#and speculating on development stuff

[blackberry-sage-tea]

I see a lot of people discussing the Veilguard art book and lost potential in the finished game, but most of the time it's about the Joplin cut of the game and the dropped ideas from it. I didn't think that was necessarily fair, because while a lot of Veilguard's plot has remnants of the Joplin cut, it involved a lot of spitballing from years and years before the game's release.

The concept art in the Veilguard section of the book is closer to what the game was intended as a finished product, and there's a lot of interesting tidbits to take out of it as well. I'd like to highlight some things.

(please forgive the crappy quality of the pictures I've included here but if you want to see the art properly you should really buy the book because it's gorgeous)

(tagging this as "veilguard critical" because my primary interest is exploring ways in which the finished game falls short of its extremely cool concept art)

Armors

Almost all of the armors in the game are a direct one-to-one translation of armors designed in the concept art, but with a few key differences that result in them looking significantly more garish in practice (sometimes it's the brighter/more saturated colors, but mostly I think it's character models that have very different proportions than a lot of these were clearly designed around). I've included a couple--I think if you compare them you'll see what I mean.

Another thing worth mentioning is that a lot of these come with special helmets or masks that "complete" the look--in the case of the Veil Jumper heavy armor I've included below, it's kind of nonsensical without one because it's clearly meant to resemble some sort of bulky diving suit (I don't think it was conceived as a combat armor at all). The game doesn't (iirc) include the helmets with the armors or tell you which one matches which.

I think this is down to technical/time constraints. I don't know pretty much anything about the modeling for the game and how the character creator shaped its character design principles, so I won't say anything more than that, only that the concept art and the finished game seem to have differing ideas of how character silhouettes should look.

Also of note is that the design notes of the mercenary armor set describe it as "an easy disguise for Rook to use to blend in when traveling in northern Thedas". These are the armors used in Blood of Arlathan--and yes, the concept art features hoods, helmets, and masks to cover the face.

Environments

Most of the environments that show up in the game can be found as direct translations of concept art from this book (albeit brightened and more saturated in-game), but there are a lot of dropped concepts.

Rivain was supposed to have an extremely diverse culture with even some ethnicities players wouldn't even recognize as being from Thedas, and a note that the growing Qunari community in the country alarmed "both Tevinter and the Qunari Triumvirate" (fascinating idea, too bad no Rivaini city made it into the game). There are some city ideas in early concept art but most of it is coastlines.

Minrathous has TONS of concept art for parts of the city we are never able to go to, such as an undercity, high town, the dwarven embassy, the Colosseum, mansions, etc etc.

There's concept art for the Black City in the Fade, making me wonder if we were going to go there at some point in development.

There's concept art for an Antaam dreadnought, so we were probably going to go on one at some point.

Arlathan had a lot of planned environments for more ancient ruins, areas of the forest that were being warped by magic, more ominous trees, etc. Another instance where something was supposed to be a lot bigger than what we got. Some of the art that looks like it was almost fully modeled are some "altered gravity" environments like the sort we saw in Trespasser.

The Anderfels was originally going to be mostly the red, cold, cliff-ridden desert that it's been described as in previous games. Instead, Hossberg is a swamp (I see no concept art for it in the book?). I think we were also supposed to see way more active Warden architecture, like outposts and stockades.

Something that I don't think is ever brought up (and is obfuscated by the terminology the game uses) is that the Lighthouse is a stolen eluvian hub, and the buildings are all separate buildings that got caught in the magical radius when Solas stole it. The light at the top is meant to scare away dangerous things from the Fade. Solas apparently is supposed to have deliberately offered this place to you as sanctuary? I don't think any of these things show up in the game, though Rook mentions a non-existent conversation with Solas talking about the Lighthouse.

There's a bit where it shows Neve's room in the concept art and it's so disappointing to compare that to the finished game. She almost had a proper noir detective office, dark and with "single lightbulb" style lighting. In game it's a very warm, bright, cutesy little space. It's not the only place that does this, it just highlights my biggest issue with the game's approach to its environments. Many of the locations are the same but the atmosphere is significantly weakened by its lighting choices.

Enemies

I mostly want to use this space to talk about dropped enemy/creature types, since that was something I felt the game was lacking and made the worldbuilding feel much smaller than Inquisition.

The art book has a dropped concept they called the Scoundrels, which was a set of enemies using reused assets that would serve as recurring mini-bosses, it seems. I've provided an example of some of them, which involve pallet swapping and mix-and-matching existing art assets to prove the concept. You would have choices on how to deal with them once defeated (like kill/spare), like the Inquisition judgment scenes.

They experimented with different types of dragons, including one designed around a bear animation rig instead of your typical high dragon.

Rivain was going to have a whole host of sea monster enemy types to encounter, including a "mermaid", a giant lobster monster, and a "land shark"

The Necropolis looks like it could have had way more enemy types than what we got, with suggestions of more "mad science" Frankenstein-esque enemies, giant skeletons, etc, as things the Mourn Watch typically fights or has to calm down.

Arlathan was going to have more types of plant enemies, including Sylvans and Veil Jumpers who were "incorporated" into the forest Annihilation style.

Factions

The game's factions in the art book each come with little blurbs that outline the intention behind their conceptual designs (most of which were put in the game, as I talked about earlier with the armors). I found these interesting mostly because of the parts that don't seem to match the finished product of Veilguard.

The Antivan Crows were designed around being showy, wealthy, carnivale/acrobat assassins, essentially. There was meant to be a wide range of Crow "types" at play, with some more ominous and threatening and others more stylish ("the elegant to the scoundrels"). One thing I want to quote directly comes at the end of the blurb: "They may not be nice, and it is totally reasonable for a player to be opposed to working with assassins, but this specific group is not intended to be uniformly grim". While the idea that they're a beloved part of Antivan culture seems planned from the start, this concept is still a far cry from the uncritical support you and your allies are forced to express in-game, and the "family friendly mafia" feel that pervades most interactions with them.

The Shadow Dragons were designed around being underdog vigilante criminals against an impossibly powerful political machine. The book explicitly cites both "Batman the Animated Series"'s Gotham as well as "The Shadow" (the latter for the Viper specifically) as inspiration (despite this, the game has only 1 nighttime scene in Tevinter and that's at the opening), which would imply that they were meant to be seen as anti-heroes. The bit at the end of this blurb is also revealing: "To redeem the Tevinter they love, they might have to make deals with demons both literal and metaphorical". This, too, suggests there was supposed to be a conflict of having to take extreme and underhanded measures to achieve their noble ends. They don't do anything objectionable in game so the remnants of this idea in Neve's storyline just looks like oversensitive hand-wringing.

The Lords of Fortune are essentially the fun-loving adventure faction. The blurb suggests a group with less scruples than what we got in game (emphasizing the money incentive when recovering or preserving artifacts, for example), but on the whole the big issue with this one is that it seems like most of their content didn't make it in. Their armors are so gaudy because they like to wear the treasure they find, and they're often so scantily clad because they're proud of their bodies and like to show them off (which would have been clearer with more Fortune NPCs to interact with).

The Mourn Watch feels like the most accurately realized faction in this game, because aside from some tonal differences (which, again, feel very much like color and art style problems) they are pretty much exactly what the concept blurb describes. Masters of necromancy who guard against threats from beyond the Veil and within the necropolis, who specialize in anatomy and all things spooky.

The Veil Jumpers, I think, were supposed to have a heavier emphasis on the danger of exploring Arlathan forest. The blurb feels almost like something written for a recruitment poster--Are you a brave enough dude to join an expedition to reach the forbidden city??? Reaching Arlathan sounds like it would have been a harrowing ordeal (no one has even set eyes on it), Veil Jumpers would have had homes in campsites, aravels, and tree-houses, and the reasoning behind inviting non-Dalish into the faction (which is suggested to be a very recent development) would have been justified by the sheer danger present in every waking moment of being in the enormous, shifting, transformative Arlathan forest. Also, in the really early designs, some of them were shapeshifters.

The Grey Wardens are...well, they've already been designed in previous games so there isn't actually a lot to add here. Probably the biggest thing talked about in the notes that I'm disappointed by is that there was, originally, an intention to make the Northern wardens more distinct from the ones we already knew. There would be a lot of warden types where some were dark and hardened from what they'd experienced, where others were more the classic knight in shining armor. Some would have remnants of the cultures they came from (like an Orlesian warden in a fancy outfit wearing a mask, or a warden that looks kind of like a cowboy), others would fit the mold of a standard warden more strongly.

