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darkficsyouneveraskedfor · 5 years

Text

the webs we weave

For @jitsukawaa as requested for a Raffle prize!

Warnings: noncon/dubcon elements (oral, intercourse)

This is dark! (aged up) Peter Parker x Reader and explicit. 18+ only.

Summary: The reader is a journalist at The Bugle but she finds not all her co-workers are what they seem.

Note: This is a bit of a long one but I got a bit carried away. I tried to fit the request as much as I could. Anyway, hope y’all enjoy. Leave some feedback, like and reblog if you can <3

Another late night. Those were common as of late. Early mornings, too.

Given the content of your days, the stories, it was expected you’d be sleepless. A string of assaults across the city. All of them women. The perpetrator, according to the limited input of the police and the hesitant interviews of the victims; a man, masked, faceless. The descriptions varied, skewed by fear, by trauma. Neither you or the authorities had a concise picture of the suspect.

The first few incidents were reported by a senior report, Colin Rusk. But once the novelty ran dry, Editor-in-Chief Jameson, redirected Rusk to ‘more pressing’ stories and dropped the serial assaulter in your lap.

You were new with little more under your belt than lifestyle articles and the occasional fluff piece on fleeting fads. Your inexperience made it difficult, if not impossible, to say no. And despite your resilience, your ongoing investigation, the cases would likely go cold and be shoved to the back of the paper until there was no room left for them. Your singular goal was to prevent that cynical end. Making your name as a reporter was secondary.

That morning, you raced down to the latest crime scene. A woman, blonde like most of the others, sat with her legs hanging out of a police car as she gave her statement. Visibly shaken and with bruises on her face, she was just the latest in a string. You’d not be permitted to speak with her until the police took her to the station and filed their report. For the time, you documented the scene as it was.

You were pulled back to your desk. It was almost as if you could still feel the dampness in your bones. It rained overnight and the streets had been slick and shiny in the afterglow. You pored over your notes, the little diagram you’d drawn of the alley way. The minimal details gleaned from the officers on sight. It was all so grim. And sadly familiar.

The attacker had a pattern; a demographic. Lone women, unsuspecting, vulnerable. Blonde, or light brunettes, small enough to be overpowered. You sighed and rubbed your eyes. There were thousands of women fitting that description in the city. Impossible to predict the perpetrator’s next move when it could happen anywhere.

You closed your eyes and leaned back. If the police couldn’t solve this, you surely couldn’t. But that didn’t mean you stopped. It didn’t mean you quieted the voices of the victims as so many others had. No, you kept going. Kept writing their stories down.

You were jolted as a folder slapped across your desk. Your eyes shot open and you looked up into the warm brown eyes before you. Peter mirrored your fright and gave a nervous smile. He pulled his hand away from the folder he’d just laid before you.

“Sorry, I thought you heard me,” He said. “I figured I’d give you a print of the photos I got this morning.”

“Really?” You reached for the folder and peeked inside at the glossy paper. “Thank you.”

“No problem.” He preened. “Jameson won’t want them anyway. Just the ones of the fire on the next block.”

You nodded and set the folder down with your notes. You ran into Peter by chance. He was passing by on his way to his own assignment. He stopped and snapped a few shots, made his usual awkward small talk, and moved along. He’d only been full-time at the Bugle for a year; before he’d been a freelancer throughout his schooling. He was a kid, even compared to you.

“Jameson doesn’t even want this,” You scoffed at your messy desk. “I swear, he’s just trying to force me out. I mean, I guess it’s better than writing about the mayor’s new wallpaper.”

“Jameson’s an idiot but you’re a good reporter. Besides, the Bugle is just your beginning. I know it.” He smiled. He was always so optimistic. It made you feel old.

“Easy for you to say,” You shook your head. “I’m almost thirty and just starting out. You’re still a kid and...Sorry, Peter. I’m just frustrated.”

“Hey, it’s okay. I might be young, but I know how you feel.” He leaned on your desk. “You know, everyone thinks I’m a kid and they just don’t take me seriously but I’m not, you know, a kid. Age is just a number, not a deadline.”

“Peter, I didn’t--”

“I know you didn’t mean it like that. You’re not one of them.” He shrugged and pushed himself straight. “Not like Rusk.”

“Rusk?” You wondered aloud.

The man was stern, business-minded. A tenured writer. But you’d never had much issue with him yourself. In fact, he’d been most helpful in your early days at the Bugle. You might be picking up his scraps but it was far better than writing a tenth of a page on a dog show.

“Yeah,” Peter blinked at you. His smile changed, as if he knew something you didn’t. “Oh, alright.”

“What?”

“Nothing.”

“Peter.”

“Well, I...you’re not that naive, are you?” He asked.

“Am I? What do you mean?”

“Rusk never worked for his job, he’s the son of an old friend of Jameson’s. He came on full-time with top billing from the start.” Peter lowered his voice, cautious even though the office was empty.

“Oh, but...I mean, he’s still a good reporter.”

“Good but not entirely...professional.” Peter scoffed.

“Do I sense jealousy?” You teased.

“Me? Jealous of him? No.” Peter’s smile fell. “I’m doing just fine and the Bugle definitely isn’t it for me. I’m starting school next year and then one day, I’m out of here. I don’t wanna be a camera jockey forever.”

“I don’t know, this might be it for me.” You said. “A little late to be starting over a third time.”

“It’s never too late. Just don’t let yourself get sucked in by Rusk and his cronies.” Peter urged. “They’re no good.”

“Thanks, Peter.” You said lightly.

“Really,” His face darkened. “I mean it. He has...a record in this office. With the women. And I’ve seen how helpful he is with you.”

“Peter, it’s not--”

“I know, I know, I’m young, clueless,” He raised his hands defensively. “I get it. Just...advice. You don’t have to take it but it’s there.”

You nodded and tapped your fingers on the folder. You thought for a moment on your work with Rusk; his insistence that you take over his story; the way he offered to proofread your back page drivel. Peter might be young, but he was smarter than his age belied. There was nothing wrong with being cautious.

“Thanks, Peter,” You flicked the corner of the folder as you looked up at him. “These will help a lot.”

“Really, it’s nothing.” His smile resumed. “Let me know if you ever need a lens. I’d be more than happy to help.”

“You’re too sweet.�� You said.

“And you’re too humble.” He tucked his hands in his pockets. “And it’s late so...I’ll leave ya to it and see ya tomorrow, maybe?”

“Yeah, maybe,” You chimed. “See ya, Peter.”

“See ya.” He slowly backed away. “Oh, and let me know if Rusk gives ya any trouble.” He gave a comical flex. “I got your back, newbie.”

You laughed and he did too before he turned away entirely. You turned back to your desk and sighed. How was it that he made you feel young and old all at once? You shook off the cloudlike feeling and grabbed the folder. You’d go through the photos and call it a night. Hopefully, the morning wouldn’t bring a new victim.

🕷️

Your door was open. The chain was snapped and the lock busted in. Worse, you hadn’t even heard the disturbance. Hadn’t even sensed the intruder as you slept in the next room. A rude awakening as you got up and found the door ajar but your apartment otherwise undisturbed.

You called the police and waited in the hall. When they arrived, they asked you their usual questions, the same they asked the women you’d been documenting. Then they investigated you apartment. Nothing was out of place; nothing taken or moved. It was all very peculiar. Almost, the insinuated, as if nothing happened.

When they left, your landlord arrived. You stood by as he called the maintenance man and a locksmith. By the late afternoon, your door was repaired but your wits were fractured. Weeks spent tailing a monster had you paranoid. In your overwrought mind, you wondered if perhaps their attention had turned on you. It all felt too circumstantial. Too farfetched.

You locked yourself inside and submitted your write-up from home. You spent the night on the couch, sleepless, listening for any movement from the other side of the door. Nothing. Exhausted and nervous, you fixed your coffee and dressed. You set off for the day, though the sound of your lock sliding into place gave you no reassurance.

There was another assault. You spent five minutes at the office before you were back out on the street. This one happened only a block from your building. Was that another clue? A confirmation of your outlandish suspicions. You shrugged it off as you came upon the police tape; the scene all too familiar.

You went through your usual routine. Rebuffed by the police as you examined the sight for any clue. Listening to any morsel that slipped carelessly from officers and onlookers alike. You finished your notes and tucked them in your bag. You took one last look at the dumpster, the shadowy fire escape, and the cracked pavement. The image was burned in your mind. An omen of your new fear.

When you returned to the office, you were shaking. You didn’t realize it until you were sat at your desk with your bag in your lap, staring at a dead screen. The voices and typing all around you buzzed in your ears and you shuddered as you hugged you leather bag to your chest. The bright fluorescent bulbs burned your eyes and it felt as if they were watering.

“Hey,” You snapped your head up as Peter greeted you. His face was creased with concern. “You okay?”

“Ye-yeah,” You stuttered and let your bag slip to the floor. You kicked it under the desk and hit the power button of your computer. “Just...thinking.”

He didn’t look convinced. “I didn’t see you yesterday.”

“I...had to take a personal day.” You signed in and shuffled through the papers on your desk. “I’m here now, though.”

“Are you?” He asked. “You sure you’re okay?”

“Fine, just...it’s a heavy story, ya know? Starting to get old.” You bent down to reach into your bag blindly, awkwardly craning your head up above the desk as you fished around.

“Hey,” A voice had you sitting up quickly. Peter’s eyes narrowed as you turned to Rusk. He wore his usual striped button up and skinny tie. “You rushed out this morning. I didn’t get a chance to ask you how you were?”

“Hmm, I’m f-fine.” You stuttered. “Just fine.”

“Yeah? Heard about the break-in. Scary stuff.” He put his hands on his hips. “You need anything, to talk, an escort, let me know.”

“Really, I’m fine.” You insisted. You glanced between Rusk and Peter; the latter watched you closely. “It was nothing.”

“Well, just know, I’m here for you. Whatever you need.” Rusk winked before he turned away and you watched him stroll back to his office.

You sighed and looked to Peter. His eyes were on Rusk’s door. You’d never seen him anything close to angry but he scowled dangerously after the writer.

“Break-in?” He said as his eyes drifted back to you. “Why didn’t you tell me?”

“I...I don’t even know how he found out,” You sniffed. “Really, the police didn’t even take it seriously. There was nothing stolen, they didn’t touch me. I don’t --they think it was a drunk or something.”

“It doesn’t matter. You should be safe.” Peter insisted. “Look, I don’t blame you for turning away his offer, guy’s kinda a skeez, but let me walk you home.”

“I take the subway.”

“Then let me ride with you.” He said. “I know I don’t look like much but it’s better than being alone.”

“Peter, you don’t have to--”

“I want to.” He asserted. “Just humour me.”

“Why?”

“Because...we’re friends, aren’t we?” He asked. “Haven’t got many of those around here.”

You considered him and leaned on the arm of your chair. “Yeah, we are, Peter.” You grabbed your mouse and looked to your screen. “I hope you don’t mind staying late.”

“I’m a night owl,” He assured you. “Have to be in this line of work.”

🕷️

Peter was true to his word and waited for you until well after office hours. You were quiet as he walked you to the station and sat with you on the train. He didn’t hide his glances over his shoulders and his fleeting eyes, as if he expected to catch your intruder then and there. It was almost endearing.

You were tired. You needed sleep and were ready to doze on the train. Peter nudged you awake at your stop and followed you out onto the platform. He let you lead him up the steps to the street and you stopped at the corner.

“I think I can handle it from here,” You said. “Building’s just across the street.”

“No, I insist. For my peace of mind, please.”

“Peter.”

“What’s a few more steps?” He prodded.

“What if I’m worried about you getting home?” You teased.

“I don’t live far.”

“Still. It’s late.” You chided. “You didn’t have to come all this way.”

“I did.” He said. “I’ve been out much later than this.”

“Ah yes, I forget. Youths.”

“I’m not much younger than you.” He insisted.

“Young enough.” You remarked.

The street light glared in his eyes. For a moment, you were taken aback. The way the shadows cast his face. The innocent boy looked almost sinister.

“I’m an adult. I can take care of myself.” He said. “So let me walk you to your door.”

“Alright,” You relented. His tone was disconcerting. So unlike the carefree upstart. “Come on.”

He walked with you across the street and you bit your lip. You could feel the tension rising off of him. Was he mad at you?

“Peter,” You turned to him just in front of your building. “I’m sorry if I--”

“Sorry?” He looked genuinely confused. “For what?”

“Uh, nothing.” You shook your head. “I’m tired. I thought--Thank you. Really, I feel a little better.”

“Not at all,” He smiled. “You good?”

“Yeah,” You replied. “Good night, Peter.”

“Night,” He said sweetly. “Just…” He hesitated before he could step away. “...remember that you’re not alone.”

“Yeah, thanks,” You nodded and took your keys from your pocket. “See ya.”

You listened to his light footsteps recede as you unlocked the front door. Inside, the elevator bore a staunch out of order sign. You grumbled and headed for the stairs. Ten floors up and you were out of breath and even more exhausted.

Your lock was still in place. That was slightly reassuring. Inside, it was dark and you didn't bother to flip the light. Too tired despite your paranoia. You dropped your bag as you neared the bedroom. There, you flipped the light switch and felt an unusual breeze across your front.

The window was open. The curtains stirred as the air washed in and your heart clutched. You rushed over and slammed down the window with a defeaning bang. You twisted the lock into place and turned back to the room.

Your top drawer hung precariously from your dresser. Your panties were messed, as if they'd been rifled through, and you felt the bile in your throat.

You ran back into the front room and turned on all the lights. Nothing else had been touched. It all stood as you left it and no other sign of your intruder remained. Not a speck of dust out of place.

You searched high and low; in each closet, beneath the furniture, even behind the shower curtain. Nothing. You were alone, but you didn't feel it.

Should you call the police again? Let them laugh at your paranoia? As it was, you were certain they'd tossed away their last report.

You went to the kitchen and grabbed a knife. You sat on the couch and pulled your knees to your chest. You hugged them as your eyes flitted nervously at each shadow. The knife shook against your leg as you counted the minutes until daylight.

🕷️

The morning saw you at the office, bleary-eyed and baffled. The night seemed a haze to you; dreamlike and distant. Before you was the final draft of your latest article on the city's terrorizer. The words were real, the events real, and the letters read bolder than before.

Your habit of spacing out at your desk once more had you jumping in your skin. Colin Rusk stood beside you. His grey-blue eyes peered down at you as he clicked a pen casually in his hand.

"You got a moment? Need to see you in my office." He asked but it wasn't a question.

"Sure," You stood and he reached past you. He leaned so close you could smell his cologne as he snatched the article off your desk.

"I'll take this." He spun with the papers in hand and led you across the office.

You glanced around as you walked between desks. Peter's brows were high on his forehead as he watched. He frowned and you turned away to follow Rusk into his office.

He closed the door after you. He waited for you to sit before he did. When he faced you, he was nonchalant. He dropped your article on his desk and smirked.

"You've done some good work." He said. "You should really be proud of yourself."

"Uh, thank you." You gripped the arms of the chair. Tired. Ready to keel over.

"Really. You're coverage is thorough and compelling. Riveting…" He huffed as he smiled piteously at you. "You're a good writer but this story isn't going anywhere."

"No…" You breathed weakly.

"Jameson wants it cut. Three months and no leads. Police are close-lipped as nuns."

You frowned. You couldn't help your disappointment.

"But I've got you a new assignment." He announced. "A grassroots movement in the ghetto. Silent protests. Real underground."

"Really?"

"As long as you don't mind sharing. It's kinda my story but I could use a hand." He offered. "That sound okay?"

"Y-yeah." You smiled. "I'd love--"

His phone chirped and his brow arched. He grabbed it and checked the screen. He shook his head and slowly stood.

"Pardon me. Jameson." He waved his phone. "Right back."

He rounded his desk and passed you. You watched him go then sat awkwardly in his office wringing your hands. Your eyes bounced from corner to corner. Awards framed on the wall, a plaque on his desk, fancy pens and a leather folder.

His bag sat on the table against the wall. Unzipped and on its side. Papers threatened to spill out and a shock of cornflower blue. You tilted your head at the familiar shade.

You peeked over your shoulder. The door was open a crack but you saw no movement on the other side of the frosted glass. You stood and cautiously neared the table. You looked again. Nothing.

You lifted the bag to peer inside and ripped your hand away. It was as if you'd been bit. Those were yours, at least they looked like yours. You shook and heard footsteps near the door. You lifted your head and pretended to read the framed certificate on the wall as Rusk entered behind you.

"That was my first year here," He preened as he neared. "I'm sure you'll have one of your own soon enough."

"Uh, yeah," You stepped away from him slowly. "Um, can I... think about it?"

"Huh?"

"Sharing the assignment."

"Sure. Only a day though. I, rather we, have a deadline," He reached out and pulled a string loose from your sweater. "That enough, sweetheart?"

