattered, twisted bone and sinew, every drop of blessed blood they dared spill."  
You breathe in a leaden breath, knit together as you are, the divine birthright of your Mother lacing your scars with shining gold, proclaiming that the testament of your newly ended immeasurable suffering is something to be proudly displayed. You know the marks on your face glisten in the firelight much like the woven gold that decorates his skull, his sunken cheeks, as he looks upon you half-expectantly.  
"I would, and I do," you can but confirm through grit teeth. 
"What of thine anger? What of the gnawing in thine holy gut, the rage clawing up thine throat? A great weight, inclined to tip the scales once more. Which way shalt thou cast it?" 
"I would destroy them. I would scorch the very traces of them from the world. Some, I already have - as you are doubtlessly aware, Scribe. Much like they tried, and failed, to destroy me." 
"Or did they?" There is the infuriating calmness again, and a question meant for no answer, or perhaps merely a word of caution aimed at you. 
His withered countenance is as utterly illegible as a weather-worn tombstone, but if this was meant to stir hated doubt in you, it does. For you have grown well aware it is not just the bright, righteous blaze of justified anger that fuels you now, but something relentless that stings and cuts you as it wants out, out, out. This is not the way of Protection, of Devotion, of measured Justice. This is not the duty you were once sworn to, the sacred oath that has resounded in the marrow of your very bones since the first breath you ever drew upon this land. No, it is something new, and yet Vengeance has served you just as well - better, perhaps - in this brief time you've been free. 
"For all their infernal efforts, I have pieced myself together over and over and over again. It is my nature to do so, not a choice to be made, nor a conscious effort. Their betrayal and their sins against me are but a chapter in my tale, nothing more. My task is not done, and for as long as it is so, Dame Aylin will not stop, will not falter. You know this as well as I." 
The calm of the tomb refuses to be disturbed in any way, least of all by your tirade. "And yet, along the way, a piece of thee was lost and replaced with another, ill-fitting. Many stand to win from this, as many stand to lose." 
You frown as you scrounge around for a reply, and find yourself lacking one. He looks not at you, but into and through you, and it is uniquely discomfiting.  
The Scribe raises his hand in dismissal, and offers solemn parting words. "A godling thou art, but no god. It is in thine nature, too, to wonder, and question, and change in response. As it is in mine to observe, and take note, and stand witness to the weaving of fate. Forget not: thou art not near as tide- and cycle-bound as thine divine moon-mother." 
You are given little time to contemplate the Scribe's weighty, ominous statements. Yet another comes seeking, coveting, poaching. Craven-clever mouth full of honeyed praise for your "gift" and only ever wanting to take, take, take, all for himself. 
How dare, how dare he, how dare they how DARE--  
A thousand echoes of deaths upon deaths swarm and you take the vainglorious fool, lift him bodily up and-- 
He breaks upon your knee like a dry kindling scrap and your breaths come loud and half-choked and heaving. What was once a vile wizard is now nothing and for a moment, the briefest, most fleeting of moments, neither are you. 
Until the world rushes back in, exhausting in its sheer weight. There is no glorious, triumphant rush of battle-roused blood singing through you. Vengeance didn't taste sweet. It didn't taste like much of anything.  
When you had nothing else, caged in darkness, you learned to cultivate your anger like the finest of crops. And yet there seems to be so little for you to reap. 
As the sounds of the city far, far below slowly fill the enchanted tower, competing with crackling magic and bubbling potions and a complete absence of words spoken by any of your present companions and allies, all you can pinpoint whirling within you is a rising despondency. 
One more, and then another, and another after that, extending before you all in a line, down the endless, endless years that await you, immortal and eternal. Magus or sorcerer or ruffian or necromancer or halfwit charlatan, it won't matter much, will it? Because they will try. 
Do you dare ever again let your guard down for even a few precious moments of respite, when another villain with designs on your person could be lurking, scheming just around the corner? 
Worse yet, far more chilling - what if they, conniving, decide to aim their ambitions at a different target, at your soft underbelly, and come for Isobel in turn? 
When you draw yourself out of the crowding thoughts and return to camp at long last, subdued, tired, painfully aware you are far removed from your usual mighty bearing, hours have flown by and the sun has already set. Isobel is there, and for a moment that is all you know. She is there, and whole, and alive, and it is all you can do not to drop to your knees once more and offer prayer upon prayer of gratitude. 
She looks at you, eyes brimming with a potent mix of concern and questions, then rushes towards you and wordlessly takes you by the gauntleted hand to the small sanctuary you've carved out for yourselves in the midst of your newfound allies: a simple tent, a soft, warm rug, a comfortable enough cot. A small washbasin Isobel keeps filled with conjured, moonlight-laced freshwater. 
"It was a glorious victory, my love, worry not," you rush to reassure, though even you can tell your heart is not in it. "Yet another villain slain, his devilish designs denied -  as has become the habit of our merry retinue. The battle has tired my mind somewhat, that is all."  
You can see the doubt writ plainly on her face, but it is no lie you tell her (never, never could you bring yourself to lie to her). It is more that… you do not know the reason yourself, or, rather, that it feels too manifold to ever encompass in simple words. 
"I wish you would give yourself time, Aylin, let yourself rest," Isobel says, soft, endlessly caring, achingly perceptive, and only slightly disapproving. She starts taking your armour off piece by piece as you sit on the small campaign stool you appropriated recently, then dampens a washcloth to wipe the traces of recent battle from your face. "Please. You endured more than a hundred years of horrors I can scarcely imagine."  
You grit your teeth at the mention and try, foolishly, to hide from her the tension that runs through you at the mere evocation of the thought. She palms your cheek and tilts your face to look up at her - her, standing above you and yet barely exceeding your height, though you remain seated - and oh, how you adore the sight! 
Isobel frowns as she notices a scrape on your temple, slightly singed in a near-miss from one of the mage's commanded elementals. It is nothing, you want to insist, no need to fuss over it, but you know how to recognise a battle lost before it has even begun. "In Her radiance, you are made whole," she murmurs, and you feel the familiar tingling and slight warmth of the gash knitting itself closed. 
Her incantations are perfect and as subtly melodious as ever. There is healing even before her spells take hold simply by the fact she is here. It is Isobel's touch that has ever been a balm when you returned from a skirmish, feathers ruffled, just as it is now when you feel burning echoes of abuse tear through you at some unintended motion or runaway thought. 