As a side note I want to say that I see a lot of concept art of the factions "in action"--it's clear they were thinking about ways in which they handled missions and engaged with the world. I am reasonably sure that the faction system as a whole was part of the multiplayer design philosophy that got dragged into the final singleplayer game--you're just supposed to pick a faction and can play missions for them with your friends. The story is bare-bones but it doesn't have to be elaborate because it's the gameplay experience that brings you back, not the story or characters. They just need to be cool enough to draw your attention.

The reason I bring this up is because in-game your main experience with these canonically awesome, badass faction members is them standing around doing nothing while you go out and do most of the hard work for them. Having a bunch of factions of adventurers shaping the world around them makes sense for a game where you are playing with others--not so much when you're in a single-player game that doesn't allow for extra NPCs to tag along.

I think it would also explain why some factions have less content than others--all of them were created under a different design philosophy than the one they were finished under (where the story relevant ones were prioritized over the ones that weren't).

Others

Other tidbits I wasn't sure where they fit in:

The notes on Venatori magisters indicates a "daytime" and "nighttime" appearance set. This, coupled with another note on the Rivaini coasts that mentions the environment changing with the tide, implies there may have been some kind of day and night mechanic in the works that got scrapped (similar to DA2).

Notes on Antaam and Venatori enemies suggests there were more support classes (ex, an Antaam war drummer).

There are several creature or outfit designs (such as the Crow head helmet) that are said to have been made as "Halloween" outfits--this seems to me like a remnant of when this was planned to be a live-service game, perhaps as part of holiday armor packs.

Assan's back legs were conceived as actually being part dog rather than part lion.

Emmrich becoming a lich looks like it might have been more explicitly motivated by his fear of dying (choosing to become undead for immortality) rather than his fear being the barrier between him and lichdom as the game has it (he frames it in-game as being more of some kind of protective duty).

Anyway, I think most people who have paid attention to the development of the game are aware of the idea that DA4 started as a single player game, got scrapped and remade as a live service multiplayer, and then that got scrapped and remade into the single player game that we have today. Now, I can't claim to be particularly knowledgeable on the subject, but the impression I am getting by reading the art book is that massive amounts of Veilguard's game design is still based around being a live service multiplayer.

I think the concept art of this game and its factions is so grandiose and dramatic compared to what we got because they would have originally had the time and funding to make those levels while people are paying for and playing the base game. The factions have very few developed NPCs and bare-bones storylines because the intention was originally for you and your friends and other players to be what the factions consisted of. The gameplay is an action RPG because tactical RPGs don't work well when you're playing something live with other people. The environmental design is mostly linear "dungeon" style levels with very few open hub levels because anything that leads to you wandering around ignoring your friends for story is not good for the multiplayer. You get no faction interactions because each one was its own self-contained part of the game players could pick from. Etc etc.

I think the process of making Veilguard was taking the story from Joplin (which has a chapter of the artbook that extensively details its story but suggests very little if any assets were made for the game) and the assets from Morrison (a game that has no chapter of its own in the book and no indication of what, if any, story it would have had) and stapling them together even though the two of them were not at all designed with the other in mind. They spent their development time making what they had as finished and unbuggy as possible, and then had to give up on the rest because they didn't have enough time.

I know this was kind of already obvious to anyone paying attention (I've certainly seen some people talk about it before) but I didn't feel like I really understood it before reading the art book. At the same time--Veilguard looks like it had a lot of cool concepts? Even assuming a lot of these are from Morrison, like, these factions could have all felt like they worked? They could have kept that grey morality feel (in fact it sounds like they planned to), the themes of comradery while fighting against what seem like insurmountable odds, the sense of adventure and danger. The art style includes ideas both wondrous and frightening, and it could have added a lot of richness to the setting if nothing else.

I felt this way reading the Inquisition artbook too but the foundations of the series still feel pretty sound, you can see a lot of love and work and creativity went into the designs for this.

I just don't feel like the finished game matched what I see here.

Would love to see the 80 pound version of this book, Matt Rhodes.

[welcome-to-cell-hell]

WORLDBUILDING NOTES: RED BLOOD CELL DENUCLEATION

So a while back I made a big post talking about how in this AU, the nucleus (specifically, the DNA in it) is like a cell’s brain, as well as how that works. I wrote that whole thing and RBCs did not cross my mind ONCE. Well now that it has traversed by cranium, here’s what I got.

IRL, red blood cells lose their nuclei and all of their organelles when they leave the bone marrow. If this were to happen in the AU tho, that means all the working RBCs would be eternally wobbling around like squishy drones. Never thinking, never feeling, never speaking.. just doing their jobs exactly as programmed until they die. And that isn’t what I had in mind.

So instead, the RBCs don’t literally lose their nuclei, but they do lose its function. On denucleation day, part of the graduation ceremony involves the cell taking a shot of a special enzyme complex. This includes RNAse and a bunch of fictional (i.e. “undiscovered by humans”) enzymes called deoxystaticases. Together, they break down any and all proteins related to the transcription and replication of DNA, rendering the chromosomes static, as the name implies. This way, they can still serve their functions as the cell’s “brain,” but can’t do anything biologically significant anymore. The complex is a herbal green color, and tastes REALLY bad- meme videos of graduating RBCs overreacting to the putrid taste pop up on the internet every now and then.

As for the organelles, they DO literally lose those. In the past, a toxin was added to the enzyme complex that made the cell violently exocytosize them, but that method is now considered cruel and unnecessary. Nowadays, a simple (and much safer) surgery removes them. And yes, they still only eat ice cream after this. If you ever go on a date with one, expect a lengthy Häagen Dazs trip.. and maybe bring your own food.

[wuntrum]

yknow, maybe i need to become the gnc butch in tech that i wanna see (date) in the world

[comradecowplant]

*** weewoo weewoo, Severance rant incoming, avoid or gather 'round depending on your preference, weewoo weewoo***

oofda Severance went from what's gotta be the best episode in the series-- visually, emotionally, character drive, general plot development, etc.-- to probably the weakest. Dgmw, I absolutely adore Patricia Arquette's performance as this sad off-putting woman and was eager for a Cobel check-in, but back-to-back bottleneck episodes leading up the finale was a TERRIBLE pacing choice, just completely missing the mark in a season that has already been plagued with pacing issues-- I'm lookin' at you, beloved by many but meh to me bc I have never been a melly shipper & thought it was a frustrating cut-away from the previous episode's dramatic final moment, Woe's Hollow-- & did not really provide much new information/plot momentum to make up for it-- yeah yeah Cobel lifelong Kier cultist, child labor & mommy issues, groomed & exploited scientific prowess, Lumon ruining anachronistic ether-huffing towns economically & spiritually; didn't really dig deeper or meaningfully build on anything we already know of in a away that needed to be a full break-away episode for, imo. Coulda & shoulda been the b-plot to a Milchick's continued spirit breaking/background to Ms. Huang (which would have very much thematically tied together to each!) -focused episode. And considering how short the episode is compared to the rest, I kind of suspect it might have began production that way but it was changed for some reason further along, but that's purely vibes based speculation.

These pacing issues paired with the knowledge that there are only nine episodes a season in this silly era of television, I am increasingly nervous about the finale, particularly considering ms dipshit mama bear super sibling withOUT a background in neuroscience who thinks she knows better than the scientist who was already digging around inside his noggin Devon followed through and reached Cobel 🤦‍♂️ like, clearly there are cracks in Cobel's Kier worship/Lumon militancy-- I think she has an ego that 1) cannot forgive how tossed away she was, especially with the newest detail of her being the overlooked inventor of the severance technology, & 2) despite the indoctrination, she has enough self-preservation to bridge the cognitive dissonance that rationalizes Lumon's abuses now that it's HER that might get locked away in the mind wipe torture basement-- but you're watching a different show in a different universe if you think we've gotten any evidence to strongly indicate that she is actually trustworthy. As the inventor of the chip she could be the perfect person to help Mark with the final reintegration steps... or, as I suspect will be more along the lines of what will happen, she could activate any of the other "modes" that have so far been only eluded to/cause further brain damage/betray mark & ragbhari to leverage herself into a better position with lumon/whatever will benefit her in her quest for... well, besides survival & credit for her invention, I really can't say for sure what her motivations currently are, but legitimate compassion & concern for Mark/the innies certainly are not among them.