You watched his hand a nodded. You bristled on the nickname and backed away. "Anyway, I'll let you get back to work." You sidled along to the door. "Thanks."

"No problem," He purred. "This could be it, you know? You're big break. Your name next to mine."

"Mhmm," You skirted out quickly and closed the door behind you.

Peter was at your desk. You didn't notice at first and stopped yourself from sitting in his lap. He watched you curiously. You held back a yawn and leaned against the desk.

"Peter." You crossed your arms.

"What was that about?" He asked.

"Just…my assignment got pulled."

"Oh?"

"But Rusk offered me a new one. Dunno if I should take it." You played with your mouse.

"Sorry, I'm in your seat." He made to stand.

"No, no, it's fine." You waved him off. "I don't really have anything pressing, do I?"

He considered you a moment as he swiveled in your chair. He stopped and sat up. "You okay?"

You blinked. After a moment, you nodded. You pushed yourself off the desk and rubbed your forehead. "I gotta use the restroom."

You walked away hurriedly and almost tripped over the loose laces of your heeled oxfords. You quickly hid yourself inside the restroom and tried to rein in your reeling nerves. You were crazy, you had to be.

Rusk definitely hadn’t broken into your apartment. That was ludicrous. Maybe it was a pocket square or a random sock. It wasn’t your panties. That was just...creepy. You were just paranoid.

You couldn’t believe entirely in your own delusion but you had to push it aside. You had work to do, albeit not much. You breathed shakily and swallowed down your anxiety. Just be normal. Just relax. Act like it was nothing and it would be.

You pulled open the door. You almost crashed into Peter as you stepped into the small hall between the restrooms and the office. You caught yourself against the wall.

“Woah.” You squeaked.

“Sorry, I...just wanted to make sure you were alright.”

“Yeah, yeah, I’m...just disappointed.”

He narrowed his eyes. He didn’t look so innocent anymore. He looked as if he could see right through you. “What is it?”

“It’s nothing.”

“I know you think I’m blind but I can tell when you’re upset.” He prodded. “I swear, mum’s the word.”

You sighed and looked out into the office. You turned back to him and pointed down the hall. You sidled along with him and lowered your head. Your stomach flurried wildly as you mustered the words. How could you say this? You’d sound crazy.

“I think you were right about Rusk,” You kept your voice soft. “He...He offered me to share an assignment but I don’t think he really cares about the story.”

Peter blinked. An exaggerated bat of his long lashes as he huffed. “I won’t say it.”

“I know, you told me so, but Peter…” You looked over your shoulder before you continued. “Peter, weird things have been happening. Last night, after you left, I went upstairs and...my window was wide open and...I don’t know. My dresser-- someone was there. Someone broke in again.”

“Did you call the cops?” He asked.

“No, I-I was embarrassed. I thought...when I called them the first time, they were laughing at me. They thought I broke the lock myself, I know it.”

“You should’ve called them.”

“Why? So they can mock me?” You caught yourself before you could raise your voice. “Look, that doesn’t matter what matters is...I think it was Rusk. I mean, it’s stupid but, I think he has...something of mine. Something that would connect him to the break-ins.” You gulped. “The more I think of it, the more I think of how he passed this story off on me about all these attacks, I wonder…”

“You don’t think it’s him?” Peter asked.

“Of course not. I just think, maybe, he...might have gotten an idea or two.”

Peter’s eyes were wide. He looked as frightened as you felt. “Can you confirm that what you saw, that what he has is really what you think it is?”

“I didn’t notice it missing but I didn’t really look. I was too scared.” You confessed.

Peter’s jaw set and his eyes darted down the hall. “I’ll walk you home again and we’ll see if you’re right.”

“You don’t have--”

“I do. Don’t you realize how dangerous this all is? How do you know you won’t walk in and catch him in the act? Or maybe he decides to visit while you’re home?” He gently touched your elbow. “You’re leaving on time tonight and I’m going with you.”

You scratched your head and looked away. You were embarrassed. You were being comforted, protected even, by this boy. Well, maybe you should drop the ruse. He was braver than most men you knew. And he was technically an adult and you really weren’t that much older. That became even more obvious when he was with you.

🕷️

The subway ride was long. Silent and tense. You fidgeted beside Peter, embarrassed and reassured by his presence all at once. He sent you small glances; stifled smiles meant to calm you. But they only served to remind you of why he was there.

Up the concrete steps and across the rush hour street, you had to stop at the front door of your building to catch your breath. Your chest felt as if it was being crushed.

Peter patted your shoulder and said softly, “It’s okay,” and you carried on.

Your apartment door still bore signs of the previous break in. The new lock was shiny against the flaked paint and torn wood. You slid your key in and turned. You opened it slowly as you peeked inside, certain you’d find your tormentor within. Nothing.

Peter followed you in and chained the door behind him as if to assuage you. You looked away ashamed. “I’m crazy, aren’t I?”

“No.” He said. “I don’t think so. Just scared, and why wouldn’t you be?”

You nodded and turned away from him. Warily you walked across the front room and glanced around. Nothing seemed out of place. Peter followed closely as you neared the short hall that led to your bedroom. You spun back to him.

“I’ll go see if--if I was right.” You stopped him. “Wait here.”

“Wait here? Shouldn’t I--”

“I’ll scream if I need you.” You replied. “Okay?”

“Of course,” He relented. “I’ll be here.”

You left him there, a concerned furrow in his brow. You entered the bedroom, the dresser drawer was still open but the window was locked and in place. The sight reassured you. You slowly walked across the room and stopped before the drawer.

You sifted through the messy contents, your hands growing frantic as the cornflower panties were nowhere to be found. Next you checked the hamper, maybe you’d worn them that week. They weren’t there.

You stumbled back out to the hall numbly. You felt hollow and worn. You caught yourself on the wall before your legs could give out.

Peter was by the coffee table. You watched as he reached for the knife you’d left there and he lifted it to the dim light peeking in through the windows. He turned to you with a question curled in his lips.

“It’s not there...he took it.” You pushed yourself straight and stepped fully into the room. “I can’t believe--It can’t be, Peter.”

“But you do believe,” He said and he turned the knife in his fingers. “You must. I mean--” He gestured to the blade. “You wouldn’t be so scared if you didn’t believe.”

“Should I call the cops now?”

“You could but...You’ve corrupted the scene, right? It’s been what? A day?” He set down the knife and sighed.

“So what do I do? I--Jesus, why am I asking you? You shouldn’t be dealing with all this.”

“I wouldn’t be here if I didn’t want to deal with it.” He assured you as he neared you. “There’s only one thing you can do. You have to wait for him to try again.”

“What?” You reeled. “What if--”

“With me.” He gently reached out and took your hand. He squeezed it as he spoke. “You can’t stay here. Not alone. So either you come stay with me or I’m staying here, but I can’t let you be alone.”

“Peter, you’re too nice. You shouldn’t--”

“But I am, so I’m either going to settle in or you’re going to pack a bag.” His grip tightened on your hand before he released you suddenly, as if recalling that he was touching you.

“It’s too much.”

“Anyone would do it. Anyone who cared.” He shrugged. “So what’s it gonna be?”

“I can’t sleep here.” You said.

“Alright,” His jaw set determinedly. “So, grab a change of clothes and let’s go.”

You nodded shyly and let your leather shoulder bag fall to your elbow. Your lips parted to ask if he was sure and he tilted his head sternly.

“Come on,” He intoned. “I’m hungry. Once we’re outta here we can grab something.”

“O-okay,” You gave a weak smile and he mirrored it.

You turned away and dragged your feet back to the bedroom. Every time you entered, you were reminded of the open window, the ghastly breeze, and the stab of fear deep in your gut. You went to your dresser and blindly grabbed for a set of clothes to shove in your shoulder bag. A night away from this place would be good; safe.

🕷️

Peter’s apartment was small but cozy. Lived in but neat. It was almost endearing. The Playstation controller on the coffee table, the throw still curled in the shape of his body on the couch, posters of his favourite comics on the walls. He apologized for the mess but you assured him, you seen worse from men older than him.

He was courteous. He took your bag and led you to the bedroom. He insisted on taking the couch. He dug out his second set of sheets from his closet and placed the piled neatly atop with a promise to fix up the bed after you ate. He didn’t listen to your protests, merely brushed you back through to the living room.

You sat beside him on the couch. You felt welcome but uneasy. You always found it awkward to be in anothers space. Peter pulled out his phone and tapped the screen with his thumb.

“Sorry, I’m not much of a cook.” He chuckled. “You like pizza? Chinese?”

“I’m not picky,” You replied.

“Easy to please?” He ventured playfully.

“In certain ways,” You squinted at him. “How about Mexican?”

“Sure,” He scrolled on the screen and turned the phone to you. “Here. Pick something.”

You took his phone and browsed the menu. You realized you hadn’t eaten since the day before; nothing more than your usual morning coffee. Your stomach growled and you restrained yourself to a vegetarian dish. Overdo it and you’d wake up in agony. Thirty loomed closer every day.

You handed his phone back and he quickly picked his own dish and hit confirm. You rubbed your hands together nervously. You looked around his small apartment. It reminded you of college; of the useless degree hidden in the back of your closet.

“I’ll send you the money.” You offered.

“You won’t. My treat.” He insisted.

“But...you’ve already done so much.”

“What’s a couple bucks?” He shrugged. “So, you like video games? I got a second controller around here somewhere.”

“Does Tetris count?” You teased.

“I have Tetris,” He smirked.

“I was kidding.” You took the controller from him as he handed it to you. “But no, I don’t play very much.”

“That’s okay.” He grabbed his own controller and switched on the t.v. “I’ll take it easy on you.”

“Oh yeah?” You challenged. “You wouldn’t be talking shit if we were playing Tetris.”

“We’ll see who’s talking shit at the end of the night.” He jibed as he sat beside you.

You shook your head and laughed at him. You could almost forget that he was the upstart kid with his oversized camera. Or the break-ins. Or that you were here hiding. The fear seemed to dissipate when faced with his perennial optimism.

🕷️

After you ate, you found yourself even more tired than before. You didn’t recall dozing but Peter woke you with a nudge and helped you up. He showed you to the bedroom where he’d made up the bed for you. You thanked him groggily, your fatigue catching up to you, and he left you with lingering good night.

When the door closed, you grabbed your bag and clumsily pulled out the loose tee and pair of booty shorts. You changed and draped your worn clothes over the bag and shoved it aside. You got up to turn off the light and stumbled back to the mattress, landing stomach first across it. You hugged the pillow as sleep beckoned you forth.

It hit you all once. You slept so deeply your head felt full of sand. Your body too. Your mind was murky. Shadows rose from the depths but never fully formed. You forgot your existence, the open window, the missing panties, and Rusk’s open bag. Hours passed like seconds and eternity felt possible.

You awoke to fingertips on your cheek. Gentle as they coaxed you back to the surface. As you emerged from the depths, your chest clutched. Your eyes fluttered open, your lids heavy and lashes sharp. There was a dim light in the room, soft and eerie. A shadow laid beside you, its fingers traced the line of your jaw as it watched you awake.

Your vision cleared a little at a time. You recognized Peter through the haze. His warm brown eyes were dilated and dark. You reached up and caught his hand as he pressed his body against yours.

“What are you doing?” Your tongue was thick and your words awkward.

“Shh, it’s okay,” He pulled his hand away and dragged his fingers over your lips as he leaned in to smell your hair.

“P-Peter,” You grabbed for his wrist. “Stop.”

Your hand missed his and hit his shoulder instead. You shoved against him but he didn’t flinch. He was stronger than he looked. You tried to sit up but he caught your neck and held you to the pillow.

How long had you been asleep? How long had he been there?

“Peter, please,” You reached for his hand as it stretched across your throat. “What--”

“I won’t hurt you. I only want to keep you safe.” His breath was hot against your cheek as his lips brushed your skin. “Don’t you want to be safe?”

“Let me go, Peter,” You squeezed his wrist. “Please, you’re scaring me.”

“I’m scaring you?” His hand didn’t move but he pulled back to look you in the eye. “I’m protecting you.”

Your hand trembled as you pleaded again. His name died in the air.

“From the city.�� He breathed. “From Rusk.”

“You-you are,” You rasped. “You’ve kept me safe, but...this...don’t you want me to feel safe. This isn’t--”

“You can’t see it. You aren’t safe. This city is dangerous and you need me.”

“I do need you, okay?” You bartered. “Of course I do, Peter, but...I need sleep, too. I’m very tired.”

“You don’t have to be afraid of me.” He shifted closer and your body tensed. “I’ll take care of you.”

“Peter--”

“Let me take care of you.” He moved lithely over you as he pulled your hand from his. He framed your face with his fingers and held your head in place. “Why won’t you let me take care of you?”

“Peter,” You exclaimed as the tears threatened to rise. This felt like some horrid nightmare. “W-We’re fr-friend, aren’t we? Friends don’t do this.”

He blinked. He glared at you and his face slowly softened. “Friends...no, we’re more than that.”

“Wh-what?”

“You’re mine. We’re meant to be. Can’t you see that?” His thumbs ran along your cheeks as his breath glossed over your lips. “In a city this big, to be brought together, it’s fate.”

You stared at him. Stunned, horrified. You didn’t know what to say.

“I’m not like him.” He hissed as his eyes turned dark. He focused on your lips hungrily. “I won’t use you, like him. Manipulate you.” You gulped as his lips hovered just above yours. “Violate you. Invade your space...steal from you.”

He pressed his mouth to yours and you squirmed beneath him. Your hands were caught under him. His torso was bare and the heat of his body shrouded you. You struggled to breathe as he kissed your forcefully, as he crushed himself against you. You felt his arousal as it poked you and your eyes rounded desperately.

He pulled away at last. His lips made a trail along your cheeks as he spoke between little pecks. “Can’t you see how much better I am than him? Than anyone?”

You wriggled under him but it only seemed to encourage him. You slipped your arms from beneath him and pushed against his sides. He drew his hands away from your face and caught your wrists. He pulled them up beside your head and pushed himself up as he pinned them to the mattress.

“Who does that, hmm? I’m better than him. I’d never...take your panties like some pervert. I’d never--”

“Panties?” You croaked and his eyes flashed. “How do you--Peter?”

“He’s just a pervert, don’t you understand? But I love you. I love all of you. I want all of you.”

He squeezed your wrists and you watched the muscles of his arms draw taut. His chest was broader than you imagined and his torso was finely lined. You stopped your eyes before they could venture further. He was naked.

“If you love me, Peter, you’ll wait. Wait for me, won’t you?” You cooed.

“Wait? I’ve waited.” He sneered. “I’ve watched you fawn after Rusk and I’m done waiting.”

“Peter, I don’t care about Rusk, I swear, but I’m not ready. I’m tired. I need... sleep. Can’t you wait for me…” You stared up into his dark eyes. “I-I--” Your nerves flurried wildly. You’d never been so afraid. “I love you, too.” You lied. “So won’t you wait?”

He exhaled and his lips parted. He blinked and a smile crawled across his lips. “You--Say it again.”

“I-I love you,” You whispered. “I love you.”

“I love you, too.”

He bent and kissed you again. This time harder, deeper. He didn’t stop until you were out of breath. Until your eyes were damp with tears. He sat back and straddled you between his thick thighs. You quickly looked away from his hard cock. He let go of your wrists but you didn’t move. You were too afraid.

He lifted himself slightly as he tugged the hem of your shirt free. He inched it up, his fingers feeling along your skin as he did. Your strength returned and you caught his hands before he could bare your chest. You were shaking.

“I want to wait, Peter.” You begged. “Don’t you love me?”

“I do, I do,” He rocked atop you, almost frantic. “I do but I can’t. I can’t wait. I need you. I love you so much.”

You whimpered as he twisted his hands away from you. His thighs pressed against you and reminded you of his strength. You closed your eyes as your arms fell to the mattress. You were so weak. So afraid. And you could do nothing.

He shoved your shirt over your chest and you heard the gasp fall from him. He pulled the fabric past your head and tossed it aside. He bent over you as he cupped your tits, his thumb circled your nipples. “Beautiful,” He groaned as nuzzled your skin.

His lips tickled along your cleave and the curve of your chest. His tongue teased your bud as his fingers played with the other. He closed his mouth around your nipple and teethed it softly. He purred and you bit your lip.

His touch stoked something within you. It wasn’t him, just the basest of your instincts. A carnal reaction long withheld.

He kneaded your flesh with hand and mouth. He tended to you as if you were delicate and yet so firmly you could not resist. You couldn’t think to. Was it fear? Was it weakness? Was it a latent desire you refused to accept?

Then he moved lower. His lips and teeth made the treacherous crawl along your stomach. The dread built as he moved further and further, as he lifted himself from your waist and his fingers tickled you. As he slid your shorts down your thighs and legs. As you let him.

You still didn’t move. You pressed your legs together but he easily wrenched them apart. Another confirmation of your helplessness.