Satisfied for the moment, she dips the cloth in water again, and runs it gently over you, in a cycle as regular and comforting as that of the Moon itself: brow, nose, cheek, jaw, neck, then brow again, and again. For a little while the gentle, refreshing, cleansing caress is the only thing that exists in your world, and you let go of the death-grip you only half-consciously had on her other hand. 
"I confess… I hate to see you throwing yourself back into the fray like this. I understand why, and that it is necessary, but…" she trails away and pauses for a heavy moment, cloth in hand. She resumes, more determined, now scrubbing at a stubborn mark on your chin. "I wish it didn't have to be so soon. Duty or not, you shouldn't have to. You should be allowed to recover in your own time, to heal in peace, until you are ready." 
You cannot help but bristle at that. "You would deem me unfit for my purpose? My duty and my self are so entwined, it is not possible to have one without the other - would you call into question a sword's place in battle?" 
"Listen to yourself," Isobel snaps, harsher than you can ever remember hearing her, stopping her ministrations and standing tall to face you down, cheeks reddened. "Can't you hear what you sound like? Like a misguided Sharran, making yourself out to be nothing but a tool to be used and used and used until you are useful no more!" 
You gape at her, useless, wordless. "Isobel…" 
"Yes, you are the resplendent Sword of the Moonmaiden, performing great deeds in Her name… but you're so, so much more than that, and I treasure all that you are." The words are so impassioned and so openly honest you are struck silent in pure awe. Isobel, clutching a dripping, bloodied washcloth in the middle of a patched-up tent, might as well be a queen making proclamations before her devoted court assembled in a lofty palace. And oh, devoted you are, endlessly, endlessly. This can never change. 
"My Aylin, my angel. You always have been, and always will be, and if it takes me years to remind you of all of these things I know you once knew, I promise I will." Her palm is back on your face, a gentle caress that soothes many wounds long invisible, never healed. 
She speaks her promise as solemn as any vow you have ever made, and you bow your head to kiss her hand.  
"There is no need for recklessness, after all," Isobel smiles, the slightest wry twist to it, as she tips your chin back up, leaning down to press a kiss to your forehead and murmur against your freshly washed skin. "The Moonmaiden's shield is mine to wield. You know its strength, the blows it can take. Let it be a sanctuary for you as well. Give me - give yourself a chance. Slowly, step by step - there is time." 
You have time, she is correct, even if you've never managed to have a very good grasp of it. All the time in the world, and then some. 
Isobel does not. 
You've already lost her once, had her ripped from your arms by whims of fate, or rather something far more sinister. There is no way to know, but you suspect, oh, you do. Your Mother's dark twin schemes ever on, and Moonrise, beacon that it was, surely seemed to her a provocation, Ketheric Thorm a crown jewel to be poached, and Isobel, your Isobel, a mere means to an end. 
Isobel, brought back, a miracle paid for so very dearly. It would be foolish to count on another. 
You stand up and reach over and almost crush her to your chest in an embrace - one she returns not a moment after completing her surprised exclamation. You hold her and hold her and allow yourself to lose track of time again. 
Moonlit, timeless, subdued in her glory, you listen to Isobel recite the Words as she pours fresh milk into the small silver ritual bowl before her.  
"Our Lady of Silver, whose light falls upon us all, hear me."  
Her reverent voice is barely above a whisper but carries impeccably, harmonising with the gentle bells and chimes surrounding the private little altar.  
"Sheltered by Your radiance, guided by Your hand, I come not to entreat, but to reaffirm." 
Motes of moonlight buoyant around her dance in the rhythm of the prayer you've heard and repeated so often it feels like breathing itself. It would feel stranger not to join in, so you do, if only in your mind. 
Ever-changing, ever-returning, as the silver Moon waxes and wanes, so too does life.  
You lurch back into awareness in a place you have never seen before, but that you recognise without a shred of doubt. The utter absence in the dark dome of the sky above you, the storms that swirl and rage all around, the assault on your ever-heightened divine senses - the reek of the Shadowfell feels like it has sunk its claws into your lungs already. You shudder, then startle, scrambling to stand when you realise your armour is gone, your sword nowhere to be found. 
Your feet are bare on the cold, cruel rock; your mind reeling, disoriented. Half-blinded by the glowing runes that encircle you, your tunic still stained with the fresh blood of your latest, very recent death, you come face to face with the two men you made the mistake of believing and turning your back on mere moments ago, in what must have been a different pocket of the dark realm.  
And so, the last time you see him for what is to be more than a hundred years, Ketheric Thorm locks gazes with you and wordlessly draws a dagger. Then he cuts his palm, deep and deliberate and unflinching, and your own muscle and sinew feel the slice. 
The hideous grin of savoured success on his pet necromancer's face upon witnessing your startled, pained reaction chills you to the bone. It is then, perhaps, that you begin to grasp the scope and shape of what they have in store for you. 
You try to rush at them, charge and claw them into submission with your bare, bloodied hands if needs be, but the boundaries of the sickly-bright rune-inscribed circle flare up, the cage tightens around you, phantom hands grasp and wrench and restrain and keep you in place, your foes and would-be tormentors only just out of reach. 
"What are you doing, you dog ?" You roar at Ketheric, your insides twisting at the sight of the dark disc newly burnished on his armour, Sharran symbols adorning his brow, his chest. "Oathbreaker! How dare you conspire against Dame Aylin, against Selûne herself! How dare you so betray Isobel--" 
A heavy gauntlet smashes into your jaw as soon as the beloved, yearned-for name leaves your lips, and Ketheric's voice rises above the ringing in your ears. 
"You do not get to speak her name, thief. I am the one betrayed, abandoned. By your witch of a mother who hoarded my misguided service for far too long." 
Ketheric steps back and calms, somewhat - or merely restrains his rage into something crueller and colder, while you recover enough to speak.  
"Shar will not help you, Ketheric Thorm. Oblivion does not heal, does not mend - and oblivion is all she offers. But what she will ask of you in return will damn you forever." 
He waves a claw-armoured hand in mock-dismissal of your warnings. 