Idk, just overall I think this season has put its hands in too many plot pies, especially now that the other outies have been given more character development time, a choice I've liked overall but that has not been 😏 integrated 😏 well with the rest of the story, largely because (forgive my repeating myself) of the pacing/9 episode limit-- we've gotten the central Mark reintegration plot, then we have melly romance b-plot, dylan emotional affair with his own wife c-plot, outie irv + his relationship to the testing floor & whatever the fuck is going on with burt/his husband d & e-plot, milchick being racially micro-aggressed f-plot, ms huang & the spectre of child labor g-plot, nasty lady helena eagan & her sinister side swept blunt bang h-plot, whatever cobel's deal is i-plot, the general overarching What Evil Mysterious Schemes is Lumon Up To j to whatever plot, and finally, the most pressing plot point to me that has been frustratingly shelved until episode 7, What's Happening to Gemma plot. I don't expect nor want wrapped packages with bows, but satisfying narratives involve give and take, and I simply don't have much confidence in the real estate provided by the 49 remaining minutes of the season that we'll get much of anywhere (except mad over what bad things are likely about to happen to Gemma, that is one thing I have begrudging confidence in 😔)

[electric-rabbits]

Hey guys sorry to buddiepost on main but do you remember Buck, Actually? Do you remember that the gay couple had an album with pictures of their adventures through the decades, and it got scattered at the accident? Remember how Buck picked up the photos and it was a visual representation of the "You don't find it, son, you make it" line?

I know that some people are theorizing that Tim Minear was teasing some sort of accident with Eddie while he tries to leave for El Paso (you never know what sort of tree will fall in your way and all), and while i dont really think that's happening, do you know what would be a perfect way for Buck to have his feelings realization?

Eddie crashes. His car is full of moving boxes and shit, and it all gets scattered. Buck hears about it, gets to the site absolutely desperate, and the first thing he sees is that one of the boxes tumbled out of the window and its contents are all over the highway.

It was a box full of family pictures. And Buck is in all of them.

[supernovasilence]

Speculating Wildly About Liliandil's Parentage

In the VDT movie, Liliandil is a star and comes down from the sky. However, in the books, Liliandil is described as the daughter of Ramandu, a star, and that "the blood of the stars flowed in her veins", but she's never called a star herself. In fact, when she first appears (walking very normally out of a door), she's described as carrying a candle for light; when Ramandu comes out, he's not carrying a candle, because he's glowing himself. All this implies Lili isn't a star, only the daughter of one. Which raises the question: who is Liliandil's mother? Some random theories:

Liliandil's mother is one of the Sea People

Liliandil's mother is a sailor or shipwrecked traveler who found her way to Ramandu's island and fell in love

Liliandil's mother is another star. Lili was born in the skies but chose to accompany her father down to earth when he retired

Liliandil's mother is another star, and assumes human form to visit her husband in the world below sometimes. Lili was conceived and born during one of these visits, and because of this the form most natural to her is human, not whatever a star's normal form is. She has to live with her father until she's older and more skilled at transforming

We shouldn't make assumptions about Ramandu's gender or star biology. Maybe he was pregnant when he retired and didn't realize until he'd already come down to land

Stars don't need a partner to reproduce. Ramandu is Liliandil's only parent

Ramandu is Lili's father in that he gave her life and raised her and loves her but she wasn't "born" per se. He created her magically somehow

Coriakin is Liliandil's mom

[chronurgy]

Rumor has it that Mark Darrah said that bioware had a nasty time transitioning over to work from home and got basically nothing done over that period (he left the studio in December 2020). So unless things shaped up really quickly after he left, veilguard (which was converted back to single player from live service in February 2021) may have spent a lot of time that first year spinning its wheels and not getting a lot of work done. That would honestly explain a lot

[system-architect]

the gw3 concept hasnt even been greenlit yet calm your horses

[orcelito]

Had a moment of listening to music I liked back when I was a teenager (& still like) and having a whole. Realization . That I like myself as I am now sooooo much better than I like teenage me. And I started thinking about Why.

There's a lot to it I'm pretty sure, & most of it centers around the fact that I just... didn't really know who I was as a person. I didn't really have hobbies outside of what I did in school (aka orchestra) and like. Video games + anime. I did creative writing in middle school, but dropped off in high school for... some reason? I still made original characters and played around with them a lot, but it was mostly just in drawing and thinking about them. I never actually *wrote*, and I in fact didn't get back into creative writing at all until I was 23 years old. I was someone who had spent so long hiding behind others and just doing what I was told that I just... didn't have any real direction. I didn't know what I even *wanted*. I thought I knew, but in hindsight, I can confidently say that I didn't. I was just an insecure teen drifting through life and not thinking about things beyond what was immediately in front of me. Which is pretty standard for teenagers I guess, but not all of them. Not at all.

Compared to now, where I have Many hobbies, most notably being writing. As I am now, I am just Intrinsically a writer. And it's weird to remember that I wasn't even really *writing* before 5 years ago (besides text rps, which did a lot for developing my writing skill! But still aren't a replacement for writing individually). As a teen, I wasnt into dnd, I was incredibly out of shape, & I was a lot less aggressive and focused. I was the type to avoid sports!!! I hated them!!!! But as I am now, I Love biking and can easily bike for an hour+ no problem (I remember being a teen and trying to go on just 10 minute bike rides in the summer and just *dying* from it), & I love working out. I wanna be strong!!! I LOVE being strong!!! And I was an absolute mess with things like public speaking & working in groups, vs now where I can do an impromptu presentation no problem & I'm often the unofficial leader in group projects bc im typically the one who does the organizing and allotments of work. A side effect of working as a supervisor and then assistant manager for so long. I have a lot more confidence in my perceptions and judgements, & I have the self-assurance to assert these things. And this is only really the tip of the iceberg with all the differences.

I just feel like an entirely different person, almost. The cores are the same, or at least damn near similar, with the things I want out of life & the sorts of things I enjoy, but it's like. The difference between finding a random rock off the side of the road & then that rock when it's been sanded and carved and decorated to be something individual and unique. You look at them side by side and it's something dull vs something shiny and intricate. The origins can't be ignored and dismissed, & I certainly would never resent younger me for just doing the best with what I knew at the time. But it's just astounding how much difference time and experience will have for growing and developing as a person. Things I consider integral to my personhood weren't even thoughts in my mind back then. We are almost entirely different people.

[elitadream]

Fun fact, before being a Plumber. In the original game, Donkey Kong. Jump man/Mario was a carpenter. So the headcanon about Mario being a carpenter isn’t far off

Yep!^^ I was very surprised when I first discovered that! Made me wonder what a carpentry-based game would have looked like as opposed to one with plumbing aesthetic. 👀 I can only assume that the franchise would have looked drastically different if Mario's field of expertise had remained the same, and I like trying to picture how the levels and maps would have been built and displayed in that version. :D

[thetruearchmagos]

🕯Trick or Treat?🕯

(The event)

Hello hello! Being in a beneficent mood, I think I'll provide a worldbuilding-flavoured treat this morning;

In the United Commonwealth, the 'Press' / journalistic media landscape in general is, and has been since the UC's creation, dominated by 'The Observer', a private non-profit print news publication that has been in constant independent operation for longer than the Commonwealth has existed. Funded by a public trust, The Observer provides extensive and detailed reporting on events and incidents across the 12 Worlds, published weekly and on every topic under the sun, from legal cases to political developments. Its publications are widely available and read across the Commonwealth in numerous languages, and are said to be on par with internal government sources in the extent of their use by the government itself to stay informed.

Of course, numerous print and broadcast journalist entities exist beyond The Observer itself, in a delicate media ecosystem that has developed over the years. Hundreds of such firms exist, tailoring to every interest and scope, from the local level to the inter-Worldly, and they can be found in every corner of the UC. A large portion of journalists work on a freelance basis, tending out the rights to stories to interested publications as and when they appear, with few long term attachments to a single employer. The Observer itself employs and effectively trains a large number of these independent journalists before they pass into the wider system, in addition to leasing out its own stories for publication by other companies.

On the whole, the press and media landscape in the United Commonwealth is the freest in the 12 Worlds, with minimal government oversight and a plethora of independent press organisations, cooperating, competing, and cross-checking with each other.