His nose brushed along your vee and his warm breath crested your pelvis. His hands slipped up and he pressed his thumbs to your hip bones as he settled between your legs. You closed your legs around his head in an effort to keep him away but you only welcomed him closer. You looked down at him, eyes sparkling as he gazed back. Then slowly his focus descended.

He dipped his head and you writhed. Tried to get away but it was just as futile. He rubbed the tip of his nose along your pussy and his tongue followed shyly. He dragged it slowly along your lips then back down. He pushed between them and flicked over your clit.

You spasmed and his hands squeezed your hips. He repeated the motion and you cried out in surprise. His tongue was cool against your warm folds. It felt good even when your head told you it shouldn’t. He swirled around your bud and pressed his lips around it. He sucked and lapped then slipped his tongue down again. He drank you in and savoured your taste.

You covered your face as your other hand clawed at the blanket below. You whined, weak and wretched. You felt the rise. The ripple as it rolled along your spine. The buzzing in your thighs. The pulsing of your core. Every nerve wound together and his tongue untangled them all at once.

You rocked your pelvis into his face as you came. Wanting him to stop but not. You needed more. The release was overwhelming and left you dizzy. And he kept on. He teased your overly sensitive clit so that you squirmed. Until another climax rose and you bit into your hand to keep from screaming. And still he kept on.

You were breathless and baffled when he finally lifted his head. Your sight was blurry as you shyly looked down at him. His lips glistened as they came into focus and he crawled over you. He kissed you; wet and warm. You could taste your sweetness as he forced his tongue against yours.

He snaked his arms up under your back and hooked his hands around your shoulders. He pushed his thighs to yours as he lifted you. He sat up with you against him. You hung from his grasp as his lips wrestled with yours. He kept you aloft with one arm as he felt around between you.

You flinched as you felt his tip against you. He grazed your clit and you twitched. He pressed along your folds and stopped at your entrance. He pulled away from your lips and looked into your eyes as he pushed his head inside of you. You grabbed his shoulders and tired to shove yourself away from him. His arm clung to you tightly.

He eased into you until he bottomed out. He sighed and his hand grasped your hip. He began to rock you against him, his own pelvis tilting with yours. He hummed and kissed your jaw, nibbled along your neck, and bit into the flesh of your throat. He sucked as he moved you against him. And you were horrified as you let him.

He felt good. He shouldn’t, but he did. You slung your arms over his shoulders without thinking and chased the peak before you. He moved you faster, harder against him. You felt your juices spreading between your bodies. His hand slid down your back and he stretched his fingers across your ass. He guided your body and you followed his lead.

You were panting, desperate for another orgasm. Your clit rubbed against him with each rock of your hips. With each thrust, you moved faster, eager to reach the pinnacle. You gasped and groaned. A voice told you it was wrong but it didn’t feel wrong.

Peter buried his head in your chest. He hummed as he took a nipple in his mouth and bounced you against him. Your fingers dug into the muscles of his back and you threw your head back. You came with a sharp cry. Your body shook against his and the world dissembled. The worries in the back of your mind drowned beneath the waves.

He fell forward until your back was to the mattress. He thrust into you as your legs curled around him. His hand was at your chin again, cradling your face as he lifted his lips to yours. He kissed you, consumed you.

He moaned into your mouth and his hips stammered. His motion turned erratic and he lifted his head to grit back a roar. The tension squared his jaw and drained from him all at once. He sank into you as deep as he could go, long soft strokes as he came.

He dropped down over you, his head beside yours as he panted. He shuddered and groaned. His body went limp atop you, his fingers lazily caressed your cheek. The glow sloughed away and the room grew darker. The lines were bolder, the shadows more sinister, the colours greyed.

You pulled your arms back and pushed on his shoulder. He didn’t move. Didn’t even react. You tried again and slowly he lifted his head. He pushed himself into you as deep as he could go and you whimpered.

“Can’t you feel how much I love you?” He didn’t relent. Didn’t pull back as your walls strained around him. “Can’t you?”

You nodded, unable to speak. He was stabbing your cervix painfully and you just wanted him away from you.

“I can feel your love.” He thrust and poked you again. You squeaked. “You love me.” He began to move steadily. “You love me.” He repeated with each tilt of his hips. “You love me.” You closed your eyes as the mantra filled the room. “You love me.”

“I love you,” You croaked through your tears. “I love you.”

But he didn’t stop. He wouldn’t.

You were trapped in the spider’s web. Live prey paralysed as he wrapped his legs around you. As he devoured you entirely.

🕷️ 🕷️ 🕷️

#peter parker #dark peter parker #dark peter parker x reader #dark!peter parker #dark!peter parker x reader #spider-man #mcu #marvel #fic #dark!fic #raffle #raffle fic #dark fic #dark!verse #aged-up peter #darkverse #au

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certain-death-awaits · 4 years

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Theories & Predictions for Champion of the Titan Games

If you need a refresher on the full lore of the Fair Folk, do read my post about it. They’ll be quite relevant to these theories. Now, let’s read the theories! If you want anything explained, don’t hesitate to make a comment, or send an ask on anon if you’re shy. It’s weird to write everything down after just having it in my head for so long, so this might be long-winded and incoherent.

Ezabar, the Somber Knight, and Selona - I theorise that the Somber Knight is a lich. The Somber Knight has an especially dark reputation according to Henrick, and resides in catacombs (built by wizards even though Dragon Slayers generally have a distaste for wizards).

The air in his lair is markedly lifeless, though pure.

He is thought to be undead- something more “powerful and evolved” than a zombie or wraith- by Tanu and the public of Terrabelle. When he loses his leg and forearm, he isn’t in danger of dying, but makes his way back to his lair to regenerate. In popular culture, a lich keeps its soul in a reliquary. If destroyed, the lich would re-form at the location of its reliquary.

Like the Somber Knight, liches traditionally spend their time hidden from the world in their lair.

In Fablehaven, liches appear desiccated (like the ones on the Path of Dreams) or completely skeletal (like Calumbra or Ezabar) .Their touch also bruises- both would be good reasons for the Somber Knight to be completely encased in armour.

In Fablehaven, a lich is a type of undead (the lich Belrab used to be a wizard), who deliberately retains some of it’s former human will. Some are able to control lesser undead. I think that the Somber Knight, or Ryland as is his true name, was one of the Fair Folk, and think the Fair Folk had a role in placing him. I don’t think it’s really in question for him to have been a wizard- all Dragon Slayers hate dragons, and tend to distrust wizards. He also has a name that sounds like a Fair Folk name (Like Lockland), and resides under Terrabelle; he would have even been placed there at the same time the territory was established. Eve found his name from “the old stories”, and Lord Dalgorel asked him to help Eve even though only the caretakers of Wyrmroost are supposed to command him. Seth asks Ezabar if he’s a lich, and Ezabar concedes that “that is one label”. Ezabar asks Seth to find a piece of information for him in return for allowing him access to the prison. To help provide context, he explains that he used to live in Selona. It’s possible he lived there as a wizard, but I think that he lived there as one of the Fair Folk, because he asks Seth what became of a boy called Toleron, son of the Duke of Hester, whose mother was called Ingrid. It seems like a matter of personal importance to him. I think that becoming a lich or whatever higher form of undead might be more common among Fair Folk, or at least it doesn’t have the same taboo it seems to have for wizards. Oh, and I asked Brandon Mull if Fair Folk could become undead, and he said that they wouldn’t be normal undead, but could be liches or revenants. Those would be the forms of undead with their own will.

Wizard-Fair Folk Cooperation- Wyrmroost was established by Archadius, the first wizard. Wyrmroost has had several caretakers since its establishment, the fourth of which was Agad. Though the Fair Folk are neutral, there is a settlement of Fair Folk at every dragon preserve, with the three largest settlements being at the three with a Dragon Temple, and this is not common knowledge- perhaps deliberately so. These three preserves are also where the Sage’s Gauntlets, shield-that-repels-dragons, and harp-that-soothes-dragons are guarded by the dragons. The very talismans that helped defeat the dragons long ago. I suspect the Fair Folk are stationed in these locations to keep an eye on the dragons, and that they-at least formerly- are here to prevent the dragons from gaining power over the other races. Further proof that they have diplomatic priority- by “ancient treaty”, the defences of Blackwell Keep do not repel the coach of Stormguard Castle.

I also want to talk about the Sovereign Skull. If you don’t remember it, you can catch up on it here. I think that Selona was created by wizards primarily to house the Sovereign Skull, or at least the sphere it’s located in. I would equate it with Zzyzx, which had a physical location (Shoreless Isle) but was in reality its own realm. Selona would have a physical location in Europe (as Ezabar alluded to) but be its own country. It’s very secret- Eve declines to tell Kendra and Seth about it, Ezabar says it’s impossible to access, and Agad only reluctantly shares information about the location of the skull with Kendra. It makes sense- the Fair Folk enforce neutrality at Selona, and Lord Dalgorel was certain the dragons would need to “crush Selona”. “If our mother country falls, it could create a permanent imbalance, and unending age of dragons.” he says. The dragons mean to destroy the Sovereign Skull. I believe they are connected.

Humbuggle and Curses- What happened at Stormguard Castle is widely referred to as a curse by those who do not know what happened, and was created by Humbuggle. Serena, investigating the Nipsie curse, was last seen headed for Titan Valley, which is where Gabrinko said that Humbuggle’s Castle is. After all, it was Humbuggle, colluding with Graulas, who cursed the Nipsies. My theory is that the Nipsies are a cursed form of Fair Folk- that’s why nothing is ever designed with them in mind (think the Path of Dreams). Calvin says that Nipsies “used to be more powerful. And bigger. Maybe even as big as I am now”. But to curse them, he’d need a motive- I think it’s possible he intends to weaken the Fair Folk as a group. Another curse of his might’ve been the phenomenon in which “Almost no babies are being born anymore. Nobody is sure why.” Weakening the Fair Folk would benefit Humbuggle simply because they are a neutralising force, and of course curses are Humbuggle’s hobby.

Calvin and Humbuggle- I think that Calvin is either colluding with, or he is Humbuggle. I have only circumstantial evidence, but here it is. Look how these parallel one another-

“The curse came with a prophecy,” Calvin said.

“Tell me.”

“All nipsies can recite it:The curse arose from the demon’s blight; the lord who slays him will set it right.”

“It rhymes,” Seth observed.

“Most of the good ones do,” Calvin said. “Some strain more than others. But the basics are clear. Whoever kills the horrible demon will help lift the curse.”

And then these two scenes from Wrath of the Dragon King

“I suppose,” Humbuggle said. “I could also eat plain oatmeal every day to stay alive. An explanation is more pleasant when it rhymes. And a tad more official.”

“To keep the game fair, I will confess that the Wizenstone is jealously guarded by a powerful demon. Any who seek to claim the stone would have to ward off the demon before long.”

I also think it’s intriguing that right after showing Kendra how he morphed into Augie and Elouise, this exchange takes place:

“You’re sneaky,” Kendra said.

“Young one, you have no idea,” Humbuggle replied.

Bracken misses Calvin when he’s reading minds. They never check with the Nipsy elders that Calvin is legitimate. Camarat does not sense any darkness in him, but he is also unable to tell what Calvin is before he reveals himself. This is of note because in SotDS, Camarat is able to tell that the knapsack contains an “unconventional automaton and a hermit troll”, and is able to detect that Seth is a young shadow charmer. Gabrinko says he’s legitimate, but like @carolinelikesdinner said, he’s an outcast from his society and may be exiled for a good reason. He would also have access to Fablehaven- in the Caretaker’s Guide, it’s mentioned that there is a magical dwarf among the colony at Fablehaven, whose intentions are unknown.

Loose Things That I Want To Point Out

-Serena was “with a woman of human size”. I have no evidence, but intuition tells me she is Isadore, an enchantress mentioned in the Caretaker’s Guide.

-Ezarod was killed by Dromadus in dragon form. Dragons, when they become wizards, change their name. Liches are often former wizards. It’s possible, though unlikely, that Ezabar was in fact Ezarod.

-Celebrant’s wings make an unmistakable whistling sound when he approaches by air. I know Chekhov’s gun when I see it.

-The Roost is Wyrmroost Castle. The caretaker used to split time between it and the Keep. It was important enough to even have a scepter. However, I cannot find any other allusion to it, and we can only assume we will learn more in future books, meaning we will hopefully return to Wyrmroost.

Agad is a Shady Bitch- This isn’t a theory, but I have a couple of things I want to point out. First, don’t forget that Ryland thinks he may be:

“Agad became caretaker long after Wyrmroost was founded,” the Somber Knight said. “He was the fourth caretaker. Wizards love their secrets. It is possible he never knew the medallion derived power from a hidden scepter. If he did know, then you were set up to become caretakers, and to discover this knowledge on your own, so you would be forced to decide how to proceed without external influence, thereby assuming responsibility for all the associated risks and perils.”

Agad constantly warns Seth to stay away from the Blackwell. When he departs for Soaring Cliffs in WotDK, he warns Seth to stay away from the Blackwell. Marat, too, frequently warns Seth to stay away from the Blackwell. Of course, this is for the safety of himself and others- but he’s also one of the only people even capable of releasing the beings of the Blackwell.

Vanessa lists shades and haunts as ethereal restless beings, much like apparitions, phantoms, sky phantoms, specters, and wraiths. Shades and Haunts are said by Amulon to live in the Barrows, Lackluster Woods, and Adjoining Meadows- why weren’t the creatures of the Blackwell given their own domain like this? I have a very good reason- Agad’s grudge against the wizard-turned-lich imprisoned there. According to the Sphinx, Belrab is a powerful lich, and controls the other beings imprisoned there. This is eerily similar to the case of a Morisant; he was another dragon-turned-wizard-turned-lich, imprisoned along with his minions. (It’s never explicitly stated Morisant is a lich- but he matches all the requirements)

#dragonwatch #fablehaven #theory #meta #original

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tabletoptrinketsbyjj · 5 years

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Running the Numbers: On Balancing Homebrew Masterwork Weapon Bonuses

Hey folks,

My name is JJ and since March 2017 I’ve been working on this blog of D&D related homebrew content for your looting needs. I’ve gotten lots of positive feedback from people and I’m very appreciative of everyone who has written to me or shared the tables on their own blogs or with friends and gaming groups. I want to take a moment to thank everyone who has taken the time and energy to read through my tables, I know people lead busy lives and homebrew content is everywhere online. What I would like to talk about right now is balance for this blog’s homebrew material and how I decide what to include or not include in the tables and how that might help a DM justify using homebrew my homebrew material in their campaign without breaking the game or providing a wild power imbalance between their players.

To start off, I’d like to say that I have a decent background in RPG games in a variety of different systems with most of my time playing, Pathfinder, D&D 3.5 and 5th Edition. For balance purposes for this blog I have tried to be system neutral, talking about skills, benefits and mechanics in general terms so that the trinkets (Especially magic objects) can be easily worked into D&D, Exalted or Numenera alike. For general bonuses and negatives I have taken language from 5th edition D&D, namely the Advantage/Disadvantage system because I find it simple and straightforward. Since I primarily play D&D 5e now I gear a lot of the wording of objects towards it and d20 systems in general. Although this article can be used to talk about balance in a number of different systems, any specifics are usually aimed at D&D 5e.

While I'd like to talk about all of the different types of trinkets I have on my blog, this post will focus exclusively on Masterwork Weapons. While this concept was standard in D&D 3.5 and Pathfinder (And similar ideas can be found in other systems), it does not exist in 5e, which I find disappointing because I like the idea of an exceptionally crafted weapon that is mechanically better than average but weaker than a +1 weapon. To talk about masterwork weapons we should also talk about magic weapons so we have a clear comparison. Magical “+1 weapons” are a staple in D&D and are an easily benchmark for what a “standard” magic weapon looks like. A +1 weapon has four different bonuses that set it above a typical weapon, It grants a +1 on accuracy rolls to hit, a +1 on damage rolls, it counts as magical for bypassing the resistances of enemies and it is much harder to break or damage. When the concept was used in 3.5 and Pathfinder, a masterwork weapon gave a +1 on accuracy rolls to hit. In my interpretation, this means that the value of a masterwork weapon was about ¼ of a +1 weapon and I have tried to keep that in mind while writing. It is no accident that the first four masterwork bonuses are each different aspect of a +1 weapon. While researching what other people have done for their version of a homebrew masterwork weapon in 5e, the common theme I've found seems to be a +1 on damage rolls. Due to the bonded accuracy in 5e, a +1 on accuracy would be to strong and we’ll talk more about this later. A +1 to damage rolls for a price of 100gp (Which is the same price as getting a weapon silver plated) seems like a fair enough trade, especially if masterwork weapons are rare and can only be purchased in large cities or commissioned from master weapon crafters, requiring a side quest or roleplay scene. In short, I found a general consensus that a masterwork quality that grants a +1 on damage rolls is balance and therefore it will serve as the benchmark against which all the other masterwork bonuses are compared against.