"Do what you will with her, Balthazar, as long as it doesn't impede my Lady's plans. Break her, if you can. Let her rage and pace and fume and rot, if not. But I want her to know," he steps closer again, so close, almost close enough to touch, if not for those accursed hands holding you back, "when our Dark Lady's acolytes come calling, when her wretched silver-stained blood fuels the creation of an army the likes of which the world has yet to see - I want her to know and never forget: it was on my orders." 
You calm your breathing enough to answer, the burning rage within you forging your words into steel - the only steel you can aim at him, for the moment. But the tides will turn, as they inevitably do. "The Moon shows many faces. Our Lady of Silver is ever-changing. You should be careful, traitor, lest the Hunter's Moon marks you as Her prey." 
Ketheric scoffs, unimpressed. "Let her try! Let her come, let her send all her legions after me, when she would not lift one holy finger to help me when I needed it most, for all my decades of faith and devotion. No, you will see," the quiet conviction in him is chilling to behold, in all its sheer wrongness. "This place, this bond, will sustain me, and it will take everything from you, piece by piece, until you whine and cry and beg your moonwitch mother for salvation. And when you are met with the same merciless silence as I was, perhaps I will consider it payment enough for the precious hours of my daughter's presence you dared steal from me, interloper." 
You cannot reach him to wrap your hands around his worthless, treacherous throat and wring. But the trap, the cage, is imperfect, and you spit silver-flecked blood at his face easily. 
He flicks his cheek clean, all dismissal, then motions to his foul, death-reeking companion to come forward. "Start with her wings. She has no need for those anymore." 
"I would be delighted, General," comes the sickening, rot-sweet voice of Balthazar from somewhere behind you, along with the deceptively gentle sound of him tinkering with his ghastly tools and implements. "How very appropriate, how symbolic, to start by clipping our little bird's wings." 
You roar your rage at Ketheric's back until he is out of sight and your throat is raw and bloody and capable of nothing but a hoarse whisper. You strain and pull and beat your wings in great gusts with all the desperate force you can muster; you burn, entire, with a scorching radiance unlike any you've manifested before. But the newforged bonds persist, and drag you down, down, down, merciless, until you see and breathe nothing but dust, the magic of one of the caging runes stinging against your cheek as the sounds of what can only be termed butchery fill the stale air. 
It is the perhaps unfortunate attribute of your particular strain of immortality that you are obliged to feel every wound, every hurt, every blow that seeks to lay you low. That you rise to fight again only after you have been truly felled. That your memory is one made to suit your long life - blade-sharp, exact, and infallible.  
You lie there afterwards for a long, long, quiet while; unmoving, though the spectral hands loosened their grip and vanished along with Balthazar, a minute, or an hour, or a day, or a year ago. There is too much pain still, you think almost idly, feeling quite far removed from your own self. Too much for any of it to have been a killing blow.  
It is the first time in your storied existence you dare to think of death as a possible mercy and wonder if you might ever welcome it. 
Let all on whom Selûne's light falls be welcome if they desire.   
You do not see Ketheric after that, except in gory fantasies produced by your mind's eye. But you do get to know, intimately, each and every battle he deigns to fight personally, each scrape and cut and bruise and jab, arrow and spear and sword - all unseen, but far from unfelt. 
Then comes the steady stream of misguided Sharrans, would-be Dark Justiciars.  
You try to speak to them, at first. Reach out. Try to make them see their terrible error while retribution might still be within their grasp. 
You fail, each and every time. And each and every time you pay for that failure with a death. Some of them are more decisive about it, quick, almost merciful. Some stretch it out, savour it. Some can't bear to meet your eyes. 
But all of them, in the end, do it. And you choke back to life over and over and over again, knit together anew, as the murmurings mount. 
Descend to her. Look upon her. Listen to her.   
Kill her.  
You remember the first time you died: out on a quest taking you through a steep mountain pass, falling into an ambush, peppered by poison-tipped crossbow bolts. You remember also the slight fear, the uncertainty of what exactly would happen to you - the fact of your Moon-blessed immortality until then only a suggestion, a curiosity somewhere in the back of your mind. 
You remember the gradual change into certainty over several misadventures and the ensuing determination - you were indestructible! Indomitable, as befits the Sword of the Moonmaiden, put upon this earth to enact Her will. Who would dare stand before you, resplendent, eternal, uncowable? 
And you remember the long, slow slide into being utterly used to it, down in these seemingly bottomless shadows, stuck on another Sharran spear, listening to your own blood drip drip drip as the darkness grew even heavier, laced with increasingly triumphant whispers. 
As we turn to the Moon, we trust She will be our true guide.  
Exhaustion overwhelms even the most righteous of furies, and you fall into a fitful sleep now and then. You dream of Isobel, soft, warm, brilliant, alive, and it makes the cruelty of awakening all the worse. 
Balthazar comes, sometimes, your most frequent and most despised visitor by far. He delights in letting you know how much time has passed - impossible to tell, in the umbral pocket of your prison. Regales you with tales of Sharran tyranny being visited upon the land and the people you were sent to watch over and protect and guide, your one mission and the purpose written into the very blood flowing through your veins. And yet you did nothing but fail. Precious Isobel, dead; Ketheric, lost, determined to tear down with him the world entire. 
Balthazar rejoices in the disgust you cannot help but bear openly upon your face as he expounds on his experiments, hands unbound by any trace or suggestion of morality and propriety and with Selûnite victims in abundance. He crows endlessly over his successes, his sick triumphs - but oh, none as impressive as you!  
He does much worse, later, and you learn you do not need a tongue to curse him. 
You know nothing can come of it but even more pain and sick retribution, yet you goad the corpse-rotted bastard every chance you get. The necrotic embodiment of every foul undead creature you would have wreathed your sword in radiance for, if only it were at hand. Whom you would have longed to smite until nothing but ash remained. 
There is nothing else here. Empty shadows, as befits the Lady of Loss. A void without and within, yours to fill with gnawing, searing, holy wrath. Nothing left to sustain you but the thought of a long-distant but inevitable escape and vengeance.  
One day. 
"I keep a tally just for you, Balthazar." You pace the infuriatingly familiar bounds of your cage, precise in your steps in order not to trigger the wretched closing in, the grasping-- 
He looks up from the stitching he is doing, morbid handiwork on some poor Moon-devoted stonemason he wanted you to see. "Aylin! I did not know you cared so." 