Tagging @theprissythumbelina @caxycreations @hessdalen-globe @avrablake @dark-bear-productions @theoddcryptid

[waywardsalt]

oh yeah i’ve got a bunch of loz aus that i haven’t really talked about. a few of them are listed and slightly explained in this poll and explanation reblog but i haven’t gone out of my way to actually list the aus i have and really explain them. so that’s what this post is for. here are some... decently simple explanations of my major aus and what they're generally about

i have two kinds of aus: original aus (loz aus that are set in their own kinds of worlds with their own stories and twists on character roles) and then crossover aus (we all know how this works i just mash loz and a thing i like together)

original aus: (many currently dont have actual titles, so the titles will often just be concept shorthand)

in the court of the crimson king/crimson king au: probably the most developed and closest to being written out. it's got one of the longer premises; set in a industrial-esque hyrule city, following linebeck as the main character, as the adoptive older brother of link and aryll, living with them and their grandmother as the only one able to reliably make money to pay for rent and food, leaving every other week to do jobs, but he moonlights as the 'demon of the gray moon', a masked persona he'd created as a child that had long since become a city-wide urban legend, anonymously taking unsavory jobs from whomever can contact him and offer pay, often working directly for bellum, a childhood friend, the one who enabled and trained him to become the demon, and one of five anonymous leaders of the city. linebeck effectively lives a double life, and tries to stay out of too much trouble to avoid drawing attention to himself or making his adoptive family worry, but he gets dragged into more and more danger as bellum becomes curious about the identities of the city's other leaders, and linebeck falls in love with a man named ganondorf, suspected to be one of those other city leaders. ive got a few posts related to it already: this one being another vague concept descriptor, this one being an actual scene i have written out.

'gimmick' au: i cannot explain the gimmick without spoiling the au. put simply, in this au, hyrule as a whole has been at war for ten years, every race and kingdom taking sides in a conflict that seems to be going nowhere. link joined the hylian army young, and has made his way up the ranks to become trusted by queen zelda herself, and things in the war take an interesting turn as he and zelda discover a new faction, unaligned with any particular kingdom and with unknown motives, and zelda decides to set out to the different parts of hyrule, link and a chosen group of trusted allies in tow, intending to try negotiation one more time before things take a turn for the worse.

sci-fi/space au: the fun one that probably would need to be done in a visual medium. it takes place in a solar system of a few planets, link growing up on the planet hyrule and occasionally traveling to the others as a knight specializing in investigating and taking down dangerous bounty hunters, working for zelda as a friend. he and zelda uncover a plot by the yiga clan to accumulate a number of highly dangerous research and weapons held by each species as they aim to resurrect a demon to wreck havoc on the solar system- the b plot being about the top bounty hunters in the solar system screwing around, eventually colliding with link and zelda's a plot as it begins to involve them.

murder mystery(?) au: one of the older ones, maybe one of the oldest that i still stick with. this might actually be one of the first ones i tried writing. the plot begins when zelda returns to hyrule city years after her father- the former mayor- was murdered, finding that he has been replaced by ganondorf and that while things seem fine enough on the surface, random and organized crime run the show, and she begins a private detective agency as 'sheik', a masked young man, and with the help of impa, and old friend and confidant, she moonlights as sheik and uses her daytime identity as zelda to help chip away at some of the city's biggest problems and finds herself drawn into a long string of murders that appear to be anything but random violence.

ruined hyrule 1: i have two au’s with the premise of hyrule being ruined. neither of them have more specific names yet. this one begins with the majority of greater hyrule's population having long since locked themselves in hyrule castle town in order to escape the increasingly dangerous wildlife. zelda, a young girl at the beginning, becomes curious about what lies beyond the city walls, and makes friends with many other children within this sheltered hyrule, and as they grow up together, aim to eventually venture out into the wilderness to see what may have caused the outside world to become so incredibly hostile.

ruined hyrule 2: the other ruined hyrule. set in a devastated hyrule, roughly ten years after the royal family was killed, link failing to save them or hyrule in the time since. he now resolves to set out and indiscriminately destroy every demon that plagues the ruined hyrule, meeting and bringing along various allies, each of which has been uniquely affected by and have different lived in this altered, dangerous shell of hyrule.

modern (school): i also have two modern aus. this one isn’t plot driven, just a concept i have, would work best as little vignettes or something. essentially just the idea of a group of loz characters hanging out together in a modern high school (or college?) setting.

modern: this is the one with an actual plot. follows the general idea of zelda characters living in a modern world only for the typical legends to begin resurfacing and heralding dark events. plot specifics are murky, but that's the general idea.

dark mage: this is the au that where the seas meet the sands takes place in. basically just ganondorf x linebeck shenanigans in this alternate hyrule while actual plot sneaks up on them. named 'dark mage' mostly because the initial idea behind this au was that linebeck would learn magic.

horror au: doesn't have the best name, and it's ended up just being a personal sandbox for me. constantly changing, with the cast and setting often altering if i find that something isn't working or sticking. it's an au i've considered (and even briefly tried) writing in the past, but it's still too fluid, and writing horror effectively is difficult. it's a fun au, though.

mecha au: spawned because i watched neon genesis evangelion. a lot of this au's basic concepts can be found here: x but the short version is that hyrule is being besiged by massive monsters, but each race has created their own mechs to combat them. link is just a farmer who happens to have a strange knack for being a mech user, so is brought in by zelda as a gamble to bolster their chances, and he is tasked with working with a new and less-than-trustworthy crew to help fight those monsters.

'amnesia link' au: an au that sprang up in about a day and hasn't gotten too far since. basic premise being that three years prior to the story, link and a group of allies has faced off against ganondorf and, despite their best efforts, lost, with link being presumed dead by their enemies. now, link has woken up from his coma, his memories gone and hyrule taken over, and, with guidance, must once again travel across hyrule, aiming to rediscover his allies and try to face ganondorf once more.

A quick list of crossovers: I won't explain these in length, since they can range from having their own plot to just being a fun mental concept. So, the things I have made crossover aus with are:

Warrior Cats

Batman

Jojo's Bizarre Adventure

Persona 5

Pokemon

(there are other, smaller ones, these are just the ones i consistently pay attention to)

So! These are the majority of my legend of zelda aus, some of which I may write, some of which just exist in my mind for fun, all of which I wouldn't mind talking more about if anyone is curious!

[renthony]

Nimona: a Story of Trans Rights, Queer Solidarity, and the Battle Against Censorship

by Ren Basel renbasel.com

The 2023 film Nimona, released on Netflix after a tumultuous development, is a triumph of queer art. While the basic plot follows a mischievous shapeshifter befriending a knight framed for murder, at its heart Nimona is a tale of queer survival in the face of bigotry and censorship. Though the word “transgender” is never spoken, the film is a deeply political narrative of trans empowerment.

The film is based on a comic of the same name, created by Eisner-winning artist N.D. Stevenson. (1) Originally a webcomic, Nimona stars the disgraced ex-knight Ballister Blackheart and his titular sidekick, teaming up to topple an oppressive regime known as the Institution. The webcomic was compiled into a graphic novel published by Harper Collins on May 12, 2015. (2)

On June 11, 2015, the Hollywood Reporter broke the news Fox Animation had acquired rights to the story. (3) A film adaptation would be directed by Patrick Osborne, written by Marc Haimes, and produced by Adam Stone. Two years later, on February 9, 2017, Osborne confirmed the film was being produced with the Fox-owned studio Blue Sky Animation, and on June 30 of that same year, he claimed the film would be released Valentine’s Day 2020. (4)

Then the Walt Disney Company made a huge mess.

On December 14, 2017, Disney announced the acquisition of Twenty-First Century Fox, Inc. (5) Industry publications began speculating the same day about Blue Sky’s fate, though nothing would be confirmed until after the deal’s completion on March 19, 2019. (6) At first it seemed the studio would continue producing films under Disney’s governance, similar to Disney-owned Pixar Animation. (7)

The fate of the studio—and Nimona’s film adaptation—remained in purgatory for two years. During that time, Patrick Osborne left over reported creative differences, and directorial duties were taken over by Nick Bruno and Troy Quane. (8) Bruno and Quane continued production on the film despite Blue Sky’s uncertain future.