Keeping “+1 to damage rolls” in mind as a benchmark for how strong I wanted a masterwork bonus to be, I created and cannibalized more than a dozen options for DM’s to use for introducing masterworks into their own campaigns. I will be going point by point crunching numbers to show how each bonus lines up with one another. For those that want to do your own math, feel free to use https://anydice.com/ or http://rumkin.com/reference/dnd/diestats.php to double check the work. I will be using 1d8 as an example for most damage rolls to make it a little more standard. For context going forward, a d8 has a minimum damage of 1, a maximum damage of 8 and an average damage of 4.5. Please note that with one or two exceptions these benefits only affect the default weapon damage dice themselves, not additional dice such as sneak attack, divine smite or spell effects.

I will be going through one at a time through each Masterwork Bonus I currently have written up and talking about them and showing you how their specific benefit effects damage rolls so you as a DM have a better idea on how strong it actually is. To save space I have cut out the fluff descriptions of the Masterwork Bonuses but they can be read here if you’re interested.

Keep reading for a point by point analysis of the Masterwork Bonuses.

This paragraph outlines the Advantage / Disadvantage system from D&D 5e, because some of the bonuses use it. If you're already familiar go ahead and skip this. When a character is given help from a tool, other character, magic effect, etc. they gain Advantage on the dice roll made to accomplish the task. This means that they roll 2d20’s and pick the higher result to determine the outcome, thereby increasing the overall dice roll, slashing the chances of critical failing and boosting the opportunity to critically succeed. Disadvantage is the opposite, the player rolls twice and has to use the lower result increasing the odds of failing. The real great parts about this system is if a character has advantage and disadvantage, they cancel out and only one roll is made so you cannot get “super advantage”. If the character is gaining advantage or disadvantage from multiple sources he still only rolls twice and picks the higher result. This makes circumstantial bonuses very simple to apply on the spot and prevents players from having to calculate a +1 or +2 from half a dozen different sources at a time. Personally I like it because it’s quick and simple allowing everyone to roll fast and move on, in a game where play time is often hard to schedule. Plus, bonuses and deficits just cause the player to roll more dice in a game where players typically love any excuse to roll dice.

1, Precise: Grants a +1 on attack rolls to hit targets

In many systems a bonus to accuracy rolls can deal more damage than a boost to the actual damage rolls. Logically, more accurate attacks hit more often and all damage resulting from a hit that was only successful because of the +1 accuracy bonus can be considered extra damage. In D&D 5e this would bonus would probably be considered the most powerful due to bonded accuracy (Which you can read more about here) and would probably end up doing more damage than the +1 benchmark, especially if the wielder had class features such as sneak attack that further increased damage on hit.

2, Balanced: Grants a +1 to all damage rolls.

The simplest and most reliable damage dealing bonus. A flat +1 damage increases the minimum, maximum and average amount of damage that can be dealt by the attack by 1, making it a nice choice to quietly provide a small benefit for the player that can be added to the damage roll’s math and otherwise forgotten about. For damage bonuses, an average damage increase of +1 is what we are looking for in terms of power and serves as our benchmark.

3, Spellbound: The weapon is considered magical for the purposes of overcoming resistances, damage reduction and other defenses.

This provides a nice compromise to DM’s who want their players to go up against more varied enemies that might have resistances or immunities to non-magic weapons but who don’t want the players to have a full +1 weapon yet. The weapon’s bonus will only provide a benefit when dealing with a small number of enemies (Like elementals, ghosts or fiends) that have that resistance. On the resistant enemies it effectively doubles damage (Compared to a non-Spellbound weapon whose damage would be halved by the resistant monster) granting the wielder and player the time to shine in combat. Against the majority of low and mid-level enemies such as humanoids and beasts who aren’t resistant to non-magic weapons, the weapon provides no benefit at all and is just as useful as a regular weapon.

4, Impervious: The weapon is five times more durable than normal, never breaks, chips or dulls as a result of casual use and is all but impossible to break or damage as a result of combat, even when targeted by enemies who attempt sundering or weapon breaking techniques.

This allows a player to feel comfortable in the knowledge that their sword isn’t going to explode on a natural 1, leaving them unarmed and useless in combat. Furthermore it encourages players to use the sturdy weapon outside of combat for roleplaying or problem solving reasons. Perhaps a war pick is used to dig a foxhole in rocky terrain, a warhammer is used to break down a door, a quarterstaff is wedged against a door to brace it, or a sword is used in place of a crowbar to pry open a stuck chest. Other than resisting being broken in combat, this bonuses has no real offensive capacity making it a great thing to give to your players with almost zero risk that it will upset the team’s power balance or make them too strong in combat.

5, Relentless: Instead of a single damage die when the wielder successfully hits a target, the player instead rolls two dice that equal the value of the original damage die and add the results together.

This grants the player the ability to roll two dice when they would normally roll one, which will probably increase their level of happiness right there. This is a good benefit for raising the minimum damage the wielder does, and in the event of a critical allows the player to roll a multitude of small dice, further raising the minimum damage dealt. If our 1d8 example die is turned into 2d4 with this, the weapon now has a minimum damage of 2, a maximum damage of 8 and an average damage of 5. This increases the minimum by 1 which is nice but only provides an average damage bonus of +0.5 which is not much, but can allow players to feel like they are getting more from the weapon than they normally would. Since this average damage increase is less than our benchmark +1 damage this makes it a balanced addition to the masterwork bonus list.

6, Superior: The weapon’s damage dice increases by one step to the next largest die.

This is a nice and simple benefit with a clear but small increase in damage potential. If our 1d8 example die is turned into 1d10 with this, the weapon has a minimum damage of 1, a maximum damage of 10 and an average damage of 5.50. This increases the maximum by 2 which allows for slightly bigger hits and provides an average damage bonus of +1. This has a slightly higher than normal damage cap but with the drawback of no increase to the minimum damage. Overall the average damage is increased by +1, the same as our benchmark and thus of comparable balance.

7, Cruel: Whenever the player roll a 1 on a die to calculate the weapon’s damage, they can reroll the die until they receive a result that is not a 1.

Like the flat +1 damage, this bonus was also very common on homebrew sites discussing how to implement a masterwork mechanic. Raising the minimum damage the player can deal on hit is a good things for them, since nobody wants to roll a 1. Applying this to our 1d8 example gives it a minimum damage of 2, a maximum damage of 8 and an average damage of 5. This increases the minimum by 1 which is nice but only provides an average damage bonus of +0.5 which is not much, but can provide the player a great sense of relief and excitement when they do roll a 1 and can reroll it into a much higher number. Since the average damage increase of +0.5 (Which is the same regardless of the size of the die) is less than our benchmark +1 damage this makes it a balanced addition to the masterwork bonus list.

8, Defensive: The weapon grants +1 to the wielder’s armor class / defense value / dodge rating or other system mechanic that decreases the chances of being hit with an attack.

Similar to Precise, making homebrew changes to the accuracy and armor class system can be risky for the mechanical balance of the game. In D&D 5e, a +1 to armor class is a big deal and hard to come by and the potential damage prevented by virtue of being harder to hit can add up. This kind of bonus is meant to evoke the idea or a parrying dagger, sword breaker or boar spear, deflecting attacks and keeping enemies at bay by nature of their design. Although it doesn’t directly compare to our benchmark +1 damage, a Defensive weapon can be a Godsend to a squishy melee striker like a rogue or bard who would definitely appreciate the increased armor class.

9, Vicious: Whenever the player roll a 1 or a 2 on a die to calculate the weapon’s damage, they can reroll the die and must use the new roll, even if the new roll is a 1 or a 2.

D&D 5e players should be familiar with this bonus because it is taken straight from the Great Weapon Fighting style. Due to this, lots of other people have done the math in detail and you can follow this link for nice graphs about the statistics. In short, this bonus on our 1d8 example keeps the minimum damage at 1, a maximum damage of 8 and an average damage of 5.25. That is only an average damage increase of +0.75 which is lower than our benchmark value of +1. It is important to note that the damage changes based size and number of dice and that if the weapon dealt 2d6 damage (Which has an average of 7) was affected by this, the average damage would be 8.33. An improvement of +1.33, which is slightly higher than our +1 benchmark.

10, Brutal: Whenever the player rolls the maximum result on a weapon damage die (I.e. a 6 on a six-sided die.), they can roll that die an additional time and add both results to the total damage dealt. This ability can trigger multiple times per turn but only once per attack.

This is one of the swingy bonuses that either provides either a lot of extra damage or none at all. Based on the concept of “exploding dice” from Shadowrun and some White Wolf systems, if you roll the maximum result, you’ll be rewarded with another die to add to the damage total. I like the idea of having a slim chance to do extra damage since it’s like a mini critical hit. On our example d8 there is a 12.5% chance (One in eight) to trigger the Brutal effect, which adds an average of +4.5 damage (Another d8) to the damage roll. This means that a triggering hit deals a minimum of 2 damage, a maximum of 16 and an average of 9 damage. Although this seems like a lot, remember that the effect only happens on 1 in 8 attacks, so if we take the 4.5 extra damage and average that across of 8 attacks it’s only an average of +0.56 damage per hit. This trend holds steady for different die sizes as larger dice deal more damage but less often and vice versa for smaller dice. A d12 grants an average of +0.54 damage per hit while a d4 grants +0.63. It is important to note that this math is conducted in a vacuum and wielders with the power to reroll damage dice (Especially 1’s and 2’s) can make this bonus more lethal. Though even if on a d8, if the wielder was capable of rerolled all 1’s and 2’s, it would still be 4.5 extra damage once every 6 attacks which is an average increase of +0.75. Since the average increased damage bonus will always be less than our +1 benchmark, I feel like this is a reasonably balanced effect. This can be more fun than a flat +1 to damage because it trades the dependable and boring damage would be represented by a 1d8+1, into an unreliable and therefore exciting 1d8+?, with the possibility on every damage roll of getting an 8 and having your damage explode into high numbers.

11, Mighty: Whenever the wielder scores a critical hit with the weapon, the player can roll one of the weapon’s damage dice one additional time and add the result to the damage dealt by the critical hit. This is in addition to the standard bonus damage of a critical hit.

Drawing on weapons mechanics from D&D 3.5 and Pathfinder this is essentially the idea of an “increased critical multiplier”, which allowed weapons to deal more damage on a critical hit. In terms of damage output on hit, this is similar to Brutal but provides even less average damage per hit because critical hits are rare. In a d20 system where you only critically hit on a 20, you have a 1 in 20 (5%) chance to critical hit on every attack. If you use the example die, you turn the regular critical hit from 2d8 damage (Minimum 2, maximum 16, average 9) into 3d8, (Minimum 3, maximum 24, average 13.5) which does increase the average damage by 4.5 on a critical, but across 20 attacks it averages to +0.225 damage per hit. Comparing that to the benchmark’s +1 damage per hit, this masterwork bonus is very weak but makes up for it with spikes of high damage on critical hits.

X, Inexorable: Whenever the player rolls to determine the weapon’s damage, he may roll the weapon’s damage die twice and choose either result to use.

This bonus allows the player to effectively roll damage twice and choose the higher amount, essentially granting advantage on damage rolls. On our example d8, this bonus keeps the minimum and maximum at 1 and 8 respectively and changes the average to 5.81 damage. Although the minimum and maximum don’t change, the increased average damage by 1.31 per hit, which is slightly higher than our goal of +1. The improvement to damage is magnified by the size and number of dice. On a d12 it grans an increased 1.99 damage per hit and on 2d6 it’s a 2.34 increase. This bonus would also affect the additional damage dice from critical hits making this benefit very powerful.

Inexorable by our +1 damage benchmark is actually too strong to be a Masterwork bonus. To be honest, I added it in here originally to pad the original Masterwork list out to 12 entries so it could be rolled on a d12. Since it doesn’t belong here I have moved it over to the Minor Weapon Enchantments Table (Which was nowhere near ready at the time the Masterwork table was introduced), where it’s magical theme and stronger bonus better fits in.

12, Silvered: The weapon’s business end is covered in a durable layer of alchemically treated silver of incredible quality. Although unnaturally processed, the metal is pure and effective at dealing with undead, lycanthropes and fey creatures. The weapon’s grip also sports discrete bands of intricately worked silver which prevents the wielder’s supernatural enemies from handling the weapon and using it against him.

Silvering weapons is a staple in most RPG games that have monsters that are vulnerable to the metal. This benefit is similar to Spellbound as it really only has any benefit when used against a certain set of enemies and otherwise has no effect on a typical attack. The only change that this blog provides are the silver bands on the grip, preventing monsters from wielding it properly. If your system already has rules for silvered weapons you can just use those instead. See Spellbound for how it compares to the +1 damage benchmark.

13, Tactical: Using an action equivalent to making an attack or casting a spell, the wielder can attempt to perform one of the previously mentioned combat maneuvers. Whenever the wielder could make an attack with the weapon, he can instead perform one of the previously mentioned combat maneuvers... Furthermore, the wielder is able to take advantage of lucky blows and turn them into skillful maneuvers rather than simply powerful attacks. Whenever the wielder lands a critical hit, he can choose to cause it to be considered a normal hit instead and immediately perform one of the previously mentioned maneuvers (With advantage because of the weapon’s design) on the target.

I really like the idea of combat maneuvers, tactics and strategies in RPG’s that contain more than just mindlessly attacking the enemy. A frontliner who effective at tripping, disarming or grappling the enemy can be just as, if not more effective than a wizard specializing in battlefield control, because the fighter can do it more often. Unfortunately it can sometimes be hard to justify attempting maneuvers, as it’s often far more efficient to just focus on dealing damage, especially when both take the same type of action. This bonuses grants players an incentive to attempt maneuvers because they automatically gain advantage and gain access to a larger range of said maneuvers. Furthermore they can trade the extra damage from a critical for the chance to disarm / grapple / trip / etc. the target, which can let a player think strategically and provides some new combat options. As a roleplaying experience it can allow for better teamwork, granting a supporting bard a better chance of tripping an enemy, allowing the two handed fighter to attack the prone target at advantage as well as reducing their chance of escaping. This bonus doesn’t deal damage directly so it doesn’t compare to our benchmark +1 damage, but it does grant the wielder a few benefits and options at the cost of making a regular attack or additional critical hit damage.

14, Poisoner’s: Even a bludgeoning weapon that is normally difficult to poison effectively can benefit from the grooves, allowing it to deliver the offending material with ease. The channels are always positioned in such a way that a creature can apply a solid or liquid material (Such as but not limited to: poison, holy water, flammable oil or animal venom) in them without any risk of accidentally poisoning themselves (Even if they are not proficient with poisons) and taking no more time than usual to coat an object with poison. Furthermore, the recessed pathways protect the material from the elements, keeping it from drying or spoiling and after it’s applied, the material remains potent for an additional hour longer than normal before becoming inert. Lastly and most importantly, the virulent trenches are divided and spread out, allowing a single dose of poison to be delivered normally and effectively while still having some leftover in a separate groove. The number of strikes the weapon may make before the poison is rubbed off is increased by one. Alternatively to being spread out, the blighting substance can be confined to a single groove which will deliver its payload in a single concentrated strike which causes the victim to suffer disadvantage on the save against the material, or the PC can roll the poison’s damage twice and choose the higher result. The bearer who applies the poison chooses whether the material will be spread out over multiple strikes or if it will be concentrated into a more lethal hit (And if it applies disadvantage or increased damage) when the material is applied.

This bonus provides a few benefits in order to allow a lower level PC better make use of expendable items like flammable oil, holy water or poison before magical weapons and stronger spells render them too inefficient to use in combat. The DM should feel free to adjust any parts of this bonus to better fit with the specific poison mechanics of their game. Personally I love the idea of poisons, oils and alchemical coatings appealing as concepts but at low levels they are often too expensive to buy and once you have the money you’re usually better off buying magic items since a large number of enemies are either resistant or immune to poison.

In D&D 5e for example, a vial of “basic poison” can coat up to three slashing or piercing weapon or up to three pieces of ammunition. Applying the poison takes and action and on hit the target must make a fairly easy save (A Con DC of 10, about a 50% chance of failure on average) or suffer as much poison damage as a dagger deals. Once applied, the poison retains its potency for 1 minute before drying. Overall pretty weak but could definitely be useful in many situations, especially ambushes rewarding players who prepare and think ahead. However this vial of three-use poison costs an exorbitant 100 gold pieces, the same value as a suit of scale mail and a greatsword combined. A PC with 100 gold at low levels might get a silvered weapon (Which is also 100 gold), get better quality armor, buy healing potions or adventuring equipment or weak magic items. The 5e Player’s Handbook list’s the cost of a hired mercenary at 2 gold pieces per day, so you could hire a bodyguard to fight for you for 50 days (Or an army of 50 for one day) for the same price as one vial of basic poison. At mid-levels, enemies will pass the save more than not, taking no damage and even if they roll poorly and fail, a dagger’s worth of damage is not a substantial drain on their hit point pool.