"Why, yes," you bare your teeth at him in mockery of a smile. "When your little spell inevitably fails and this game of yours runs its course, I will come find you first. I will tear you apart, limb from mismatched limb, into your grave-robbed constituent parts. And then I will mince them further, until there is one rotting morsel of you for each and every hurt you have ever visited on me." 
"You will find," you prowl closer, just out of reach of the necrotic claws, "I have an excellent memory." 
Infuriatingly, the corpse only smiles, laughs in your face. 
"I was expecting just a touch more creativity, but then I suppose that has never been much of a strong point for you moon-followers." 
You scowl and swallow back a growl and want only to provoke him further, itch to make him react, to make a mistake. 
"So very boring and predictable. Painfully straightforward. Laughably easy to trick." 
He waves a hand and conjures a muddy image of the lost Selûnite child you were made to chase down here what feels like a lifetime ago, the perfect bait they contrived just for you. 
"You were nothing, Aylin. A meat-headed little errand girl for your useless mother. I, well, I have made you into a treasure." 
Balthazar's smile splits the corpse-bloat of his face. The stench makes you want to gag, makes you yearn for the duller senses of one not trained from birth to be a paladin.  
"As thanks, let me leave you with a thought you will doubtlessly appreciate. Do you know, I wonder, how very little it would take for you to be freed? What little effort I had to invest to ensure your captivity? One friendly touch would break the confinement spell, a mere moment of kindness. Nothing more." 
He steps forward, waving your clawed shackles into existence. Then he moves as if to pat your head or caress your face - but instead pulls at your hair, whipping your head back, and sneers. 
"How lucky for both of us you will never find such a thing here. There is not the slimmest hope of reprieve, not for you." 
And for a hundred years, he is right. 
The Moonmaiden will never allow us to bear a burden we cannot carry.  
The burning flare of indignant rage sours somewhere deep in your belly along the way. You are not of Ilmater's stock, made for the rack, proud to endure all pain, indignities, and abuse, for oh, good things would come to those who waited! With idle waiting you were long done. There was no glory to be found in suffering. No, you were made to be a beacon soaring through the sky, driving away shadows and fear and doubt, illuminating with the stark, silver light of your Mother's truth all the myriad lies your foes so loved to wield. 
What have they done to you? When it might be easier to ask what haven't they, over the months, years, decades, uncountable. Tongue, eyes, wings, heart. Yours to lose, all of it, when it was never theirs to take. And then, darker still - what use it all, when your heart's love had gone already? Isobel, most cherished of all, taken so suddenly and cruelly - you always knew you were going to be painfully parted, for your nature made that an inevitability. But not so soon. Not cut so short so abruptly, when she had so much still to give, and do, and be. When you were supposed to watch her grow old and say goodbye slowly and gradually with every precious day. 
You try to fill the hours between deaths with something kinder: memories of her gentle smile, her soft touch, her grace and her wit and her light. But all you can picture here among the accursed shadows is the beautiful, heartrending serenity of her laid on her bier, awaiting her final rites. 
Your own words to Ketheric resound in your mind. "Dear Isobel," you whispered, reverently, words you now know fell on deaf ears, "in my Mother's care at the Gates of the Moon, no doubt, with noble Melodia by her side. One day you shall be reunited on the silver shores. One day, my mission will be deemed complete, and I will be released from my duty… and I shall be permitted to join you." A tentative, tender smile to the bereaved father, and a hand on his shoulder. Trying to meet the man's grief with your own and perhaps thus relieve both your burdens. 
In a kinder world, you could have mourned your mutual loss together. But it wasn't to be. Instead - this. Instead, you, here, caged, tormented, made to carry more than just the hurts visited upon Ketheric's flesh and bone. Though in your mind it seems it has all done little to soothe his own pain, instead merely doubling it and vomiting it back into the world. 
Your contemplation is cut short by a sudden agony. This in itself is nothing new - Ah, you think, Ketheric has run afoul of a Harper's blade or a druid's claws again. You know enough from Balthazar's boasting to distract yourself with dreamed-up possibilities, a comfort as meagre and thin as the rags that clothe you. As if you could will his own hurts back onto him.  
No, the pain is nothing new. But there is something different about it this time - it feels like it has no end, it does not ebb, and you take such a very, very long time to die. And when you awaken again, the crushing in your chest continues, then stops so abruptly you feel like you can breathe for the first time in years. This was clearly no normal battlefield injury and it makes your entire being burn with hope that, for all the unusual suffering it is foisting upon you, it means that something shifted -- 
That perhaps, somehow, miraculously, even with leeching off of you, fat and silverblood-gorged, Ketheric failed. Was defeated. 
That perhaps your torment is reaching its end, and soon enough some enterprising hero, a fellow Selûnite perhaps, will find themselves guided into your prison to help you pry the bars wide open-- 
And then, a roar. A quake of the very foundation of your unseen cell so strong it knocks you down, and a surge of darkness and fury greater than anything you've ever seen. An entire storm of shadows, howling, screaming with a thousand enraged voices, ever-wretched Shar's above all, rushing up and up and up and blasting through the black dome that stood for the sky in this abyss.  
You dare not think of what this could mean: the Shadowfell pouring out its umbral essence over the world so suddenly and violently. 
It is a moment, perhaps, of ultimate weakness - for a precious few seconds you had the nerve to think it might finally be over, but instead… this. 
"Hear me, Mother," you rasp out against the ground stained over and over with your own blood, unable even to lift your head and address the words up high, where they belong. "Hark, Moonmaiden Selûne, Your blade is dulled, stolen. Your will delayed, undone. Your daughter… begs for Your aid…" 
"I need… I pray… a boon. Bless me with Your help, so that Your bright sword can once again be lifted as an instrument against the darkness. At Your service, as I ever must be, I incur this debt gladly. Let us answer this invasion with all our might." 
There is no response to your prayers. Not a glimpse of your Mother's ever-changing face. Not a single droplet of silver moonlight penetrates these shadows, and no other voice reaches your ears. 
The thought rises, unbidden: is this what Ketheric meant? 