The killing blow came on February 9, 2021. Disney shut down Blue Sky and canceled Nimona, the result of economic hardship caused by COVID-19. (9) Nimona was seventy-five percent completed at the time, set to star Chloë Grace Moretz and Riz Ahmed. (10)

While COVID-19 caused undeniable financial upheaval for the working class, wealthy Americans fared better. (11) Disney itself scraped together enough to pay CEO Bob Iger twenty-one million dollars in 2020 alone. (12) Additionally, demand for animation spiked during the pandemic’s early waves, and Nimona could have been the perfect solution to the studio’s supposed financial woes. (13) Why waste the opportunity to profit from Blue Sky’s hard work?

It didn’t take long for the answer to surface. Speaking anonymously to the press, Blue Sky workers revealed the awful truth: Disney may have killed Nimona for being too queer. The titular character was gender-nonconforming, the leading men were supposed to kiss, and Disney didn’t like it. (14) While Disney may claim COVID-19 as the cause, it is noteworthy that Disney representatives saw footage of two men declaring their love, and not long after, the studio responsible was dead. (15) Further damning evidence came in February of 2024, when the Hollywood Reporter published an article quoting co-director Nick Bruno, who named names: Disney’s chief creative officer at the time, Alan Horn, was adamantly opposed to the film’s “gay stuff.” (16)

Disney didn’t think queer art was worthy of their brand, and it isn’t the first time. “Not fitting the Disney brand” was the justification for canceling Dana Terrace’s 2020 animated series The Owl House, which featured multiple queer characters. (17) Though Terrace was reluctant to assume queerphobia caused the cancellation, Disney’s anti-queer bias has been cited as a hurdle by multiple showrunners, including Terrace herself. (18) The company’s resistance to queer art is a documented phenomenon.

While Nimona’s film cancellation could never take N.D. Stevenson’s comic from the world, it was a sting to lose such a powerful queer narrative on the silver screen. American film has a long history of censoring queerness. The Motion Picture Production Code (commonly called the Hays Code) censored queer stories for decades, including them under the umbrella of “sex perversion.” (19) Though the Code was eventually repealed, systemic bigotry turns even modern queer representation milestones into battles. In 2018, when Rebecca Sugar, creator of the Cartoon Network series Steven Universe, succeeded in portraying the first-ever same-sex marriage proposal in American children’s animation, the network canceled the show in retaliation. (20)

When queer art has to fight so hard just to exist, each loss is a bitter heartbreak. N.D. Stevenson himself expressed sorrow that the world would never see what Nimona’s crew worked so hard to achieve. (21)

Nimona, however, is hard to kill.

While fans mourned, progress continued behind the scenes. Instead of disappearing into the void as a tax write-off, the film was quietly scooped up by Megan Ellison of Annapurna Pictures. (22) Ellison received a call days before Disney’s death blow to Blue Sky, and after looking over storyboard reels, she decided to champion the film. With Ellison’s support, former Blue Sky heads Robert Baird and Andrew Millstein did their damnedest to find Nimona a home. (23)

Good news arrived on April 11, 2022, when N.D. Stevenson made a formal announcement on Twitter (now X): Nimona was gloriously alive, and would release on Netflix in 2023. (24) Netflix confirmed the news in its own press release, where it also provided details about the film’s updated cast and crew, including Eugene Lee Yang as Ambrosius Goldenloin alongside Riz Ahmed’s Ballister Boldheart (changed from the name Blackheart in the comic) and Chloë Grace Moretz as Nimona. (25) The film was no longer in purgatory, and grief over its death became anticipation for its release.

Nimona made her film debut in France, premiering at the Annecy International Animation Film Festival on June 14, 2023 to positive reviews. (26) Netflix released the film to streaming on June 30, finally completing the story’s arduous journey from page to screen. (27)

When the film begins, the audience is introduced to the world through a series of illustrated scrolls, evoking the storybook intros of Disney princess films such as 1959’s Sleeping Beauty. The storybook framing device has been used to parody Disney in the past, perhaps most famously in the 2001 Dreamworks film Shrek. Just as Shrek contains parodies of the Disney brand created by a Disney alumnus, so, too, does Nimona riff on the studio that snubbed it. (28)

Nimona’s storybook intro tells the story of Gloreth, a noble warrior woman clad in gold and white, who defended her people from a terrible monster. After slaying the beast, Gloreth established an order of knights called the Institute (changed from the Institution in the comic) to wall off the city and protect her people.

Right away, the film introduces a Christian dichotomy of good versus evil. Gloreth is presented as a Christlike figure, with the Institute’s knights standing in as her saints. (29) Her name is invoked like the Christian god, with characters uttering phrases such as “oh my Gloreth” and “Gloreth guide you.” The film’s design borrows heavily from Medieval Christian art and architecture, bolstering the metaphor.

Nimona takes place a thousand years after Gloreth’s victory. Following the opening narration, the audience is dropped into a setting combining Medieval aesthetics with futuristic science fiction, creating a sensory delight of neon splashed across knights in shining armor. It’s in this swords-and-cyborgs city that a new knight is set to join the illustrious ranks of Gloreth’s Institute, now under the control of a woman known only as the Director (voiced by Frances Conroy). That new knight is our protagonist, Ballister Boldheart.

The film changes several things from the original. The comic stars Lord Ballister Blackheart, notorious former knight, long after his fall from grace. He has battled the Institution for years, making a name for himself as a supervillain. The film introduces a younger Ballister Boldheart who is still loyal to the Institute, who believes in his dream of becoming a knight and overcomes great odds to prove himself worthy. In the comic, Blackheart’s greatest rival is Sir Ambrosius Goldenloin, with whom he has a messy past. The film shows more of that past, when Goldenloin and Boldheart were young lovers eager to become knights by each other’s side.

There is another notable change: in the comic, Goldenloin is white, and Blackheart is light-skinned. In the film, both characters are men of color—specifically, Boldheart is of Pakistani descent, and Goldenloin is of Korean descent, matching the ethnicity of their respective voice actors. This change adds new themes of institutional racism, colorism, and the “model minority” stereotype. (30)

The lighter-skinned Goldenloin is, as his name suggests, the Institute’s golden boy. He descends from the noble lineage of Gloreth herself, and his face is emblazoned on posters and news screens across the city. He is referred to as “the most anticipated knight of a generation.” In contrast, the darker-skinned Boldheart experiences prejudice and hazing due to his lower-class background. His social status is openly discussed in the news. He is called a “street kid” and “controversial,” despite being the top student in his class. The newscasters make sure everyone knows he was only given the chance to prove himself in the Institute because the queen, a Black woman with established social influence, gave him her personal patronage. Despite this patronage, when the news interviews citizens on the street, public opinion is firmly against Boldheart.

To preserve the comic’s commentary on white privilege, some of Goldenloin’s traits were written into a new, white character created for the film, Sir Thoddeus Sureblade (voiced by Beck Bennett). Sureblade’s vitriol against both Boldheart and Goldenloin allowed Goldenloin to become a more sympathetic character, trapped in the system just as much as Boldheart. (31) This is emphasized at other points in the film when the audience sees Sureblade interact with Goldenloin without Boldheart present, berating the only person of color left in the absence of the darker-skinned man.

The day Boldheart is to be knighted, everything goes wrong. As Queen Valerin (voiced by Lorraine Toussaint) performs the much-anticipated knighting ceremony, a device embedded in Boldheart’s sword explodes, killing her instantly. Though Boldheart is not to blame, he is dubbed an assassin instead of a knight. In an instant, he becomes the most wanted man in the kingdom, and Queen Valerin’s hopes for progress and social equality seem dead with her. Boldheart is gravely injured in the explosion and forced to flee, unable to clear his name.

Enter Nimona.

The audience meets the titular character in the act of vandalizing a poster of Gloreth, only to get distracted by an urgent broadcast on a nearby screen. As she approaches, a bystander yells that she’s a “freak,” in a manner reminiscent of slurs screamed by passing bigots. Nimona has no time for bigots, spraying this one in the face with paint before tuning in to the news.

“Everyone is scared,” declare the newscasters, because queen-killer Ballister Boldheart is on the run. The media paints him as a monster, a filthy commoner who never deserved the chances he was given, and announce that, “never since Gloreth’s monster has anything been so hated.” This characterization pleases Nimona, and she declares him “perfect” before scampering off to find his hiding place.