If we apply this masterwork quality to a warhammer (Since it uses our d8 example die) in conjunction with 5e’s basic poison we can look at the benefits. Normally you wouldn’t be able to poison the warhammer at all (It deals bludgeoning damage) but now you can and without risk of accidentally harming yourself. Rather than drying out in one minute, the poison will remain potent for 61 minutes, a fantastic improvement, allowing the player to apply it with a greatly reduced chance of it being wasted due to drying out before the next fight begins. The wielder can also choose to spread the material out among multiple grooves, turning a three use-vial into a six-use vial of poison, making it much more cost effective. Alternatively the player could choose to force the victim to suffer disadvantage on the saves to resist the poison or roll the poison damage twice and pick the more lethal result, making the poison more viable at higher levels.

In short this masterwork bonus provides a number of small benefits and options to allow a PC to make poisons and alchemical weapon applications more fun and a viable strategy that offers the player a range of options, rather than an ineffective money sink. As this weapon does not deal damage directly it is hard to compare against the benchmark. The goal of this masterwork is to increase the damage deal by poisons and similar materials but it is weighed against the fact that the player has to expend gold or resources buying and using the poisons to actually make use of the benefits (As opposed to the benchmark “free” +1 damage on every hit) so it seems balanced to me.

15, Bypassing: A wielder who makes an attack with a weapon with this bonus ignores any and all defensive benefits that an opponent’s shield would normally provide.

This bonus attempts to reflect the real world weapons such as the flail, sica, shotel, and war pick, all designed to get around armor and shields in order to reach the tender flesh of the enemy. Although this benefit does affect accuracy rolls rather than damage, I would compare this more to the Spellbound or Silvered bonus rather than Precise. In my experience as a player, I rarely run into to humanoid enemies wielding shields and typical bestiaries and monster manuals don’t have a lot of shield using enemies. If your PC’s are mostly fighting undead, elementals, beasts and aberrations this bonuses will probably not help them. In the rare instance when they do come across a heavily armored fighter or blackguard paladin or other hard to hit foe, this bonuses will let the wielder bypass some of those defenses and let that wielder shine. Handing out this kind of weapon in a military or war campaign where it would be used regularly, would be comparable to handing out a Silvered weapon in a werewolf heavy campaign. Since it doesn’t deal damage directly I doesn’t compare to the benchmark and you can refer to the Spellbound and Silvered for how this bonus works in play.

16, Resounding: Whenever the player rolls a damage die he must roll a second confirming die of the same sort. If the second die is the same result as the first, the player is considered to have instead rolled the maximum possible result for that type of die instead of the current result.

As the fluff description mentions, getting a resounding blow that triggers the maximum damage is rare. The value of this bonuses is odd to calculate because as the maximum damage output of the die increases, the odds of actually rolling two of the same number to trigger it goes down proportionally. Over the course of 64 successful attacks with our example d8 (every variation of the damage die and confirmation roll), the effect only triggers 8 times (A 12.5% chance) and only 7 of those times actually benefit the wielder since rolling two 8’s is already the maximum amount of damage possible. Over the 64 hits, the total increase in damage resulting from the bonus is 28, an average increase of 0.44 per hit with most of the damage coming from when the player rolled low and would have done very little damage.

This table is a chart of each result of the 64 hits possible with a d8 Resounding weapon. The leftmost column is the damage roll while the top row is the confirming roll with the middle being the actual damage dealt. The bottom roll is the sum of the total damage from that column which is compared to 36, which is the sum damage total on a non-masterwork d8 over the eight possible hits.

To demonstrate on a smaller die over the course of 16 successful hits on a d4, the effect triggers 4 times (A 25% chance) and the total increase in damage resulting from the bonus is 6, an average increase of 0.38 per hit. The sum of the total damage on a non-masterwork d4 is 10 over the 4 possible hits.

On a larger die over the course of 144 successful on a d12, the effect triggers 12 times (A 12% chance) and the total increase in damage resulting from the bonus is 66, an average increase of 0.45 per hit. The sum of the total damage on a non-masterwork d12 is 78 over the 144 possible hits.

In summation, this bonus gives the occasional burst of damage at the cost of providing no benefit most of the time. It grants an average damage increase of 0.45 per hit (on a d8), which is well below our +1 benchmark in terms of balance.

17, Chargebreaker: If the wielder has not moved yet on his turn he can take up a defensive position, which causes his speed to drop to 0 until the end of his turn. While in this stance, the wielder is able to make an attack of opportunity with the readied weapon against an enemy that enters his reach. The bracing stance ends if the wielder moves, attacks or at the start of the wielder’s next turn.

Much like Tactical, this benefit rewards players who think strategically and offers them options in combat, like the ability to plant themselves and defend a key position rather than just rushing the enemy and attacking. This does potentially allow the wielder to make an additional attack per round, possibly doubling the number of attacks they can make. However these extra attacks come at the cost of all of the wielder’s movement during that turn, which can trap him in an inconvenient corner of the battlefield, not be able to move to reach allies, render him unable to retreat or not be able to place himself between the enemy and the more fragile party members. The wielder gains no additional benefit against creatures already within his reach and is potentially worse off against ranged attackers and mobile enemies, since bracing himself means that he is not closing that distance.

18, Parrying: Using an action equivalent to an attack of opportunity (See Note) the wielder may attempt to parry an incoming melee attack, increasing his armor class or physical defensiveness as if he was properly wielding a shield. The wielder may benefit from the armor class bonus (Typically a +2) even if he is already wielding a shield. —Note: If your system doesn’t use attacks of opportunity use the following rule: Once the wielder parries an attack he is no longer able to do so until the start of his next turn.

Similar to Precise and Defensive, this is a bonus that deals with armor class and attack rolls. Unlike defensive however, this bonus consumes the wielder’s resources in the form of costing an attack of opportunity to use. A player could use this ability every time he is able to but doing so forcing him to give up on attacking fleeing enemies or striking when they are vulnerable. Furthermore, the benefit only applies to one melee attack per round so the wielder is still just as vulnerable to multiple attacks and ranged attacks. This bonus doesn’t deal damage so it doesn’t compare against the benchmark, but I feel that it provides a benefit to player’s without being overpowered due to its cost and limited use.

19, Strategic: These modifications greatly improve the wielder’s ability to resist trips, feints, grapples, pins, being disarmed, pushed, shoved and other combat maneuvers... Whenever the wielder is targeted by one of the previously mentioned combat maneuvers, he can use an action equivalent to an attack of opportunity (See Note) to grant himself advantage on the roll made to resist the maneuver. —Note: If your system doesn’t use attacks of opportunity use the following rule: Once the wielder uses the weapon to grant himself advantage on the roll made to resist a combat maneuver, he is no longer able to do so until the start of his next turn.

Much like Defensive and Parrying, this bonus deals with making the wielder more resilient when facing combat maneuvers like grappling, tripping and disarming. These tactics can be brutally effective when used against PC’s and can make enemies orders of magnitude more threatening. A monster that can attempt a grapple or trip check with every successful attack can be far more deadly than one that deals an extra 1d6 damage on each hit. Like Parrying, this bonus consumes the wielder’s resources in the form of costing an attack of opportunity to activate which helps to balance out its use. A player could use this ability every time he is able to, but doing so forces him to give up on attacking fleeing enemies or striking when they are vulnerable. This bonus doesn’t deal damage so it doesn’t compare against the benchmark, but I feel that it provides a benefit to player’s without being overpowered due to its cost of an attack of opportunity.

20, Adaptable: When the wielder attacks, he may choose to have the weapon deal either bludgeoning, slashing, piercing or nonlethal / stun damage (See Note). Otherwise the weapon keeps its usual statistics and this does not change anything about the way the weapon operates other than its damage type.

This is probably one of the weakest bonuses on this list and provides more fluff and equipment management ease than anything else similar to Impervious. A PC now only needs to haul around their masterwork weapon and be capable of dealing several type of damage rather than a golf bag of different weapons for different resistant monsters. Like Silvered or Spellbound this would only be beneficial in a small number of situations. Even then, it’s not hard or even that expensive for a fighter to carry a mundane warhammer, longspear and longsword, (Plus one or two ranged weapons) it’s just annoying to have to for purposes of overcoming resistances.

21, Twinned: Whenever the player rolls a damage die he must roll a second confirming die of the same sort. If the second die is the same result as the first, the player adds both dice to the total damage rolled.

This bonus is very similar to Resounding in the form of the confirmation roll for extra damage. Similarly to Resounding, getting a twinned strike that deals the extra damage is rare and the value of this bonuses is odd to calculate because as the maximum damage output of the die increases, the odds of actually rolling two of the same number to trigger it goes down proportionally.

Over the course of 64 successful attacks with our example d8, the effect only triggers 8 times, a 12.5% chance. Over the 64 hits, the total increase in damage resulting from the bonus is 36, an average increase of 0.56 per hit with most of the damage coming from when the player is doubling their high roll.

This table is a chart of each result of the 64 hits possible with a d8 Twinned weapon. The leftmost column is the damage roll while the top row is the confirming roll with the middle being the actual damage dealt. The bottom roll is the sum of the total damage from that column, which is compared to 36, the sum damage total on a non-masterwork d8 over the eight possible hits.

To demonstrate on a smaller die, over the course of 16 successful, the effect triggers 4 times (A 25% chance) and the total increase in damage resulting from the bonus is 10, an average increase of 0.63 per hit. The sum of the total damage on a non-masterwork d4 is 10 over the 4 possible hits.

On a larger die, over the course of 144 successful, the effect only triggers 12 times (A 12% chance) and the total increase in damage resulting from the bonus is 78, an average increase of 0.54 per hit. The sum of the total damage on a non-masterwork d12 is 78 over the 4 possible hits. Although DM’s may have some reservations on seeing the higher scale of this chart, remember that rolling two 12’s to deal 24 damage is 1 in 144 or a 0.69% chance.

In summation, this bonus gives the occasion burst of damage at the cost of providing no benefit most of the time, with an average damage increase of 0.56 per hit (on a d8), which is well below our +1 benchmark.

22, Quickdraw: The bearer is able to draw the weapon as a free action whenever he rolls initiative as long as he physically capable of doing so… In the first round of combat if a hostile creature comes within the wielder’s reach (Or 20 feet for a ranged weapon) he is able to make an attack of opportunity against that creature but suffers disadvantage on the attack roll. Lastly, drawing and stowing the weapon is considered a free action.

This bonuses is supposed to allow PC’s to be able to evoke the incredible training and reflexes that come from a lifetime of having to react quickly to violent ambushes. For an easy comparison of what I imagine this looking like, take a look at Star Wars or Firefly. Characters like Han Solo or Malcolm Reynolds carry their pistols in a low slung gunslinger’s holsters along their hips and are able to draw and fire within a second. This allows them to even out or even win fights before they have a chance to properly start. For a real life example look at videos of Bob Munden, a real life exhibition shooter has the title "Fastest Man with a Gun Who Ever Lived" bestowed on him by Guinness World Records. This Masterwork bonus enhances the PC’s ability draw the weapon as a natural reflex and instinctively (If not skillfully, hence the disadvantage) lash out at an enemy within reach. If as a DM you are fond of ambushing your party, they will appreciate a weapon with this kind of bonus.

Damage wise, this bonus grants up to one additional attack at disadvantage per combat which may hit for some extra damage. Depending on the length of the fight, this may exceed the +1 benchmark or add nothing at all.

23, Unforgiving: When the player scores a critical hit with the weapon, he rolls all the dice associated with the damage as normal. After rolling but before damage is dealt to the target, the player may select any single rolled damage die of his choosing and that die will be considered to have rolled the maximum possible result for that type of die instead of the current result. —Note: This affects the weapon’s damage itself AND other sources of additional damage such as sneak attack, divine smite or spell effects.

I have seen this kind of this effect proposed as a variant critical rule for D&D, wherein anytime any PC or creature critically hits, the extra weapon damage dice are simply added in at their maximum result instead of being rolled. As it stands in D&D 5e, a player can score a critical hit and roll low on the dice resulting in a “critical hit” that deals less damage than an average hit. This makes the rare critical hits more potent by guaranteeing a high minimum damage. This bonus is all about raising the minimum damage on a critical hit, so that the wielder never rolls low and experiences a disappointing critical.

In a d20 system where you land a critical hit on a roll of a natural 20, you have a 1 in 20 (5%) chance to critical hit on every attack. If you use the d8 example die, Unforgiving turns the regular critical hit from 2d8 damage (Minimum 2, maximum 16, average 9) into 2d8[Dropping the lowest]+8, (Minimum 9, maximum 16, average 13.81) which does increase the average damage by 4.81 on a critical, but across 20 attacks it averages to +0.24 damage per hit. Comparing that to the benchmark’s +1 damage per hit, this masterwork bonus is very weak but makes up for it with guaranteed high minimum damage on criticals, making each one a truly powerful blow.

24, Reach: Melee weapons with this bonus add 5 feet to the wielder’s reach when he attacks with it, as well as when determining his reach for opportunity attacks with it. Ammunition, ranged and thrown weapons all add 20 feet to their normal and long distance attack ranges. Melee Reach weapons are cumbersome in close quarters and the wielder suffers disadvantage on attack rolls against targets within 5 feet of himself. Ranged weapons and projectiles...cause the wielder to suffer disadvantage on attack rolls against targets within 10 feet of himself.

Again drawing from D&D 3.5 and Pathfinder here is a weapon quality with a trade off in terms of benefit and drawback. Melee players who play a more mobile, kiting style with an emphasis of never being too close to the enemy will love this bonus. When surrounded by enemies however it forces them to attack at disadvantage or to drop the Reach weapon and fight with an inferior backup weapon. PC’s specializing in ranged combat will be able to hit targets father away but when in tight quarters such as dungeons, caverns or buildings, there may not be the option of being 15 feet away from the target in order not to suffer disadvantage on the attack roll because they’re too close. Even if that is possible, it forces that ranged PC to become more separated from the melee, leaving them open to ambushes, being surrounded or cut off from the rest of the party.

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lianors · 5 years

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FOURTH CHALLENGE — character personality tests for lianor montagu: (4/12)

wc: 1,592 / points earned (thus far): 20

tw: light mention of abusive parental relationship; sexuality discourse (with mentions of: religion, homophobia, internalized misogyny and traditional gender roles); a ridiculous shitload of word vomiting without proofread yike !

1 — creepiest thing about you

𝖗𝖊𝖘𝖚𝖑𝖙𝖘: you are a disturbing control freak — caring for people and things does not work the way you think it does. you are so invested in making sure that everything around you is perfect that instead of showing you care, you plan and control without asking for any input (which, of course, you justify by telling yourself that you aren’t burdening anyone else with extra work). you call this “dedication,” but it’s not - it’s needing personal control so badly that you’ve confused it for real connection — which is not really a great quality in a friend, but a very helpful quality in an aspiring serial killer.

𝖆𝖈𝖈𝖚𝖗𝖆𝖈𝖞: i remember when this challenge first came out -- lmao why am i such a sloth -- i wrote an intricate, awed response at this result, but my computer turned off on itself so i guess i gotta content with this whatever lmao.

anyhow, incrediblé. i believe i have touched on the controlling nature lianor has in her -- it is born from her own mother’s, how the woman had wanted her daughter to be a puppet from a tender age; not to displease beatriz, lia was to assure just that. she easily became a sort of dominating figure in the welsh nursery, gently advising and guiding the royal kids to do her way, which is the right way. unlike her mother, she knew honey would catch more flies than vinegar (a mantra she tries to live by whenever ugly, awfully humane sentiments rush through her) and, thus, lianor continues pulling strings quietly, with a caress there, a gentle word here.

she grows impatient and vexed as her powers begin to fade on people, and now that she’s older, she more actively struggles against being controlled by others, though she is wise enough to know that, as a woman, in many situations she just will not have control and she must bow her head and follow. still, she tries to manipulate the outcome to favor her in some way, even if it is a minuscule silver lining she clings to in order to maintain her sanity and her illusion of power.

2 — four temperaments

𝖗𝖊𝖘𝖚𝖑𝖙𝖘: your temperament is phlegmatic (15) — the phlegmatic temperament is fundamentally relaxed and quiet, ranging from warmly attentive to lazily sluggish. phlegmatics tend to be content with themselves and are kind. they are accepting and affectionate. they may be receptive and shy and often prefer stability to uncertainty and change. they are consistent, relaxed, calm, rational, curious, and observant, qualities that make them good administrators. they can also be passive-aggressive.