There is no shadowy shroud of Shar that a moonbeam of Selûne cannot pierce. You have staked your entire being on this belief, a thousand times over. And yet not a mote of light reaches you in all your years of captivity, and you, curse you, you wonder. The swirling shadows whisper and tickle your mind and your very soul and you despise this intrusion but-- 
If she can, and yet she does not - does that mean she does not want to? Does not care to? 
Among the wild shadowy storms and the gusting winds and lashing lightning, the silence is deafening. When you repeat your prayer, a year later, then a decade, there is still no answer. 
An incredible loneliness stretches before you, a nothingness so profound and so very, very long you think you might even miss Balthazar's rancid presence. 
And then, a sudden crushing in your chest again, and an agony exploding behind your eyes. Mercifully brief, as far as these things have gone before, but igniting such unspeakable anguish in you that you bellow and pound your fists against the ground until they are raw and bloody. For you know this can only mean one thing: the cycle is starting anew after all this time, and what you took for Ketheric's defeat had somehow only been a temporary setback. 
As Your starglow soothes and bolsters, so we promise to aid our fellow faithful, and guide those whose path is not yet clear.  
You've flown over these lands countless times, but now, as you rush forward to your long-promised reckoning, you might as well be flying over one of the hells. The ruin and desolation drains away even the heady rush of newfound freedom, the sheer relief of feeling the wind on your wings once again. 
It is hard to reconcile the shadow-swollen horrors below you with the magnificence of Moonrise Towers as you once knew them, striking pillars of faith without question. Reithwin itself and the land entire have changed, twisted, in the end but a mirror to the devotion of their ruling family.  
There is nothing here of what you remember, nothing left of the simple, blessed life you got but a taste of, not even an echo to be found of all that you once came to treasure alongside your beloved. Fields and orchards you helped work; vineyards you helped bless; fine, silver-wrought fountains you helped make ever-pure, all in your role as your Mother's emissary. 
Ketheric Thorm, now False twice over, in whose throne room you stood in audience, promising your fealty and your aid, as recognition for his family's long list of deeds in Selûne's name. 
And Isobel, his daughter, still fairly young for one of half-elven descent, but an accomplished cleric in her own right. Her mother's daughter through and through. 
The first in Reithwin to stop being star-struck when faced with you, made of far sterner stuff than she might have at first seemed, and insisting on meeting you as an equal. Wise, caring, and skilled. And achingly beautiful, with a soft face and rosy cheeks meant to be bathed in the gentlest of moonlight. 
It was odd, but meant to be - clearly part of some plan you happened not to be privy to, but had no desire to question. 
All love alive under Her light shall know Her blessing.  
Isobel, living and breathing before you, is a miracle if you've ever seen one. 
Isobel, still hurt, bruised from what you are told was a kidnapping attempt ordered by her own father - you bristle, and bite it down. 
"It is nothing," she insists when you belabour the point, and you want to chastise her for never thinking of herself enough, even after a century, always putting her own wellbeing last, knitting everyone else's wounds closed and leaving no salve for her own. 
Instead, you take her face between your palms, trace her cheeks with tentative fingers and carefully, carefully tap into the healing magic you've ignored for a hundred years. The face of the Moonmaiden is ever-shifting - the fierce, warlike guise of martial prowess is but one of many in Her exalted repertoire, and so, too, in yours. 
Then, in the privacy of the spacious upstairs room granted to Isobel as the haven's pivotal goddess-touched protector, the very embodiment of the Last Light, you do the same for the rest of her.  
Her body is warm, though she complains of a coldness she cannot be rid of. 
You fall before her, on your knees as if in supplication, as has always felt like the most natural thing in the world. Face buried in the softness of her bare stomach, a dam in you breaks, and you weep for the joy, the relief beyond all hope, of her real and breathing and whole before you. 
She leans down to press a kiss to the top of your head, like a benediction, hands running through your hair and cradling you ever so softly until you regain yourself. 
"My darling, my angel. I can hardly believe you are here." 
In this, she speaks for the both of you, and spurns you to action. 
"Then let me banish all doubt," you murmur, trailing kisses all the while, reverent hands on soft thighs. "I would taste of you, my love, if you allow it." 
There is a fleeting moment of hesitation that was never there before as her hands and lips still. But then her shiver becomes one of anticipation as she murmurs into your ear. "I welcome it." 
It is yours, then, as ever, to do as you are bid. 
You wish to touch every inch of her, impress upon her again and again in a thousand kisses the affection and adoration welling within you inexhaustible. You crave to recommit to memory what you once studied and learned like the most fastidious of students. You need in a way you never have before. And she obliges - no, answers, just as eager and driven by your age-long separation, though her experience of it has been so wildly, incomprehensibly different. 
The sounds you draw from her (familiar, dearly missed) are like a balm, a private song you were certain you would never hear again.  
You hold her as close as is possible, and she returns the favour. Her caress is familiar, warm, healing in ways few things could ever be. After the hundred years of emptiness interspersed with biting, death-inviting pain and foul, crushing hands holding you in place, after unspeakable things visited upon your body, your person, a gentle, loving, careful touch is a treasure unmatched. The sharpness of the contrast makes your throat tighten. 
"Isobel," you breathe into her shoulder, neck, and can think of nothing holier to say than her name. 
She holds you entire in her gentle hands, heart and soul and body, and whispers fervent vows to never let you go, never allow you to feel hurt and harm again.  
Isobel is slight compared to you, small and soft, for your strengths have ever lain in different areas. Treasured and safe in the circle of her arms, in the sanctuary of her embrace, finally, finally, you find rest. 
You are back in your circle-cage, face down, limbs leaden. 
The bloated corpse-face of Balthazar leers over you and you launch upwards, swipe at him, near-desperate to drive him away before he continues his wretched work. Aching to make him pay for every insult he has dared commit upon your blessed flesh. 
Only to find yourself gasping, gulping down cool night air, seated on the bed in the pleasantly twilit room on the upper floor of the Last Light Inn. 
You focus for a moment and effortlessly as ever manifest your wings and take stock of yourself. You know you have not escaped unscathed, unchanged, but your strong limbs are still there, as if nothing had ever happened. Shoulders wide and sturdy, downy feathers, wings. Every sleek vane and fine bit of plumage in their place, pearly white-silver and perfect.  