It takes the span of a title screen for her to track him down, sequestered in a makeshift junkyard shelter. Just before Nimona bursts into the lair, the audience sees Boldheart’s injuries have resulted in the amputation of his arm, and he is building a homemade prosthetic. This is another way he’s been othered from his peers in an instant, forced to adapt to life-changing circumstances with no support. Where he was so recently an aspiring knight with a partner and a dream, he is now homeless, disabled, and isolated.

A wall in the hideout shows a collection of news clippings, suspects, and sticky notes where Boldheart is trying to solve the murder and clear his name. His own photo looks down from the wall, captioned with a damning headline: “He was never one of us—knights reveal shocking details of killer’s past.” It evokes real-world racial bias in crime reporting, where suspects of color are treated as more violent, unstable, and prone to crime than white suspects. A 2021 report by the Equal Justice Initiative and the Global Strategy Group compiled data on this phenomenon, focusing on the stark disparity between coverage of white and Black suspects. (32)

Nimona is not put off by Boldheart’s sinister media reputation. It’s why she tracked him down in the first place. She’s arrived to present her official application as Boldheart’s villain sidekick and help him take down the Institute. Boldheart brushes her off, insisting he isn’t a villain. He has faith in his innocence and in the system, and leaves Nimona behind to clear his name.

When he is immediately arrested, stripped of his prosthetic, and jailed, Nimona doesn’t abandon him. She springs a prison break, and conveys a piece of bitter wisdom to the fallen knight: “[O]nce everyone sees you as a villain, that’s what you are. They only see you one way, no matter how hard you try.”

Nimona and Boldheart are both outcasts, but they are at different stages of processing the pain. Boldheart is deep in the grief of someone who tried to adhere to the demands of a biased system but finally failed. He is the newly cast-out, who gave his entire life to the system but still couldn’t escape dehumanization. His pain is a fresh, raw wound, where Nimona has old scars. She embodies the deep anger of those who have existed on the margins for years. Where Boldheart wants to prove his innocence so he can be re-accepted into the fold, Nimona’s goal is to tear the entire system apart. She finds instant solidarity with Boldheart based solely on their mutual status as outsiders, but Boldheart resists that solidarity because he still craves the system’s familiar structure.

In the comic, Blackheart’s stance is not one of fresh grief, since, just like Nimona, he has been an outsider for some time. Instead, Blackheart’s position is one of slow reform. He believes the system can be changed and improved, while Nimona urges him to demolish it entirely. In both versions, Ballister thinks the system can be fixed by removing specific corrupt influences, where Nimona believes the government is rotten to its foundations and should be dismantled. Despite their ideological differences, Nimona and Ballister ally to survive the Institute’s hostility.

The allyship is an uneasy truce. During the prison break, Nimona reveals that she’s a shapeshifter, able to change into whatever form she pleases. Boldheart reflexively reaches for his sword, horrified that she isn’t human. She is the exact sort of monster he has been taught to fear by the Institute, and it’s only because he needs her help that he overcomes his reflex and sticks with her.

Nimona’s shapeshifting functions as a transgender allegory. The comic’s author, N.D. Stevenson, is transgender, and Nimona’s story developed alongside his own queer journey. (33) The trans themes from the comic are emphasized in the film, with various pride flags included in backgrounds and showcased in the art book. (34) Directors Bruno and Quane described the film as “a story about acceptance. A movie about being seen for who you truly are and a love letter to all those who’ve ever shared that universal feeling of being misunderstood or like an outsider trying to fit in.” (35)

When Boldheart asks Nimona what she is, she responds with only “Nimona.” When he calls her a girl, she retorts that she’s “a lot of things.” When she transforms into another species, she specifies in that moment that she’s “not a girl, I’m a shark.” Later, when she takes the form of a young boy and Boldheart comments on it, saying “now you’re a boy,” her response is, “I am today.” She defies easy categorization, and she likes it that way.

About her shapeshifting, Nimona says “it feels worse if I don’t do it” and “I shapeshift, then I’m free.” When asked what happens if she doesn’t shapeshift, she responds, “I wouldn’t die-die, I just sure wouldn’t be living.” Every time she discusses her transformations, it carries echoes of transgender experience—and, as it happens, Nimona is not N.D. Stevenson’s only shapeshifting transgender character. During his tenure as showrunner for She-Ra and the Princesses of Power (Netflix/Dreamworks, 2018-2020), Stevenson introduced the character Double Trouble. Double Trouble previously existed at the margins of She-Ra lore, but Stevenson’s version was a nonbinary shapeshifter using they/them pronouns. (36) While Nimona uses she/her pronouns throughout both comic and film, just like Double Trouble her gender presentation is as fluid as her physical form.

Boldheart, like many cisgender people reacting to transgender people, is uncomfortable with Nimona. He declares her way of doing things “too much,” and insists they try to be “inconspicuous” and “discreet.” He worries whether others saw her, and, when she is casually in a nonhuman form, he asks if she can “be normal for a second.” He claims to support her, but says it would be “easier if she was a girl” because “other people aren’t as accepting.” His discomfort evokes fumbled allyship by cisgender people, and Nimona emphasizes the allegory by calling Boldheart out for his “small-minded questions.” While the alliance is uneasy, Boldheart continues working with Nimona to clear his name. They are the only allies each other has, and their individual survival is dependent on them working together.

When the duo gain video proof of Boldheart’s innocence, they learn the bomb that killed Queen Valerin was planted by the Director. Threatened by a Black woman using her influence to elevate a poor, queer man of color, the white Director chose to preserve the status quo through violence.

Nimona is eager to get the video on every screen in the city, but Boldheart wants to deal with the issue internally, out of the public eye. He insists “the Institute isn’t the problem, the Director is.” This belief is what also leads the comic’s Blackheart to reject Nimona’s idea that he should crown himself king. He is focused on reforming the existing power structure, neither removing it entirely nor taking it over himself.

Inside the Institute, the Director has been doing her best to set Goldenloin against his former partner. Despite his internal misgivings and fear of betraying someone he loves, Goldenloin does his best to adhere to his prescribed role. As the Director reminds the knights, they are literally born to defend the kingdom, and it’s their sacred duty to do so—especially Goldenloin, who carries Gloreth’s holy blood. This blood connection is repeated throughout the film, and used by the Director to exploit Goldenloin. He’s the Institute’s token minority, put on a gilded pedestal and treated as a symbol instead of a human being.

Goldenloin is a pretty face for propaganda posters, and those posters can be seen throughout the film. They proclaim Gloreth’s majesty, the power of the knights, and remind civilians that the Institute is necessary to “protect our way of life.” A subway PSA urges citizens, “if you see something, slay something,” in a direct parody of the real-world “if you see something, say something” campaign by the United States Department of Homeland Security. (37)

The film is not subtle in its political messaging. When Boldheart attempts to prove his innocence to Goldenloin and the assembled knights, he reaches towards his pocket for a phone. The Director cries that Boldheart has a weapon, and Sureblade opens fire. Though the shot hits the phone and not Boldheart, it carries echoes of real-world police brutality against people of color. Specifically, the use of a phone evokes cases such as the 2018 murder of Stephon Clark, a young Black man who was shot and killed by California police claiming Clark’s cell phone was a firearm. (38) The film does not toy with vague, depoliticized themes of coexistence and tolerance; it is a direct and pointed allegory for contemporary oppression in the United States of America.

Forced to choose between love for Boldheart and loyalty to the Institute, Goldenloin chooses the Institute. He calls for Boldheart’s arrest, and this is the moment Boldheart finally agrees to fight back and raise hell alongside Nimona. When Goldenloin calls Nimona a monster during the ensuing battle, Boldheart doesn’t hesitate to refute it. He expresses his trust in her, and it’s clear he means it. He’s been betrayed by someone he cared about and thought he could depend on, and this puts him in true solidarity with Nimona for the first time.

During the fight, Nimona stops a car from crashing into a small child. She shapeshifts into a young girl to appear less threatening, but it doesn’t work. The child picks up a sword, pointing it at Nimona until an adult pulls them away to hide. When Nimona sees this hatred imprinted in the heart of a child, it horrifies her.

After fleeing to their hideout, Nimona makes a confession to Boldheart: she has suicidal ideations. So many people have directed so much hatred toward her that sometimes she wants to give in and let them kill her. In the real world, a month after the film’s release, a study from the Williams Institute at the UCLA School of Law compiled data about suicidality in American transgender adults. (39) Researchers found that eighty-one percent have thought about suicide, compared to just thirty-five percent of cisgender adults. Forty-two percent have attempted suicide, compared to eleven percent of cisgender adults. Fifty-six percent have engaged in self-harm, compared to twelve percent of cisgender adults.