𝖆𝖈𝖈𝖚𝖗𝖆𝖈𝖞: let me just say, i took this test on my first week portraying lia and i got a tie between sanguine and melancholic -- who is lying then?? are you telling me i’ve grown her enough for that to change??? fight me!! but hey at least sanguine and melancholic tied again, only two points behind phlegmatic so!!!

dumbassery aside, i guess this makes sense. as i usually take most of these tests as i am building my muse, i base their behavior on these results as much as the muse that flows through me on the day i am writing, but i think it’s silly to deny this result just for the sake of being a hater -- especially when the phlegmatic result does fit her: lianor is not particularly lazy, as her anxiety and fear of becoming useless makes that an inability, but if she does allow herself a time off, there is little she would really want to do other than partaking in that noble girl lying on a ottoman couch fantasy!

more importantly, she is definitely on the quiet side, and kindness and warmth are traits she intends to display and, though i haven’t said it outright, i believe it can be assumed rightfully so that she is a good administrator, with a good head for finances and overall stability over risk.

3 — tea type

𝖗𝖊𝖘𝖚𝖑𝖙𝖘: chamomile tea — you are a warm blanket in the form of a human. you’re welcoming and comforting, and loved ones know they can turn to you when they need a hug or a soothing word. you appreciate the cozy things in life, like wrapping up in a blanket and listening to the rain. in a world full aggression, competition and noise, you believe there’s bravery in being soft.

𝖆𝖈𝖈𝖚𝖗𝖆𝖈𝖞: reading this blurb makes me feel so uwu, in a very romantic way i imagined when i first wrote lianor (if you ignore how big of an angst whore i am lmao), so sure, i will take it. lia intends to be this sort of safe, cozy harbor for her loved ones, where they all can forget of the harsh realities of ruling -- though she found herself quite able to do so before, she becomes more cynical, and fearful this ability will become an impossibility soon enough (which in return makes her despise those she judge that are to blame for this demystification of her idyllic world).

4 — sexuality

𝖗𝖊𝖘𝖚𝖑𝖙𝖘: for 40% you are heterossexual. this means that you are attracted only to the opposite sex. this is the most accepted and ‘normal’ sexuality, so don’t worry about fitting in with sexuality -- you will be fine.

you could also get this result:

for 30% you are bisexual. this means that you are attracted to both sexes. this sexuality is very broad -- you can love whomever you want. in reality, both boys and girls. it’s also fairly accepted, as you are both straight and gay.

𝖆𝖈𝖈𝖚𝖗𝖆𝖈𝖞: as someone with about 5 scorpios in my zodiac map, i have no qualms about discussing sex and sexuality in any way, so this is going to be an interesting ride. as always, i thought i should discuss character origins, as lianor really has bloomed ever since i began planning her, to as she was actually played. so, originally, she was as straight as a board -- as someone who has had primarily one romantic and sexual connection, she remains constant with her affections and desires, which are invested on a cismale, as it should be expected for a pious noblewoman as she is. thus, i insisted she was a hetero for quite a bit, only for her to come at me and make me proud with just a huge amount of gay -- god i love one (1) sapphic babe! because, well, i envisioned her relationship with the princess of england as one of sisterly love, but because there was a sapphic route me and the princess’ former player went by, i am interested in discussing that again with her player (who shall hopefully be here soon).

lia enjoys women -- she thinks they are gorgeous, strong beings, and she also envies them, well rooted in the environment she is at. the fateful night she did engage in intercourse with one, she powered through with mild distaste, making her purpose to appeal for the male gaze, to prove to her male partner she was not just another whore he would take to his bed and forget the next morning. she claims kissing women have become a boring affair, that she has tired of pretending and would rather go for the real thing -- a man, in which she would be expected to conceive with -- but everything she speaks must be taken with a grain of salt, since this is the 15th century and even if there is no penis, so there is no sodomy, a love for a woman that is something more than fraternal is wrong, for a woman is made for a man, and she believes she has already found her match.

this single sexual encounter and her insistence in telling herself she is disgusted by homosexuality rings to me not only of religious-infused prejudice, but also of a notion many claim secondary: the ace aspect. being a literal assexual definitely does not work for lianor, who has fire running in her veins and is not at all against asking for her earthly desires to be quenched by the right man -- but demisexuality’s definition interest me a lot; demisexuals require a good amount of bonding to be able to enjoy the sexual act -- they may do it anyways, as i know people in real life to have done and as lia does in her marital bed, but enjoying it is a whole other thing. thus, it makes sense she could not find sexual joy in a random encounter that was fashioned more to please her partner than herself. when she did think of a woman she had a deep connection with -- her dearest french penpal -- though there was an immense shame, lia found no difficulty in enjoying herself.

however, again, this should all remain entirely circumstantial due to the mentality of the century; she would rather not strain from what is normal, and resign herself to her feminine position, in which she should please her man and bear his children, regardless of her own pleasure in the matter. female friendships should remain just that, and otherwise she would seek to distance herself from the personification of sin for her own sake. to go through with modern, anachronistic notions would strip the verse of what it is and instead would make me speak of the bi icon lianor beauchamp that was born in the 1990s -- and that is a whole other talk.

#crhs.challenge #thinking of doing this for iv*n as well..fu..ck me :)

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possiblyimbiassed · 6 years

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What happened to Sherlock? Part V – Bizarre Scenarios

I think it’s time for another monster post in my meta series. :) I might have said that I’d try to make it shorter this time, but somehow I got carried away... ;). Which is not that surprising, actually, since today’s topic is something I could go on and on about; there’s an infinity of stuff to explore in the show from this perspective. Anyway, you can find the earlier parts of my series below:

Introduction - The game is on (explains the method of analysis) Part I - Blog vs TV-show Part II - Re-living memories Part III - Drugs and weirdness Part IV – Heartbreak and coma (1) Part IV – Heartbreak and coma (2)

So, this fifth installment (out of nine in total) will explore the idea of Sherlock’s brain running a kind of simulations - basically a series of hypothetic ‘what if’ scenarios - at least from HLV and forwards. And it builds upon the conclusions from these earlier metas, namely that this show is seen entirely from Sherlock’s perspective; that we’re inside the great detective’s mind from Day 1.

But since I believe Sherlock is in coma from HLV and onwards (see Part IV), he can’t quite distinguish these scenarios from ‘reality’. So, here goes the next hypothesis:

Hypothesis #5: Almost everything we see happen in HLV, TAB and S4 is Sherlock ‘running scenarios’ in his mind, based on a mix of his earlier memories and movies he has watched.

To test this, I think I might first need to explain some things about the concept of ‘running scenarios’, as far as I know from real life.

Predictive modeling

At work, I’m involved in a kind of data modeling that makes me think of Sherlock’s brain. The general principle is this: You collect a set of data of a certain type (in my case it’s geographic data), you run your data set through a computer algorithm, in which some limiting values are defined, and as result you get a predicted outcome of the phenomenon you’re studying. In my case the result is a digital map that shows the most probable geographical distribution of the phenomenon. The resulting map scenario is based upon someone’s expert knowledge of the subject matter, which is integrated into the computer algorithm and used by the model. In short: you use your data sets to run the model to make predictions - scenarios.

But how can you know that your predictions are accurate? Well, you can never expect them to be entirely accurate, since the modeling is always a theoretical simplification of reality. But you can always try to validate the predictions by comparing them to real-world observations of the phenomenon in question. If a great majority of the real-world observations fall within your plotted map, then you can regard the prediction as useful; otherwise you must collect new data, re-adjust the model and try again.

Now, let’s compare this predictive modeling method to John’s and Sherlock’s conversation in TLD (all quotes from the show in this meta come from Ariane deVere’s invaluable transcripts. Bolding is always mine, though):

JOHN: Wednesday morning I booked today’s session. Now, today is Friday. So two weeks ago – two weeks before you were abducted at gunpoint and brought here against your will, over a week before I even thought of coming here - you knew exactly where you’d need to be picked up for lunch?

SHERLOCK: Really? I correctly anticipated the responses of people I know well to scenarios I devised. Can’t everyone do that?

Well, no Sherlock; we really can’t, and neither can you in this case - at least not in ‘real life’! I think John’s disbelief is totally justified; there are so many ‘feasible variables’ involved in this operation – people and things and events that uncontrollably vary in time and space – and so many assumptions based upon each other, that it would be absolutely impossible for Sherlock to predict the future with this kind of accuracy. He might get a general idea of where and when he could probably find John, yes; perhaps he could even narrow it down to a matter of days and miles, if he had enough circumstantial data.

But he could never know the exact time and place of John’s appointment with another person two weeks in advance - when even John himself hadn’t decided it yet - merely by deductive reasoning. Neither could he possibly know that in this very instant it would occur to Mrs Hudson to abduct him and directly after it would occur to John to have Molly Hooper examine Sherlock, instead of simply doing it himself. Even a weather forecast is extremely insecure in details two weeks in advance (x, x), and the meteorologists have powerful computer programs and mathematical models at their disposal, while Sherlock in this case would have only his own brain.

But I believe here is where Sherlock leaves us one of the most important clues in the whole show about his methods and about what’s actually going on in S4; he talks about himself having ‘devised scenarios’. So maybe this is what he has been doing all along, since the last time he entered his Mind Palace!

But what kind of scenarios is he referring to? And why does he even want to set up these scenarios? I mean, if he were using predictions and scenarios, it would seem that he’s working on solving some kind of problem, right? Or at least that he’s studying some interesting phenomenon. But the only ‘problem’ we’re told about in TLD is that he wants John’s help to catch a serial killer. So why not just send a message to John and ask for his assistance with the case? Why ‘devise’ an elaborate dramatic scenario involving Mrs Hudson, Molly and John’s new therapist; none of which has anything to do with the crime case? The answer might be that Sherlock is actually working on quite another case than ‘Culverton Smith the Serial Killer’: his own personal case, trying to find out what went wrong between him and John in order to save John Watson.

In any case, Sherlock cannot make this TLD prediction with 100% accuracy; it doesn’t matter how well he knows people, that just isn’t possible. At least not in the ‘real’ world where there are too many things that can go wrong just by chance. Sherlock may like to think that he has every little detail under control, but he’s only human after all, like everybody else. Which means that these scenarios are most probably taking place inside Sherlock’s head. And his predicted outcome about John in TLD is a fine example of this. Inside his brain, Sherlock can control most of the parameters and not much is left to chance, so the model works there, broadly speaking. But IRL it wouldn’t.

Assumption upon assumption

Now, an important aspect of predictive modeling is that you need to make certain assumptions to run your scenarios; a sort of simplification of reality. But the problem is that the more assumptions you pile up, one upon the other, without reality checks in between, the more uncertain your results will be. An assumption based on another assumption will always be more insecure than the first one, right? Sherlock’s problem here might be precisely the lack of contact with reality; he needs to validate his scenarios with observations from real life. Otherwise the modeling will be more and more biased and the results more and more twisted. But I believe it’s shown clearly in S4 that there is no new input of RL data, since everything seems to have already happened before in one form or another. And the consequence of this is that Sherlock’s scenarios keep getting more and more unbelievable, derailing into their almost complete logical collapse in TFP, where so many absurd and impossible things happen that the plot loses all kinds of credibility. In short, I think TFP is the final result of Sherlock’s permanent bias.

Heteronormative bias

Let’s say that one of Sherlock’s assumptions is biased in some direction, that it’s somehow influenced by his own emotions (Sentiment; the fly in the ointment, the crack in the lens, etc, etc). With the chain of scenarios described above, the error will multiply with each new similar assumption, and the results of his mental experiments will end up not making much sense at all, just like TFP. One of the most significant biases/errors I believe Sherlock commits, is that he totally excludes ‘Johnlock’ from the equation; he doesn’t take into account even the possibility of John being in love with him or the possibility of the two of them ever becoming a couple. He consequently interprets any sign of affection from John as either directed at someone else (a woman of course) -

- or as a misguided hero-worship of an unworthy character -

- probably linked to John’s adrenaline dependence -

- which John surely will sooner or later grow out of.

This may have to do with Sherlock’s lack of self-esteem and/or fear of emotions, but it’s a heteronormative bias and it’s severe, since it stops him from seeing the problem clearly, which might make him miss the solution entirely. And as long as heteronormativity and homophobia aren’t on Sherlock’s conscious checklist of possible problems to deal with, I’m afraid he won’t discover this bias. And since Sherlock makes this assumption again and again, without ever testing its opposite and without reality checks, he ends up with narrow-minded, absurd and dystopic results from his modeling, which ultimately don’t bring happiness to anyone. Sherlock has an amazing brain capacity, but I think he gets ‘lost in the sky’, high above everyone else, as the little girl on the plane (Eurus) explains in TFP. I’ll try to explore this idea with my own little prediction testing below.

Prediction #1: When Sherlock is in coma there will be no more entirely new events that seem realistic

If Sherlock is unconscious, his brain might still keep on working on his eternal scenarios based on memories, even though it has no new input data from the external world to process. The events would now all be based on things Sherlock has heard or experienced or imagined before he entered his comatose state. Which means they will all feel a bit familiar, unless they are pure fanciful fabrications - often absurd or surrealistic - which is basically what happens in a dream state (and perhaps more so if it’s drug-induced).

And yes, I think we can see this expected pattern quite clearly, with a remarkable difference between the events up until TSoT on one hand, and in HLV and onwards on the other.

In TSoT some rather ‘ordinary’ things happen that are not uncommon events IRL, but we haven’t actually seen most of them in the show before: there’s a bank robbery, a wedding reception, a bride, a church, a (real) priest, a photographer. There’s also Sherlock writing a speech, folding serviettes and planning a party, there’s a ‘stag do’ and Sherlock gets drunk and vomits. Sherlock deduces that John’s newly wed wife is pregnant.

And we could also apply this test to all the episodes before TSoT, looking for ‘novel’, non-repetitive and still believable events (I don’t count ASiP, though, since it’s the very first episode thus cannot be repetitive):

TBB: Coherent crime case; smugglers use secret codes, run a circus and one of the acrobats can climb high buildings. John (innocently) gets an ASBO for graffiti.

TGG: A series of crime cases with hostages threatened to be blown up, including John. Poison murders and strangling.

ASiB: Weird crime case with a manipulative dominatrix. Mrs Hudson is attacked. Sherlock still solves it in a believable way. He is rude to his guests at a Christmas party.

THoB: A fairly believable crime story involving a shift of environment to Dartmoor, a client who is being ‘gas-lighted’ by the criminal of the case, and a military laboratory.

TRF: Child kidnapping case, a boarding school. A trial. Extensive media coverage of (Sherlock as) a celebrity, who becomes a murder suspect but fakes his own suicide.

TEH: Sherlock returns from the ‘dead’ and carries on crime solving but has problems with John. John is now engaged, which is also new.

In HLV, on the other hand, most of the believable things are repetitive; John beats someone up (ASiB, TRF, TEH), someone gets shot (ASiP, TBB, ASiB, THoB), Sherlock and John visit a high and/or fancy building (TBB, ASiB, THoB, TEH), they celebrate Christmas (ASiB), Mrs Hudson’s past is discussed (ASiP, TSoT), 221B is searched for drugs (ASiP, ASiB), John seems jealous of a woman whom he thinks Sherlock is attracted to (ASiB), Sherlock and Mycroft smoke cigarettes together (ASiB), we see their parents (TEH), there’s a memory stick thrown away without anyone checking it out (TGG) and there are helicopters about (ASiB, TEH, TSoT).

The only completely new scenes in HLV either seem unbelievable or have to do with Sherlock openly using drugs; suddenly he is high in a drug den, his blood is analysed for drugs, he gets an IV drug drip and he drugs his whole family at Christmas. Among the unbelievable stuff: Sherlock is shot in the chest by John’s wife but miraculously survives. John’s wife turns out to be a ninja assassin (which is also repetitive, only with a new twist; assassins appeared in TBB, TGG and TRF and in TBB they climbed high buildings). Sherlock blows someone’s head off and becomes a murderer. And don’t get me started again about the absurdity of John forgiving someone who tried to kill Sherlock. But none of the most unbelievable and horrifying of these events are canon consistent; ACD’s Mary Morstan never shoots anyone, Holmes is never shot, Holmes never kills anyone and Watson never ‘forgives’ anyone who has attacked Holmes. Sherlock’s drug use is canon, though, so I don’t think it’s too farfetched to believe that much of this is simply crack fantasies.

The repetitive scenes then continue in TAB and throughout the whole of S4, while the lack of realism escalates all the way up to TFP. I made a whole list of repeated scenes here (and there are even more in the additions to that meta).