Yet any human rosiness that used to reside there is long gone out of your skin, grey like marble, criss-crossed with precious gold. If you look down, there is a severe, pronounced crack lying right above your heart. It makes sense, of course, if you think on it, though you so desperately prefer - try - not to. 
And the dream - nightmare - insists on sinking vestigial claws into you, leaving you with a burning, torn sensation between your shoulder blades. 
Isobel stirs beside you, and you curse for having woken her from such hard-won and rarely granted serenity. She sits up, sleep-cottoned, and traces gentle fingers down the tensed, trembling part of your back, though you have said nothing. But Isobel, wise, insightful Isobel, always seems to know at least part of what ails you. 
"One of the Flaming Fists encamped here... a traitor. Marcus," she speaks somewhat haltingly, cautiously. "We were all struck by his betrayal, but I... when I saw him, when he came for me, when he was sent for me..." 
Her eyes meet yours, almost reluctantly. 
"He had wings. Hideously warped, blackened, rotten things, but..." 
A question is raised, a mirror of one you've asked yourself, during long hours-turned-days of morbid contemplation in your prison. 
"Balthazar. He got them from that wretch Balthazar." 
"And he got them--" Isobel cuts herself off, fully awake and alert and wincing at the confirmation of her fears. 
You swallow, throat parched and burning as if the screams from then still scrape against it. Harvesting, he called it. 
"He got them from me." 
It is simply not something to be thought about. The bile of wrath rises, crawls up your throat instead, and you spit out words almost in a growl.  
"He has been dispatched, I trust? The traitor?" 
Isobel understands.  
"He has, of course," she rushes to reassure. "Jaheira and the Harpers made quick work of him and the horrible creatures he called to his aid." 
You hum, move to sit back against the headboard, then change your mind as soon as it touches your skin. "It seems I have much to thank High Harper Jaheira." 
Your hand is still tightened into a fist in the coverlet, and Isobel reaches over, pries it open, to hold it ever so gently between both of her palms. 
"We both do. We'll see them all come morning, exchange tales over breakfast. Outside, perhaps, in the sun, at long last." Her smile is as bright as this promised dawn, but there is a note of silver-filigree steel behind it. "We can thank her then. Make sure she knows she can count on us through whatever is to come." 
She reaches over to cradle your chin, tugging you down, and kisses you softly. "Let us get some more rest, my love." 
The both of you slip back under the moth-eaten but soft covers and she burrows insistently into your side, under one wing. You lie - and, blessedly, sleep - on your stomach, Isobel's arm thrown over your lower back in that perfect balance she is mastering of being reassuring while not calling too much to mind. 
When we are beset with shadows, You mend our hearts with the silver thread of Your radiant loom.  
You let Isobel braid your hair, one idle evening in camp. You can sense she is just as starved for simple contact as you are - her hands seem restless, even more so than usual, and flit over your back, shoulders, arms... so you let her occupy them, as she perches in your lap and peppers you with kisses, and speaks not a single word. 
There is no mirror at hand to see her handiwork when she is done, but she looks pleased with herself, and with you, and you feel like this should be... enough. 
But another memory stirs and inches through, of the times you knelt, crouched, sat in that glowing circle that your world had seemed shrunken to, and, for want of anything to do with your hands (now past punching, past clawing for the freedom that was out of their reach) you set to braiding your hair, as if preparing to don a helmet and march off to glorious combat. It was something to do, and pretend. 
You undo the braids as soon as Isobel falls asleep. 
The city, that meeting point of fates, draws ever nearer. 
Isobel's cough comes and goes. Nothing as bad as the fits that sometimes awoke her while you were still in the cursed lands, but it persists, frustratingly. 
"Isobel, I--" you barely get to begin to voice your concern before she brushes you away. 
"Please, it's nothing. Don't worry about me, dearest." 
"I find I cannot," you state simply, as it is a very simple truth. 
"I- I don't want to burden you. You've enough on your plate as it is." She gives a small smile so forced you almost feel insulted. "It'll pass, I'm sure." 
"Burden…? Isobel," a mess of words past her cherished name stick in your mouth, awkward, nigh indignant, and you take a moment to calm and order them. Simple and earnest is what you settle for, in the end. "Isobel, my love… You are first in my thoughts, always, you know this. I would gladly bear all your burdens if I but could, if you were to allow it - each and every one." 
She frowns, shakes her head, and you hate that you seem to have somehow displeased her. "That's just it, isn't it? I don't want you to. I don't need you to. You've born more than anyone's fair share." 
"Ah, but Dame Aylin is hardly anyone, is she?"  
You aim your most winning, blinding white grin at her, but fail to induce the reaction you were once used to getting on a whim. No blush or giggle hidden behind a dainty palm at your deliberately overtuned charm being pointed at her, no smirk and tease in return.  
No, Isobel is subdued, troubled, and, most vexing of all, everything you say seems to only serve to make it worse. 
There is something new behind her eyes, too, those beautiful, wise eyes that won your heart entire the first time you met them. A darkness, you would dare call it, a shadow not unlike the curse once fallen upon the land. A question, a yearning for some understanding that never seems to come, a futile grasp for something in an emptiness that was not there before. 
"Please, my love," you say with the utmost tenderness, reserved for Isobel alone, "do not hide your heart from me. You know I cherish it as if it were mine own." 
"I haven't felt… myself," she haltingly begins in answer to your plea, as you step forward and encircle her, first in the embrace of your arms, then in the shelter of your wings. A treasured sanctuary saved for the two of you alone. 
"I cannot… the death, it clings, I..." 
She buries her face in your chest as she struggles to pick out words one by one, plucking them out like painful thorns. You let her rest tucked under your chin, restrain yourself to quietly running one gentle, slow hand through her hair. 
"I am afraid," she settles on, finally, almost a whisper, hiding still, refusing to look at you. "I am afraid there is no fixing this wrongness I feel day after day, that's been… in me, over me, ever since I awoke. That something has been taken from me, and now there is no way to remove this vile mark that's been left on me instead, whatever it is. Not even by the grace of the Moonmaiden." 
She shivers, and you tighten your hold on her, even as the sentence after that tears into your very heart, sharper and more jagged than any Sharran knife. 