When Boldheart offers to flee with her and find somewhere safe together, Nimona declares they shouldn’t have to run. She makes the decision every trans person living in a hostile place must make: do I leave and save myself, or do I stay to fight for my community? The year the film was released, the Trans Legislation Tracker reported a record-breaking amount of anti-trans legislation in the United States, with six hundred and two bills introduced throughout twenty-four states. (40) In February 2024, the National Center for Transgender Equality published data on their 2022 U.S. Transgender Survey, revealing that forty-seven percent of respondents thought about moving to another area due to discrimination, with ten percent actually doing so. (41)

Despite the danger, Nimona and Boldheart work diligently against the Institute. When they gain fresh footage proving the Director’s guilt, they don’t hesitate to upload it online, where it garners rapid attention across social and news media. Newscasters begin asking who the real villain is, anti-Institute sentiment builds, and citizens protest in the streets, demanding answers. The power that social media adds to social justice activism is true in the real world as it is in the film, seen in campaigns such as the viral #MeToo hashtag and the Black Lives Matter movement. (42) In 2020, polls conducted by the Pew Research Center showed eight in ten Americans viewed social media platforms as either very or somewhat effective in raising awareness about political and social topics. In the same survey, seventy-seven percent of respondents believed social media is at least somewhat effective in organizing social movements. (43)

In reaction to the media firestorm, the Director issues a statement. She outs Nimona as a shapeshifter, and claims the evidence against the Institute is a hoax. Believing the Director, Goldenloin contacts Boldheart for a rendezvous, sans Nimona. From Goldenloin’s perspective, Boldheart is a good man who has been deceived by the real villain, Nimona. He tells Boldheart about a scroll the Director found, with evidence that Nimona is Gloreth’s original monster, still alive and terrorizing the city. Goldenloin wants to bring Boldheart back into the knighthood and resume their relationship, and though that’s what Boldheart wanted before, his solidarity with Nimona causes him to reject the offer.

Though he leaves Goldenloin behind, Boldheart’s suspicion of Nimona returns. Despite their solidarity, he doesn’t really know her, so he returns home to interrogate her. In the ensuing argument, he reverts to calling her a monster, but only through implication—he won’t say the word. Like a slur, he knows he shouldn’t say it anymore, but that doesn’t keep him from believing it.

Boldheart’s actions prove to Nimona that nowhere is safe. There is no haven. Her community will always turn on her. She flees, and in her ensuing breakdown, the audience learns her backstory. She was alone for an unspecified length of time, never able to fit in until meeting Gloreth as a little girl. Nimona presents herself to Gloreth as another little girl, and Gloreth becomes Nimona’s very first friend. Even when Nimona shapeshifts, Gloreth treats her with kindness and love.

Then the adults of Gloreth’s village see Nimona shapeshift, and the word “monster” is hurled. Torches and pitchforks come out. At the adults’ panic, Gloreth takes up a sword against Nimona, and the cycle of bigotry is transferred to the next generation. The friendship shatters, and Nimona must flee before she can be killed.

After losing Boldheart, seemingly Nimona’s only ally since Gloreth’s betrayal, Nimona’s grief becomes insurmountable. She knows in her heart that nothing will ever change. She’s been hurt too much, by too many, cutting too deeply. To Nimona, the world will only ever bring her pain, so she gives in. She transforms into the giant, ferocious monster everyone has always told her she is, and she begins moving through the city as the Institute opens fire.

When Ballister sees Nimona’s giant, shadowy form, he realizes the horrific pain he caused her. He intuits that Nimona isn’t causing destruction for fun, she’s on a suicide march. She’s given up, and her decision is the result of endless, systemic bigotry and betrayal of trust. Her rampage wouldn’t be happening if she’d been treated with love, support, and care.

Nimona’s previous admission of suicidal ideation repeats in voiceover as she prepares to impale herself on a sword pointed by a massive statue of Gloreth. Her suicide is only prevented because Ballister steps in, calling to her, apologizing, saying he sees her and she isn’t alone. She collapses into his arms, once again in human form, sobbing. Boldheart has finally accepted her truth, and she is safe with him.

But she isn’t safe from the Director.

In a genocidal bid she knows will take out countless civilian lives, the Director orders canons fired on Nimona. Goldenloin tries to stop her, finally standing up against the system, but it’s too late. The Director fires the canons, Nimona throws herself at the blast to protect the civilians, and Nimona falls.

When the dust settles, the Director is deposed and the city rebuilds. Boldheart and Goldenloin reconnect and resume their relationship. The walls around the city come down, reforms take hold in the Institute, and a memorial goes up to honor Nimona, the hero who sacrificed her life to reveal the Director’s corruption.

Nimona, however, is hard to kill.

Nimona originally had a tragic ending, born of N.D. Stevenson’s own depression, but that hopelessness didn’t last forever. (44) Though Nimona is defeated, she doesn’t stay dead. Through the outpouring of love and support N.D. Stevenson received while creating the original webcomic, he gained the community and support he needed to create a more hopeful ending for Nimona’s story—and himself.

The comic’s ending is bittersweet. Nimona can’t truly die, and eventually restores herself. She allows Blackheart to glimpse her, so he knows she survived, but she doesn’t stay. She still doesn’t feel safe, and is assumed to move on somewhere new. Blackheart never sees Nimona again.

The film’s ending is more hopeful. There is a shimmer of pink magic as Nimona announces her survival, and the film ends with Boldheart’s elated exclamation. Even death couldn’t keep her down. She survived Gloreth, and she survived the Director. Though this chapter of the story is over, there is hope on the horizon, and she has allies on her side.

In both incarnations, Nimona is a story of queer survival in a cruel world. The original ending was one of despair, that said there was little hope of true solidarity and allyship. The revised ending said there was hope, but still so far to go. The film’s ending says there is hope, there is solidarity, and there are people who will stand with transgender people until the bitter end—but, more importantly, there are people in the world who want trans people to live, to thrive, and to find joy.

In a world that’s so hostile to transgender people, it’s no wonder a radically trans-positive film had to fight so hard to exist. Unfortunately, the battle must continue. As of June 2024, Netflix hasn’t announced any intent to produce physical copies of the film, meaning it exists solely on streaming and is only accessible via a monthly paid subscription. Should Netflix ever take down its original animation, as HBO Max did in 2022 despite massive backlash, the film could easily become lost media. (45) Though it saved Nimona from Disney, Netflix has its own nasty history of under-marketing and canceling queer programs. (46)

The film’s art book is already gone. The multimedia tome was posted online on October 12, 2023, hosted at ArtofNimona.com. (47) Per the Internet Archive’s Wayback Machine, the site became a Netflix redirect at some point between 10:26 PM on March 9, 2024 and 9:35 PM on March 20, 2024. (48) On the archived site, some multimedia elements are non-functional, potentially making them lost media. The art book is not available through any legal source, and though production designer Aidan Sugano desperately wants a physical copy made, there seem to be no such plans. (49)

Perhaps Netflix will eventually release physical copies of both film and art book. Perhaps not. Time will tell. In the meantime, Nimona stands as a triumph of queer media in a queerphobic world. That it exists at all is a miracle, and that its accessibility is so precarious a year after release is a travesty. Contemporary political commentary is woven into every aspect of the film, and it exists thanks to the passion, talent, and bravery of an incredible crew who endured despite blatant corporate queerphobia.

Long live Nimona, and long live the transgender community she represents.

_ This piece was commissioned using the prompt "the Nimona movie."

Updated 6/16/24 to revise an inaccurate statement regarding the original comic.

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_

Notes:

1. “Past Recipients 2010s.” n.d. Comic-Con International. Accessed June 10, 2024. https://www.comic-con.org/awards/eisner-awards/past-recipients/past-recipenties-2010s/.

2. Stevenson, ND. 2015. Nimona. New York, NY: Harperteen.

3. Kit, Borys. 2015. “Fox Animation Nabs ‘Nimona’ Adaptation with ‘Feast’ Director (Exclusive).” The Hollywood Reporter. June 11, 2015. https://www.hollywoodreporter.com/movies/movie-news/fox-animation-nabs-nimona-adaptation-801920/.