Prediction #2: If Sherlock is running scenarios, there will be indications that this is his typical method of solving puzzles

The word ‘scenario’ is very similar to the word ‘scene’, isn’t it? And we know both from canon and the show that Sherlock Holmes likes a touch of Drama and loves to disguise himself in the most peculiar ways. In one of the parts of TAB that we know for sure is taking place within Sherlock’s Mind Palace, a very obvious stage is shown as part of his method of figuring out what happened with the Abominable Bride:

I certainly don’t intend to take any credits for the scenario idea since other people presented it already long ago. Like, for example, @loudest-subtext-in-tv (LSiT), who pointed it out directly after S4 aired. Or @raggedyblue, whose meta about The Mind Theatre, where it’s all beautifully laid-out, is brilliant in its straightforward reasoning. And, of course, the whole EMP theory developed by @gosherlocked, @the-7-percent-solution and @monikakrasnorada, is a great foundation for the idea that what we see in S4 are indeed concoctions made up inside Sherlock’s mind. Already in 2016, before S4, @gosherlocked pointed out a series of inconsistencies as evidence that HLV is at least partly taking place inside Sherlock’s EMP. In their comment to this post, I think @tetragon4 said something interesting about how to interpret HLV and TAB as being EMP:

“Now, this is not about what I, or for that matter, what the fandom prefers. The question is: Do HLV and TAB support the theory? This is a difficult one to answer. Sure, there are inconsistencies like the camera/lighting, Mycroft’s cravat, or Mary’s pose. One swallow, though, does not make a summer. As such, what EMP theory needs is an in-depth analysis of the two episodes. Until then, it is too early to speculate based on unrelated inconsistencies. It is necessary to prove the existence of common inconsistencies running through the scenes after the supposed entrance into EMP”.

And I agree; it doesn’t really matter how we, the audience, feel about the idea of much of this show happening inside Sherlock’s head – the important thing is where the evidence takes us. So, @tetragon4’s suggestion is partly similar to what I’ll try to do with the next prediction: search HLV, piece by piece, for inconsistencies telling us that what we see might actually be Sherlock’s brain running a series of simulations or theoretical ‘what if’ scenarios.

As @raggedyblue demonstrates in their meta linked above, it’s repeatedly shown in ACD Canon that Holmes’ method of investigation is based on imagination. When Holmes explains his methods to Watson, he often mentions the importance of putting himself in the other person’s place to explore how they must have reasoned. For example in this quote from The Sign of Four: “I then put myself in the place of Small and looked at it as a man of his capacity would. He would probably consider that to send back the launch or to keep it at a wharf would make pursuit easy if the police did happen to get on his track. How, then, could he conceal the launch and yet have her at hand when wanted? I wondered what I should do myself if I were in his shoes. I could only think of one way of doing it”. In TSoT Sherlock very clearly puts himself in James Sholto’s place, to try to convince him to not commit suicide:

Holmes also frequently uses himself as an actor while solving crime cases, usually to fool the suspects. For example, Watson tells us in A Scandal in Bohemia (SCAN), at a point in the story where Holmes disguised himself as a clergyman before appearing at Irene Adler’s home (which is also exactly what he does in ASiB): “It was not merely that Holmes changed his costume. His expression, his manner, his very soul seemed to vary with every fresh part that he assumed. The stage lost a fine actor, even as science lost an acute reasoner, when he became a specialist in crime”.

So yes; as demonstrated above, I think we can safely say that putting up scenarios in his head, as well as using ‘actors’ – including himself - are definitely important methods in Sherlock Holmes’ puzzle-solving.

Prediction #3: If Hypothesis #5 is true, we might find an initial ‘question’, some ‘inspiration’ and a ‘result’ for each scenario Sherlock is running.

As I’ve said before, I imagine that Sherlock’s extraordinary brain keeps working even when his body is unconscious, fighting for survival and trying to solve problems. I think he’s running a series of “what if” simulations, and they’re all about John Watson. I also think there are enough repetitive moments and enough movie references in this show to give ample material to Sherlock’s Mind Theatre, where he can stage very elaborate, dramatic scenarios, complete with actors, detailed premises and props.

To test Prediction #3 I’ll try to run through most of the scenes from HLV, in order to check if the statement above might be valid. For each of the scenarios, I’ll try to detect possible initial questions, which Sherlock might want to explore with the simulation in his Mind Theatre. I’ll also suggest possible elements from movies and/or Sherlock’s own memories that might have inspired the scenarios. Finally I’ll try to explain which results I think we can see in the show from each of Sherlock’s mind experiments. But I’ll also take the opportunity to discuss evidence that indicate it’s indeed just a mental scenario or - in some cases - speculate on possible alternative explanations.

HLV, Scenario 1: What will happen when John gets bored of his ordinary life with ‘Mary’? Inspiration: I think Sherlock’s memory of John beating him up after his return from the dead in TEH, his memory of John punching him in the face by Sherlock’s own request and provocation in ASiB, and John hitting the Chief Inspector when the Police arrested Sherlock in TRF; all this is making him think of John as potentially violent. Also, Sherlock deduced already in ASiP that John is attracted to danger.

[running, running the simulation, staged with ‘actors’ that either represent John or Sherlock or the challenges they are up to…]

Result: After some time of ordinary, married life, John can’t stand it anymore; he does something dangerous (because he’s an adrenaline junkie) and ends up hurting someone else doing it: he violently disarms Billy Wiggins and sprains his arm. Then he leaves Billy lying with his sprained arm and goes on to look for his neighbour’s drug addict son.

Discussion: But would John Watson really break into a drug den and single-handedly beat up the junkie who was guarding it, basically because he was bored? And how likely is it that he would then tell him “I’m a doctor, I know how to sprain people”? We’ve never seen John refer to his medical profession that horrible way, have we? (But we did hear him tell Sherlock in ASiB that he was a soldier and killed people). And would it be likely that the ‘gate-keeper’ (surrounded by hearts-and green tiles from 221B; is the eye there to make us pay attention?), who didn’t hesitate to draw knife on the intruder, would just lie there without even trying to run after him and at least warn the people in there?

I suspect that a slightly exaggerated characterization of John starts here and later escalates, because drugs and Sentiment bias Sherlock’s mind. Sherlock’s capability of “correctly anticipating responses of people I know well” might begin to get altered already here.

HLV, Scenario 2: What will happen if John finds out that Sherlock has taken drugs? Inspiration: Already in ASiP John hears from the police that Sherlock is a drug user, and Sherlock doesn’t deny it. And in ASiB John conspires with Mycroft and Mrs Hudson to search 221B for any secret drug deposit of Sherlock’s. So both these events should be stored in Sherlock’s memory.

[Not so much running needed…]

Result: John gets furious with Sherlock and takes him to hospital; not for caretaking but simply for drug tests. He berates Sherlock for not having told him about his drug problems. Molly slaps him for ‘betraying his friends’ by throwing away his talent on drugs.

And John then joins forces with Mycroft and phones him immediately to have 221B searched for drugs. Discussion: This behaviour is not very ‘doctory’ or even humane of either John or Molly, though, is it? Sherlock is a close friend of theirs, whom both of them love, and he has just spent the night high in a drug den. But neither of them even tries to examine him, even though Molly obviously gets a positive result from the urine test. Instead, the whole scene is full of critique and punishment. And his brother Mycroft, who ‘constantly worries’ about Sherlock, now lets strangers into Sherlock’s flat to search it, and all he does is express contempt for Sherlock’s life style. I think this shows the influence of Sherlock’s self-loathing in the simulation – a pattern that will be repeated all the way through TAB and S4. Guilt. Sentiment. Drugs.

HLV, Scenario 3: What will happen if John finds out that Sherlock has a relationship with someone else (a woman, to boot)? Inspiration: Sherlock didn’t actually know Janine, but he might have noticed that John interrupted his dancing practice with her already at the wedding. And since she seemed a bit interested in Sherlock she would be the nearest candidate for this little test, where Sherlock could invent a good alibi for being with her: a crime case. But most of all, I think this experiment stems from Sherlock’s broken heart and jealous emotions; he subconsciously wants to get back at John for leaving him and marrying a woman.

[running, running the simulation…]

Result: John gets jealous and angry with Sherlock, but he tries to keep his face straight (pun intended); he won’t confess anything to Sherlock.

Discussion: Here I believe Sherlock is indeed on to something, but he doesn’t see it clearly and consciously because of his bias. Bad characterization of Janine, also, who didn’t before seem stupid enough to wait in the bed of a supposed boyfriend who is away the whole night without telling why and doesn’t want to sleep with her anyway. Drugs. Sentiment. Underestimating women’s brain capacity (one of Sherlock’s biggest flaws I’d say; possibly originating in his contempt (=fear) of Sentiment).

Scenario 4: What will happen if Sherlock Holmes openly invites Media (CAM) to an interview? Inspiration: We already saw how the press treated Sherlock and John in TRF (for more analysis about this, see my meta about media’s role in BBC Sherlock and the additions to it) so Sherlock does have experience to fall back on here.

[running, running…]

Result: Media (CAM) own them now; they intimidate both Sherlock and John and try to find their pressure points.

They disarm John, ‘piss in Sherlock’s fireplace’ (violate his integrity), show contempt for their life-style and insinuate things about Sherlock’s traumatic past (Redbeard). And Sherlock can do basically nothing to defend himself.

Discussion: CAM’s supposed mental filing of information, and his use of a Mind Palace, seems suspiciously similar to Sherlock’s own methods of storing observations and deducing people based on it. (Look at the font, by the way; it’s written in Courier, just like a manuscript for a news article or a play or a film...). And I think Sherlock’s behaviour in this scene is weird, to say the least; why would he accept CAM’s armed thugs body searching him and John in his own house? Why would he let them intimidate Mrs Hudson (especially considering what he did to the CIA guy in ASiB)? And why would a brain like Sherlock’s immediately swallow CAM’s rather obvious bait with the letters? The depiction of John is a little strange too: how can he walk around, sit down, etc. seemingly without discomfort, when he has a big tyre lever stuck down his trousers? ;) Seeing this as a scenario in Sherlock’s head makes far more sense to me - probably influenced by drugs and (sexual) Sentiment.

Scenario 5: What will happen if John finds out Sherlock is capable of pretending a relationship with someone just for a case? Inspiration: This is Sherlock’s MO after all, even in ACD canon; he loves to play roles for a case. And he does tend to underestimate women. But maybe it’s just a bit exaggerated here? ;)

[very short model running this time…]

Result: John thinks (for the umpteenth time) that Sherlock is a psychopath, but he does not see the likeness with his own marriage based on lies; not even when Sherlock hints about it.

Discussion: Again, bad characterization of Janine, who I think wouldn’t be stupid enough to let Sherlock into CAM tower knowing fully well that CAM is present. Drugs. Underestimating women.

Scenario 6: What will happen if Sherlock ‘takes one more step’? Inspiration: There’s a plethora of action movies and games with ninja assassins and spies, and the black-clad ninjas often climb buildings and walls on their missions. So ‘Mary’s gear and behaviour at CAM tower wouldn’t be particularly hard for Sherlock to dream up; especially since there has been a lot of assassins in this show already to use as inspiration.

But I also believe there might be a particular movie inspiring Sherlock for the whole Shooting Drama scenario with ‘Mary’: “Selena” from 1997. This film, starring Jennifer Lopez, is entirely based on a real life story about the famous Tejano singer Selena, who was murdered by her (supposed) friend Yolanda Saldívar. As I explained in this addition to a post from @elldotsee, the name “Yolanda” is repeated 4 times in the scene in TEH where Sherlock meets ‘Mary’ for the first time. Yolanda shot Selena in the shoulder, and she died of blood loss on her way to the hospital. According to Wikipedia (my bolding), "The defense attorney argued the shooting was accidental, but the prosecution pointed out that Saldívar, a trained nurse, did not call 911 or try to help Selena after she was shot."

So let’s compare this movie with the events in HLV. I don’t think the actual shooting is included in the film, but this is Selena being taken to hospital:

And here is Sherlock being taken to hospital:

The stretcher is pretty similar, which could of course be a coincidence. But look at Selena (as played by J.Lo, who by the way received a Golden Globe nomination for this film):

Aren’t these images a little bit too similar for a mere coincidence? And since Sherlock is exceptionally into crime cases, I think it’s not unlikely that he might have found interest in this movie based on a famous IRL crime case…

[scenario running time is very short at first, but then the simulation goes on and on and on…]

Result: When Sherlock takes the step, ‘Mary’ (= heteronormativity) – who is now suddenly a full-feathered ninja assassin - literally tries to kill Sherlock, which might feel just the same to him in the suicidal state I believe he is in at this point (X). But then he realizes that John will ‘cry buckets and buckets’, and that John’s life will definitely be in danger. So he struggles to stay alive.

Discussion: I think this whole debacle is basically about Sherlock’s heart-break after ‘Marry Watson’, interpreted as a shot to the heart. While the real reason for his critical state might be an overdose of drugs, his mind translates this to a shooting Drama. This doesn’t necessarily mean that ‘Mary’ is a nice person, but I do believe the ninja bit is exaggerated. To ‘take one more step’ might in this case have meant a possible step towards a same-sex relationship with John. But Sherlock doesn’t consciously recognize this possibility, so in this scenario it’s depicted as if he takes one more step towards disarming ‘Mary’ (which would metaphorically be almost the same thing, if ’Mary’ stands for the hetero norm). In my sub-textual reading, this is also about heteronormativity (=’Mary’) firming its grip on Media (=CAM). But Sherlock isn’t ready to realize this just yet, so he blames Love (=Lady Smallwood) due to his fear of emotions. In a textual reading, however, this could also mean that Sherlock has deduced that Media has some sh*t on ‘Mary’ which might indirectly threaten John. In either case, he still tries to stop ‘Mary’ from killing CAM.

On the surface, Sherlock probably believes that ‘John is in danger’ is connected to the risk of ‘Mary’ getting desperate and trying to kill John too. But his subconscious might indeed realize that John would be suicidal too if he lost Sherlock again. And now we’re even ‘officially’ inside Sherlock’s mind palace, so we know - most of the time at least - that the characters that now show up (Jim alive and kept in a padded cell, Molly slapping Sherlock to make him focus, Mycroft giving advice etc.) aren’t actually ‘real’.

Scenario 7: What will happen if Sherlock ‘tells John’ [the truth]?

Inspiration: Sherlock and John have a long history of not telling each other important stuff, especially Sherlock. So this threat from ‘Mary’, when Sherlock is hospitalized, might be well-founded in his own fear of talking about issues involving strong emotions.

We’re not told exactly what Sherlock can’t tell John, but I assume she means ‘the Truth’. In this scenario Sherlock depicts it as ‘Mary’ not wanting her husband to know about her shady assassin past.

[running, running, looong running, involving Sherlock not only telling, but showing John the truth about ‘Mary’…]

Result: As anyone might have predicted, John gets devastated; he's out of his mind with repressed anger.

But the scenario continues in 221B, where John directs his fury not only at ‘Mary’, but - strangely - also at Sherlock, the reason for which is left unclear. Is it for not telling John this before? Is it a ‘shoot-the-messenger’ sort of rant? In any case, John’s focus seems to be that it now turns out he’s saddled with two psychopaths instead of just the one (Sherlock). In his anger, John starts yelling at Sherlock and even threatening him, while Sherlock – on the brink of another heart collapse - keeps making excuses for ‘Mary’, claiming that she actually saved his life (!) by not going for a head shot, and he claims (with a lame piece of evidence that wouldn’t hold water in any decent court room) that ‘Mary’ actually called the ambulance for him.

Discussion: But why is the focus of John’s reaction on ‘Mary’s’ lying rather than her shooting and almost killing Sherlock? Why isn’t his friend’s life the most important thing here? I think this characterization of John in Sherlock’s scenario is horribly biased and entirely absurd; Dr. Watson would NEVER treat his beloved friend this way - wasting time ranting on ‘Mary’ for lying, while Sherlock was dying from a re-opened shot wound. Especially judging by John’s reaction when he thought Sherlock was dead in TRF.

The real explanation for this whole ‘don’t-tell-John’ business might rather be quite mundane, but highly dramatized in Sherlock’s Mind Theatre. I believe that telling John ‘the Truth’ might mean, in Sherlock’s subconscious, telling him how he really feels about him. The thought of which is still horrifying to Sherlock. But since Sherlock isn’t in touch with his own feelings yet, this is what his drug-addled brain comes up with instead. Heteronormative bias. Drugs. Sentiment.

I could also think of another possible incriminating fact appearing in Sherlock’s subconscious: What happens if Sherlock tells John about his earlier deduction that John’s wife is pregnant with someone else’s child? This seems to fit with ‘Mary’s excuse for shooting Sherlock instead of accepting his help on the ‘case’ with CAM’s blackmail: “Because John can’t ever know that I lied to him. It would break him and I would lose him forever”.

I’ll try to explore this idea in a future meta about ‘Mary’s lies. But it could also be that ‘Mary’ is a stand-in for Sherlock in this scene; if murder is a metaphor for falling in love, Sherlock might believe that he would lose John forever if he told John the truth about his real feelings for him.

Scenario 8: What will happen with John’s marriage, now that he knows about ‘Mary’s secret? Inspiration: This scenario is so absurd that I strongly suspect it’s not based upon Sherlock’s real memories of John (which would be irrelevant anyway, since they have never before experienced a situation like this). It could of course be based upon lots of romantic, stereotype movies where two lovers reconcile in a tearful embrace.