"I am afraid, most of all, that no matter how much I pray or plead, that whatever I do to try and prove myself worthy, I… cannot be. Ever again. I will never be worthy of Her light again. Or of yours." 
"No," it comes out far rougher, angrier than you ever intended, ever wanted to aim anywhere near precious, beloved Isobel - not at her, never at her. But she is wrong, because it is an impossibility, unthinkable, ridiculous to even suggest. Her, treasured, cherished, held high above all in your regard, and lofty in your Mother's. 
"Please, Isobel," you move a half-step back, if only to make it possible to cup her face, tilt her chin up and look at her. "Do not ever, ever think such a thing again. You could never be unworthy, not you. Not you." 
The hitch is back in her laboured breath as she moves to protest, the haunted look shadowing her eyes. "How? How can you be so sure?" 
And that is the question, isn't it? Your love for Isobel and faith in her intertwined, utterly certain and utterly relentless. Like the rage that sustained you through a century of torment, settled heavy and deep in your bones. You don't know any other way to feel, to be. 
"I will prove it to you, I will drive away any shadow of any doubt. Her light, through me. For you alone, Isobel." 
She acquiesces, at least, to being led over to the bed and sitting down. You lower the shoulders of her tunic. Place a gentle, reverent kiss on the revealed skin, trying to press in with it all the love and devotion you desperately need her to be aware of. 
You lay a hand on her bare back, palm flat and flush with warm skin. The rush of joy and slight disbelief that she is once again yours to touch is still fresh, and yet the familiarity of every freckle, shift of shoulder blade, and light shiver of gooseflesh is ancient and deep and right. From the outside it is the same, perfect, unchanged Isobel. But you believe her unquestioningly when she says something is wrong. 
A mere moment of focus has a silvery glow bathing the room, unwinding from underneath your fingertips and sinking into Isobel's back. She breathes in deeply, breathes out, then in again, shifting under your touch, until she seems to find at least some relief. 
"Thank you, that's…" she murmurs, barely above a breath. 
There is a dawning, deeply saddening comprehension rising in you - Isobel, insisting on pouring all her heart and soul into taking care of you, healing and protecting and doting on so devotedly, driven not just by your love most mutual, but also by fear. By a desperate need to prove herself worthy of Selûne's grace again, prove her return to life was not a horrifying mistake. Chasing redemption where none was ever needed, not for her, clinging to the thought like a lifeline. 
"Whenever, whatever you need of me, however many times." You allow your fervour to seep into your voice as you feel your eyes burn, and continue trailing moonlight-dipped fingers down her back. "If you but say the word, I will provide what relief I can, I swear it, until you are free of any shadows haunting you, or until there is no light left in me - whichever deigns to come first." 
Isobel smiles wryly, turning to steal a glance at you over her shoulder, a tiredness in her that she has only ever shown you alone. "I promised I would take care of you. And yet here you are, taking care of me. After… after everything." 
She knows enough not to specify. Even this brief almost-mention is enough to make a darkness creep at the edge of your thoughts, but you swallow it back hastily, and focus only on the treasured countenance before you, on brushing stray silver locks behind her ear with your free hand. 
"A fair and just exchange, I would think, if you are amenable." 
Isobel hums something that is neither agreement nor disagreement, then turns to face you fully, sombre in the circle of your arms.  
"I always thought that when the time came, I would be ready," she begins, slowly, as if every word was a trial. "Foolish and naive of me, probably. But I thought I knew what to expect, what I would have awaiting me, after a life of service. The City of Judgement, as awaits us all, and then, hopefully, and - I pray - deservedly, an audience in Argentil after being Claimed." 
She stops, swallows, looks at you so pleadingly you cannot help but pull her back into your embrace. 
"But instead…" you hold her tighter as she shudders, "...nothing. Darkness. A void." 
Nothing. Like the black hole of your prison. And it seems fitting, for a moment, that fate has decided to match you in this, too. 
"It is I who failed you. When it truly mattered, when it was of most consequence, I wasn't there. And you… you were lost to me. To us." 
A small frown furrows her brow as she grasps around for something, anything. "I don't remember." 
"Perhaps… perhaps that is for the best," you exhale, half-sick of dredging up shadows you would prefer remain buried. "My own memory is prodigious, and yet how I wish I could forget much of the past century."  
But Isobel looks at you longingly, searchingly, and you oblige, at least for a little bit, calling to mind what should have been the darkest days of your long life. "For all our efforts, we were never able to capture your attackers - the cowards struck so suddenly, fled so swiftly. You were laid in state, for a while. The entirety of Reithwin mourned - the Silverbrow Priestess conducted the funeral services most beautifully. The very Moon, full to bursting, cried over it. And your father…" 
Your throat seizes up. Her father, your tormentor. A wretched man you feel the two of you have to speak of, some day. The man who gave the world Isobel twice over, but selfishly, impossibly, wanted to keep her all to himself both times. 
Her countenance grows steely and determined in a way you have yet to get used to. "My father was lost to me far before he died at your hand. I mourn the man I remember, not the monster you killed. A loving, kind, generous man, who should never have been capable of such horrors as Ketheric brought down upon my home, upon you. And yet... if I was all that was keeping him from such a fall, I cannot help but think--"  
Isobel's voice cracks and you wonder when, in your absence-captivity, he stopped being Papa and became Ketheric. Your anger towards him tastes bitterer still. 
And you think of Isobel, fleeing her own grave and the twisted visage of what was once her beloved father. Dragging her own burial shroud across a land of shadow and horror, full of echoes of a life half-remembered. 
Isobel, alone, convinced of your demise, mourning you as you endlessly mourned her, both of you unknowing. 
Isobel, left to desperately and single-handedly guard the only meagre surviving pocket of her childhood home, doomed and destroyed by her father's violent, misaimed grief over her own death. A pillar of light in an all-encompassing darkness and one final, crucial defence against it, without even a fair promise of hope or future to sustain her.  
It sounds, at first, like a noble task you would think worthy of a cleric of Isobel's most excellent calibre. But you can't help but think it a test of devotion far too harsh, and entirely superfluous. Such incredible weight to place on any one person's shoulders. And for what? 
Needed and necessary she once called herself and her efforts when you asked, insisting on dismissing it all in a way you perhaps understand entirely too well. 