But it could also be reflecting some childhood event (perhaps at Christmas) in Sherlock’s own family, where his parents agree to gloss over their problems, whatever they might have been, instead of dealing with them. One possibility is suggested in the final part of @sagestreet’s entirely brilliant Follow-the-dogs meta series: that ‘Redbeard’ is basically about Sherlock’s Dad having had a love affair with a man while at the same time being homophobic about it, which has created a trauma in Sherlock. And this also has an important bearing on ACD on a meta level. (I absolutely love this theory! @sagestreet calls it ‘speculation’, but I think he’s rather ‘connecting the sub-textual dots’ hinted at in the whole series to deduce Sherlock’s possible childhood trauma).

[running, running, loong running, involving a distorted time line interlaced with the previous scenario and Sherlock acting as an odd sort of matchmaker, trying to find excuses for ‘Mary’ and doing something very uncharacteristic: inviting John and ‘Mary’ to celebrate Christmas with his own family…]

Result: John doesn’t talk to ‘Mary’ for a long time, but after Sherlock’s persuasion he decides to grudgingly ‘forgive’ her and keeps living together with her, cowed under her dominance and not even knowing her real name. But John’s sense of ‘family duty’ kicks in here, and makes him stay with ‘Mary’ and father the kid. A ‘nice’ and ‘Christmassy’ solution based on lies and, as John says about Sherlock’s parents: “A fine example of married life”.

Discussion: I’ve always wondered what’s so ‘fine’ about Sherlock’s parents’ relationship, though; that Mummy Holmes keeps criticizing her husband in front of others and tells him he’s not even allowed to be humming to himself? That Daddy Holmes made her give up her entire mathematical career ‘for children’? Is this Sherlock’s past family Christmas trauma playing in here? In any case I think it’s a completely awful characterization, that John Watson would ever forgive someone who tried to kill Sherlock and be willing to start a family with them – especially if this person doesn’t show even a shred of remorse over the whole thing. And what does the idea that Sherlock would be willing to drug down his whole family represent? The frustration of a child exposed to his parents’ constant bickering? I don’t know, but drugs and Sentiment - devastating Sentiment – are most likely playing in here.

Scenario 9: What will happen if Media - CAM - start prying into ‘Mary’ Watson’s doings? Inspiration: On the surface, this is about ‘Mary’s secret past; a truly fantastical story about the crimes of a façade-climbing ninja assassin, which CAM threatens to reveal. A veritable ‘Bond adventure’ it would be; a dramatic action movie. But is there perhaps some ‘mundane’ and therefor more likely topic that Media usually loves to speculate about (because it makes lots of money)? Yes I think there is: ‘scandals’; particularly those involving celebrities and their love life. And Sherlock must be painfully aware of this since what happened in TRF:

Imagine what a field day the press would have, for example, speculating about ‘Mary’ cheating on earlier ‘confirmed bachelor’ but now ‘happily married’ John Watson! Imagine what they would make of him not actually being the father of her child, and what this could mean regarding his association with the famous Sherlock Holmes? It would be TRF all over again - but worse this time; the ‘beard’, the ‘façade’ would fall. For the record: I think the main reason why Sherlock stayed away from John for two years was because in TRF media had started speculating about John’s and Sherlock’s relationship and thereby John’s sexual orientation, which John seemed to take very badly. So this scenario could be far more based on Sherlock’s memories of TRF than anything else.

[running, running, looong running of the model this time…]

Result: Media - CAM in Sherlock’s scenarios - now have a leverage on them all; ‘Mary’s secret revealed publicly (whether ‘assassin’ or ‘cheater’) would harm John, which would harm Sherlock, which would harm Mycroft (by association) and might ultimately harm the whole country. Yes - Sherlock is a real drama queen! ;) So the only solution he sees is to kill CAM immediately. In fact, he’d do anything to stop this exposure of John in media.

Discussion: In TSoT, I think Sherlock’s subconscious makes three devastating deductions regarding John (subconscious because in two of these cases he emphasizes that this was one more deduction than he was expecting, and in the other one he drops his glass from the impact of the realization):

1) That a ‘recently divorced doctor’ has ‘erectile dysfunction’. But this might actually be about John, if Sherlock’s subconscious picked up that John might have a bit of a bedroom problem with his newly wed wife.

2) That John is a Mayfly Man; he has been dating a string of lovers to cover up something else. This, together with 1., could make Sherlock suspect that even John’s whole marriage is a cover-up, a façade; these two guys aren’t really into each other, but the marriage protects John from being ‘outed’. 3) That ‘Mary’ is pregnant, which seems to be complete news to John. But if he - a doctor - has no idea he’s going to father a child, one possible explanation of this might be that the baby is actually not John’s. Which would further support deduction 1) and 2) above.

So maybe CAM’s leverage was actually what Sherlock was thinking about in Leinster Gardens? What if ‘Mary’s words here are representing Sherlock’s own fear of what would happen if John’s relationship is exposed in media?

(Also on a meta level I think this might be important: the threat of media exposure of a gay couple in Victorian times has affected the whole characterization of Sherlock Holmes for over a century). Sherlock thinks his contact with John and his career is over (as in TRF), so he can just as well start killing people (from media, preferably ;) ). And here we have some more awful characterization - this time of Sherlock himself; suddenly he has become a murderer – a bit improper for a famous detective supposed to solve crimes, not committing them, don’t you think? And, on the whole, he acts like an idiot, making blunders that cause him to lose his cases etc. It’s the Sentiment bias again - lots and lots of it, complete with – perhaps life-long - anger, self-loathing and frustration. Poor Sherlock.

Scenario 10: What will happen with Sherlock after he flips out and kills Magnussen? Inspiration: Casablanca, a truly iconic movie from WWII. End scene where Ilsa (Ingrid Bergman) and Rick (Humphrey Bogart) bid each other a tearful farewell at the Moroccan airport, from where Ilsa is fleeing the country with her spouse. It’s a ‘forbidden’ romance, and there are no outspoken confessions or declarations between them, no kiss; they hide their true feelings, even though they are very clearly understood. Ilsa will travel to security, Rick will stay in danger, serving his country, and Ilsa will not know if he’s dead or alive. Romantic overload.

Result: After a brief ‘solitary confinement’ in prison (a week, we learn in TAB - suspiciously close to the time I believe John and ‘Mary’ were on honeymoon after the wedding), Mycroft sends him in a private jet to a certain death in Eastern Europe, serving his country. Sherlock takes farewell of John at the tarmac and leaves him in ‘Mary’s hands. He’s about to tell John something important (like a love declaration), but changes his mind and jokes the whole thing away. They shake hands and Sherlock flies off, crying, probably thinking he’s seen John for the last time. But since the issue of Moriarty isn’t resolved yet, Sherlock Holmes is called back…

Discussion: This is so obviously a rip-off from Casablanca’s ending, and such a sentimental and overly-dramatic ending of S3 that if I didn’t believe Sherlock was in a drug-induced comatose state, I’d hold him (or Moffat) responsible for succumbing his modeling to ‘the fly in the ointment’. :))

Awful characterization of Mycroft though; why would Sherlock’s over-protective brother have him killed rather than imprisoned? But, most importantly: What are Sherlock’s results after HLV?

In summary, I think Sherlock’s most important conclusions after this episode are a bit depressing: 1. That John’s relationship with ‘Mary’ isn’t a very happy one, but 2. that Sherlock can’t take any ‘steps’ towards John and he can’t ‘tell’ him anything; the façade must still be kept up at any cost because 3. Media is a serious threat against them and ‘outing’ John would break him and Sherlock would lose him forever.

These scenarios I’ve suggested for HLV to test Prediction #3 may seem a bit farfetched and speculative, and the evidence may not be particularly strong for some of them, while I think they could work for others. But at least all of them make more sense to me character-wise than the presented, face-value reading. Please consider the absurdity of the alternative we’re actually given in HLV:

That the wife of one of the protagonists is actually a façade-climbing ninja assassin who tries to kill the main character and gets away with it, without showing a shred of remorse.

That Doctor John Watson would yell threats at his beloved best friend when he’s collapsing from a re-opened shot wound, instead of trying to help him.

That John Watson would forgive someone – whose name he doesn’t even know - who shot and almost killed his best friend, and then go on to raise a child with them.

That Sherlock would let a drug-addict drug down his whole family, including a pregnant woman, at their Christmas dinner.

That the main character – the famous detective Sherlock Holmes – would become a murderer who ‘solves’ a tricky case by blowing the un-armed blackmailer’s brains out with a gun.

That his over-protective brother Mycroft would send him to a certain death in Eastern Europe rather than put him behind bars.

I intend to go on exploring this ‘scenario-running’ for the four remaining episodes, including TAB. But this meta is already ridiculously long, so instead I’ll have to use my following two installments to do this:

Hypothesis # 6: In the show’s ‘reality’, Sherlock is slowly dying, which also has implications on a meta level, and

Hypothesis # 7: By TFP Sherlock has managed to figure out some essential things about John and the importance of staying alive, and he has managed to get in touch with his own repressed emotions.

Because if Sherlock is going to find out how to save John Watson, I believe he still has a lot of things to figure out; in HLV he isn’t ready yet. ;)

Tagging some people who might be interested:

@raggedyblue @ebaeschnbliah @sarahthecoat @gosherlocked @fellshish @sagestreet @tendergingergirl @loveismyrevolution @sherlockshadow @darlingtonsubstitution @tjlcisthenewsexy @devoursjohnlock @kateis-cakeis @csi-baker-street-babes @sectoralheterochromiairidum @mrskolesouniverse @murphysmom67 @elldotsee

#HLV is Sherlock running scenarios in his MP

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transhumanitynet · 6 years

Text

Obstacles to Mind Uploading

Sing The Body Electric

“Mind Uploading” is the idea that the pattern of information which constitutes your perceptual awareness, memories, personality, and all other cognitive functions can be abstracted from the brain it developed in, and “run” on a different computational substrate. In other words; that the stuff which makes you, you could in principle escape the inherent limitations of human biology… such as inevitable short-term mortality. If it is plausible, that is a profoundly powerful and transformative idea.

Of course, the uploading idea has a myriad of opponents. The vast majority are ill-informed people whose opposition relies more on instinct and straw-clutching than good arguments well supported by evidence. To be fair, the same could be said of the uploading idea’s many dilettante fans who simply like the notion without having seriously researched its plausibility. The paragraphs below offer a whirlwind tour of objections to uploading, and the degree to which they should be taken seriously.

Where to Begin? You Are Already A Machine

Human argumentation is rarely half as rational as we like to imagine it is. For a start, our estimates and judgments of whether an argument is correct are heavily dependent on context. More specifically, we are overly influenced by what are known as “frames” or “anchors”; i.e. by the initial point of reference we use to start thinking about… anything. For example, a million dollars sounds like a lot to a homeless person, and like considerably less to Bill Gates.

This is highly relevant to arguments about uploading, because people tend to begin those arguments from different starting points, depending on whether they like the idea or not. Opponents of uploading tend to start out with an implicit assumption that humans and machines are very different things, and never the twain shall meet (for one reason or another). Uploading advocates, however, will frequently argue that the human organism is already a machine of sorts, thus acting as a kind of living testimony to the possibility of intelligent, conscious machines.

The core issue tends to be a fundamental misunderstanding (albeit one that is often deliberate) over the question of what it is to be a machine. Opponents invariably define machines in terms of those artificial devices which already exist or have existed, whereas advocates focus on the underlying principles of known organisms and artifacts. In case you hadn’t guessed; I am an uploading advocate, and I believe that we are – in the deepest sense – already machines, and always have been.

Computational Power, S-Curves, & Technological Singularities

Of course, that still leaves a considerable (some would say intractable, even impossible) gulf between our current technical ability on the one hand, and the ability to intelligently alter, replicate, and improve upon our own biological machinery on the other. For a cogent, exhaustive argument for the ability of accelerating technological development to deliver on these promises, I would suggest reading “The Singularity Is Near” by Ray Kurzweil.

The basic premise of that book is that technological innovations make more innovation easier to produce, which in turns leads to the (already well observed) acceleration of change. Accelerating change leads to an exponential (rather than linear) pattern, by which we might reasonably expect to see twenty thousand years of technological innovation at the c.2000 CE rate by the end of the 21st Century. That is definitely enough innovation to bridge the kind of technical gap we’re talking about. Of course, opponents like to deny that accelerating change even exists, but their claims are increasingly hard to take seriously if you pay attention to the latest developments coming out of cutting-edge labs.

Minds, Bodies, and… Intestines?

Broadly speaking, on the technical level (i.e. leaving aside arguments that we can upload minds, but shouldn’t), there are two types of opponent argument. One is that the mind cannot be reduced to information and thus modelled. The most common version of that argument comes from religion, involves “souls” (whatever they are), and is addressed further below. The second is that the mind can be modelled in terms of information, but we are modelling the wrong information.

I would not want to dismiss that second argument too quickly. To be frank, more often than not it is perfectly on the money. It’s just that I believe we are moving closer and closer to modelling (and understanding) the right information all the time. Let’s be clear, here: The oft-heard refrain that “the mind and consciousness are complete mysteries, we have no idea how they work” are ridiculous, infantile catchphrases used only by people who are wilfully ignorant of the last twenty years of developments in cognitive neuroscience and related scientific disciplines.

AI research is littered with ridiculously simplistic assumptions from people who’ve had little or nothing to do with cognitive science or any related discipline, working on their own narrow-domain problems and then somehow assuming that their models capture the intricacies of, well… everything. The first “AI Winter” and the challenge of developing competent AI chess players was perhaps the most notable early wake-up call in that department. To cut a long story short, the moral of that story is that AI researchers have a habit of making lots of huge, terrible assumptions.

These days, it’s much harder to find a serious researcher who thinks you can abstract away most neurological processing without “throwing the baby out with the bathwater”. These days, complexity is increasingly respected and explored, which means not only not dismissing it, but also not holding it up as some magical ‘deus ex machina’ from which consciousness will emerge if we can only hook enough artificial neurons up to each other…

Anyway, such issues lead to some interesting grey areas, which are often (in my opinion) misused for the purposes of argument. For example, certain biologists have made a lot out of observed connections between the human gut microbiome and “enteric nervous system” on the one hand and cognition as a whole on the other. The research literature essentially says that human intestinal health affects our mood and other personality aspects. On the one hand, that is an entirely reasonable observation, of course. It is hardly surprising that our moods and cognitive abilities are highly sensitive to the state of the body they are instantiated in!

It is quite another thing, however, to suggest (as opponents sometimes do) that this intestinal “second brain” (so-called by popular science writers) is intrinsic to intelligence or conscious awareness, or any harder to model than any other part of the extended nervous system. You could argue up this garden path for a long time, but the basic reality can be illuminated with a simple Reductio Ad Absurdum: Do you really believe that if you could fully capture everything happening in a person’s brain but not their (personal, specific) intestines, then something fundamentally definitive about that person would be missing? If you do, then I would hazard that you have some rather, ahem, fringe notions about what information is actually processed by the enteric nervous system.

Leaping the Gap from Data to Software

Another intriguing, and yet ultimately spurious objection to uploading is to say that you can collect all the neurological data you want, but without some kind of “animating force” in the form of properly configured software then it would be for nothing. On a certain level this argument can carry some weight, but again it’s easy to take that too far.

The value of this opposition argument is inevitably correlated with the degree to which uploaders are committed to a degree of abstraction of human neural activity. Basically, we know that humans are intelligent and consciously aware. With a technology that modelled the human nervous system down to each individual atom, there is no need for software that has any “magic sauce” beyond faithfully replicating the physics of atomic interaction. Of course that would require a staggering amount of computational power to achieve if it is even possible (the jury seems to be out on that, depending upon the computational assumptions you make), so the natural temptation is to take shortcut. Just model entire molecules, neurons, neuron-clusters, brain regions… and so on. The more abstraction you rely upon, the more you have to rely upon software to bridge the gap.

That is an entirely fair point. It is not, however, any kind of argument that uploading is impossible. To the contrary, it is an argument for the establishment of the circumstantial boundaries within which uploading is possible, given sufficient available computational power.

A Final Note on Souls and Other Fictions

If you believe that you could perfectly capture every conceivable physical aspect of a person down to the atomic level, putting aside all of the technological achievement required to do such an incredible thing, and still believe that something important is being missed out, then it seems fairly safe to say that you believe in souls.

Not in some metaphorical, poetic sense, but in proper old-fashioned, literal “soul stuff” which somehow acts like a physical substance but obeys none of the laws of physics, and which people only imagine exists because they read about it in a work of fiction (and/or refuse to believe that they could be made of the same stuff as literally everything else in the observable universe).

If that is your position, then I’m afraid I only have two words for you: Grow Up.