Perhaps, together... you, hollowed, and her, overflowing. And, in turn, her aching for something that is missing and you fit to burst with wrath and vengeance and violence. Perhaps there is hope yet, and healing to be found for both. 
Together. Only ever together. 
We trust in Your radiance, Moonmaiden, even when it is out of our sight.  
The battle you were waiting for is over - won, by most reckonings, but not without great cost. What is left of the city now needs care and careful restoration. There are still stray cultist enclaves to root out, remnants of the illithid army, as well as mere opportunists who always show their vile selves in such circumstances. As part of an array of unexpected, colourful allies, you make short work of them all, whenever any come to light.  
But rebuilding takes precedence, as does healing, and Isobel has taken point among Selûne's devoted in a way that is nothing short of awe-inspiring. The situation seems altogether more suited to her talents rather than yours at the moment, so you follow her readily, without question, and provide whatever aid you can. 
It is a cycle as old as time, after all, as reliable as the phases of the Moon. Building, destruction, rebuilding - the world will always need both of you. 
But tonight is the night of a full Moon, and Isobel has gone to conduct the requisite rituals with the rest of the Selûnite encampment that has been so welcoming to you. Isobel, death-touched but untainted, no matter what she may fear, will excel in whatever role they set out for her, of this you are certain. 
You, on the other hand, have begged off, your own communion awaiting you elsewhere. 
Your path leads you away from the outskirts of the city and up into the hills, your back turned on the Chionthar. Through remnants of farms and hunting lodges, up and up to cliff and brush and down again to sparse woodland, your steps are guided, as is your birthright. 
It is becoming easier to hear Her voice once again. She does not always speak in words, but Her presence She makes felt.  
And so you stop in a clearing, before a pond, crystal clear and fed by a jolly, clamouring stream. It is quiet, otherwise. Peaceful.  
You dismiss your armour, letting it dissipate into motes of moonlight. You remember with a touch of warmth and immense fondness how sweetly Isobel would pout whenever she did not get to take it off you piece by piece.  
The air is crisp and the water, once you touch it, is almost icy. The moonlight on your skin cleanses and soothes, combining with the chilly water into a refreshing blessing. It is the sensations of the world that you so dearly missed during your captivity, that you now allow to rush over you, all at once. 
It is the first time in over a hundred years you stand and behold the full silver face of your Mother, the trail of Her Tears beside Her, and wonder, idly, if She shed any for you.
Please, you beg as you step into the pool, without shame, without words. A kinder fate for Isobel, this time. 
A kinder fate for the land she still calls home.  
A kinder fate for me.  
The cool silver water seeps into every crevice of your being and washes away with it some ichor of darkness you didn't even know still clung to you. You lie back and let yourself float, the rush of water in your ears drowning out even the small nighttime noises of the clearing and surrounding woods. In the soft waves you hear your Mother's voice, and She sounds kind, inviting, forgiving. 
Why, you want to ask, why would you allow…  
There is new dampness on your cheeks, and you realise haltingly that it is tears. "Hello, Mother." 
The light of the Moon is caring and compassionate, and bathes you in love. It is the only embrace She has ever been able to give you, here. It is almost enough to forget a century of sorrow and the cries that went unheard.  
No more, She says. 
Rest, the murmur continues, soft and sad - a familiar melancholy, though not one you would expect during a Moon so full and bright. Earned, a hundred times over. My Sword, tempered to perfection. My Daughter, put through trials undeserved. Lost to me for so long. You are welcome here. Safe. I would have you know peace once more.  
"Not… not yet. There are still too many, I cannot--" You sit up, rivulets of water running down your face, following the crevices of your scars. It is unlike you to struggle so with your words. You proclaim and vow, you do not stammer and hesitate. 
What would you have for yourself, then, daughter mine?  
"I would seek and extinguish the tyrants, the oppressors," your hands tighten into determined fists as you channel and reflect all that has been done to you, aglow with silver, wings unfurled. "Those who would bind, capture, enslave, who would subjugate and rule another for their own gain - let them sleep with one eye open. Let them know: Dame Aylin sees their deeds and offers no mercy." 
Your cause is righteous, and I bless it as my own. But a burden should be shared. And you are not the only champion at my call.  
It is true, of course, and you grasp the intent, but you cannot help but bristle. You may not be the only one, but surely you are the most-- 
--fearsome? Reliable? Accomplished? 
Doubt creeps in, that most rare and hated of sensations. There is a shift, then, into a plea for you to understand, from a mother to her child. 
A broken sword can accomplish little. And even the finest steel has a breaking point. Do not too eagerly seek your own.  
You sink back into the pool, water up to your chin, as if bowing in acceptance. 
If you crave a task, I task you: offer aid in healing and rebuilding, and thus rebuild yourself. Worry not - I will call upon you when the time comes. But for now, shore up the bulwark within you.   
A smile, a tender grace. 
And let each and all know yours is a blessed union.  
The last fading words leave you puzzled for a few moonlit moments. And then Isobel is next to you, bare and glowing and embracing you, holding you to herself as if she will never let go. 
"Isobel," you start, a host of questions forming on your tongue, but she places a finger over your lips. 
"Guided back to you, as you were to me. As I promise I will be, for as long as I can."  
A shiver runs through you at the undercurrent of steel and sheer devotion in her sweet voice. 
"Then I vow I will never let myself be torn from your side again. And any who seek to part us will meet a swift end by my hand." 
You spoke such promises to each other once already, what feels like a lifetime ago, even though it should by rights have been nothing compared to your eternal years. It is a heavy lesson to have learned so well in breaking them, though - that no tomorrow can ever be guaranteed. Not even for you. 
Not near as tide- and cycle-bound, the Scribe had said, and you wonder at the recalled words. No endless rise and fall for you, then, perhaps. No waxing and waning. No rote repetition of tragic history in this world changed and strange, but instead something altogether new, hewn by the two of you. 
Isobel takes your face between both her hands and kisses you, putting a swift end to your reverie. 
In response, you pick her up out of the water, twirl her around, splash the both of you back down happily. Your smile turns into a grin, then a laugh, open and simple, and her giggle is crystal-bright and utterly free of the grasp of the grave. You feel lighter than the feathers you leave behind like a snowy trail. 
You hold her and kiss her again and again and again and allow yourself to lose track of time. 
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