4. Riley, Jenelle. 2017. “Oscar Winner Patrick Osborne Returns with First-Ever vr Nominee ‘Pearl.’” Variety. February 9, 2017. https://variety.com/2017/film/in-contention/patrick-osborne-returns-to-race-with-first-vr-nominee-pearl-1201983466/; Osborne, Patrick (@PatrickTOsborne). 2017. "Hey world, the NIMONA feature film has a release date! @Gingerhazing February 14th 2020 !!" Twitter/X, June 30, 2017, 3:16 PM. https://x.com/PatrickTOsborne/status/880867591094272000. ‌

5. “The Walt Disney Company to Acquire Twenty-First Century Fox, Inc., after Spinoff of Certain Businesses, for $52.4 Billion in Stock.” 2017. The Walt Disney Company. December 14, 2017. https://thewaltdisneycompany.com/walt-disney-company-acquire-twenty-first-century-fox-inc-spinoff-certain-businesses-52-4-billion-stock-2/.

6. Amidi, Amid. 2017. “Disney Buys Fox for $52.4 Billion: Here Are the Key Points of the Deal.” Cartoon Brew. December 14, 2017. https://www.cartoonbrew.com/business/disney-buys-fox-key-points-deal-155390.html; Giardina, Carolyn. 2017. “Disney Deal Could Redraw Fox’s Animation Business.” The Hollywood Reporter. December 14, 2017. https://www.hollywoodreporter.com/news/general-news/disney-deal-could-redraw-foxs-animation-business-1068040/; Szalai, Georg, and Paul Bond. 2019. “Disney Closes $71.3 Billion Fox Deal, Creating Global Content Powerhouse.” The Hollywood Reporter. March 19, 2019. https://www.hollywoodreporter.com/news/general-news/disney-closes-fox-deal-creating-global-content-powerhouse-1174498/.

7. Hipes, Patrick. 2019. “After Trying Day, Disney Sets Film Leadership Lineup.” Deadline. March 22, 2019. https://deadline.com/2019/03/disney-film-executives-post-merger-team-set-1202580586/.

8. Jones, Rendy. 2023. “‘Nimona’: Netflix’s Remarkable Trans-Rights Animated Movie Is Here.” Rolling Stone. July 3, 2023. https://www.rollingstone.com/tv-movies/tv-movie-features/nimona-netflix-trans-rights-animated-movie-lgbtq-riz-ahmed-chloe-grace-moretz-1234782583/.

9. D’Alessandro, Anthony. 2021. “Disney Closing Blue Sky Studios, Fox’s Once-Dominant Animation House behind ‘Ice Age’ Franchise.” Deadline. February 9, 2021. https://deadline.com/2021/02/blue-sky-studios-closing-disney-ice-age-franchise-animation-1234690310/.

10. “Disney’s Blue Sky Shut down Leaves Nimona Film 75% Completed.” 2021. CBR. February 10, 2021. https://www.cbr.com/nimona-film-abandoned-disney-blue-sky-shut-down/; Sneider, Jeff. 2021. “Exclusive: Disney’s LGBTQ-Themed ‘Nimona’ Would’ve Featured the Voices of Chloë Grace Moretz, Riz Ahmed.” Collider. March 4, 2021. https://collider.com/nimona-movie-cast-cancelled-disney-blue-sky/.

11. Horowitz, Juliana Menasce, Anna Brown, and Rachel Minkin. 2021. “The COVID-19 Pandemic’s Long-Term Financial Impact.” Pew Research Center’s Social & Demographic Trends Project. March 5, 2021. https://www.pewresearch.org/social-trends/2021/03/05/a-year-into-the-pandemic-long-term-financial-impact-weighs-heavily-on-many-americans/.

12. Lang, Brent. 2022. “Disney CEO Bob Iger’s Rich Compensation Package Revealed, Company Says Bob Chapek Fired ‘without Cause.’” Variety. November 21, 2022. https://variety.com/2022/film/finance/bob-iger-compensation-package-salary-bob-chapek-fired-1235439151/.

13. Romano, Nick. 2020. “The Pandemic Animation Boom: How Cartoons Became King in the Time of COVID.” EW.com. November 2, 2020. https://ew.com/movies/animation-boom-coronavirus-pandemic/.

14. Strapagiel, Lauren. 2021. “The Future of Disney’s First Animated Feature Film with Queer Leads, ‘Nimona,’ Is in Doubt.” BuzzFeed News. February 24, 2021. https://www.buzzfeednews.com/article/laurenstrapagiel/disney-nimona-movie-lgbtq-characters.

15. Clark, Travis. 2022. “Disney Raised Concerns about a Same-Sex Kiss in the Unreleased Animated Movie ‘Nimona,’ Former Blue Sky Staffers Say.” Business Insider. https://www.businessinsider.com/disney-disapproved-same-sex-kiss-nimona-movie-former-staffers-say-2022-3.

16. Keegan, Rebecca. 2024. “Why Megan Ellison Saved ‘Nimona’: ‘I Needed This Movie.’” The Hollywood Reporter. February 22, 2024. https://www.hollywoodreporter.com/movies/movie-news/megan-ellison-saved-nimona-1235832043/.

17. St. James, Emily. 2023. “Mourning the Loss of the Owl House, TV’s Best Queer Kids Show.” Vanity Fair. April 6, 2023. https://www.vanityfair.com/hollywood/2023/04/loss-of-the-owl-house-tvs-best-queer-kids-show.

18. AntagonistDana. 2021. “AMA (except by ‘Anything’ I Mean These Questions Only).” Reddit. October 5, 2021. https://www.reddit.com/r/TheOwlHouse/comments/q1x1uh/ama_except_by_anything_i_mean_these_questions_only/; de Wit, Alex Dudok. 2020. “Disney Executive Tried to Block Queer Characters in ‘the Owl House,’ Says Creator.” 2020. Cartoon Brew. August 14, 2020. https://www.cartoonbrew.com/disney/disney-executives-tried-to-block-queer-characters-in-the-owl-house-says-creator-195413.html.

19. Doherty, Thomas. 1999. Pre-Code Hollywood : Sex, Immorality, and Insurrection in American Cinema, 1930-1934. New York: Columbia University Press. 363.

20. Henderson, Taylor. 2018. “‘Steven Universe’s’ Latest Episode Just Made LGBTQ History.” Pride. July 5, 2018. https://www.pride.com/stevenuniverse/2018/7/05/steven-universes-latest-episode-just-made-lgbtq-history; McDonnell, Chris. 2020. Steven Universe: End of an Era. New York: Abrams. 102.

21. Stevenson, ND. (@Gingerhazing). 2021. "Sad day. Thanks for the well wishes, and sending so much love to everyone at Blue Sky. Forever grateful for all the care and joy you poured into Nimona." Twitter/X, February 9, 2021, 3:32 PM. https://x.com/Gingerhazing/status/1359238823935283200

22. Jones, Rendy. 2023. “‘Nimona’: Netflix’s Remarkable Trans-Rights Animated Movie Is Here.” Rolling Stone. July 3, 2023. https://www.rollingstone.com/tv-movies/tv-movie-features/nimona-netflix-trans-rights-animated-movie-lgbtq-riz-ahmed-chloe-grace-moretz-1234782583/.

23. Keegan, Rebecca. 2024. “Why Megan Ellison Saved ‘Nimona’: ‘I Needed This Movie.’” The Hollywood Reporter. February 22, 2024. https://www.hollywoodreporter.com/movies/movie-news/megan-ellison-saved-nimona-1235832043/.

24. Stevenson, ND. (@Gingerhazing). 2022. "Nimona’s always been a spunky little story that just wouldn’t stop. She’s a fighter...but she’s also got some really awesome people fighting for her. I am excited out of my mind to announce that THE NIMONA MOVIE IS ALIVE...coming at you in 2023 from Annapurna and Netflix." Twitter/X, April 11, 2022, 10:00 AM. https://x.com/Gingerhazing/status/1513517319841935363.

25. “‘Nimona’ Starring Chloë Grace Moretz, Riz Ahmed & Eugene Lee Yang Coming to Netflix in 2023.” About Netflix. April 11, 2022. https://about.netflix.com/en/news/nimona-starring-chloe-grace-moretz-riz-ahmed-and-eugene-lee-yang-coming-to-netflix.

26. “’Nimona’ Rates 100% on Rotten Tomatoes after Annecy Premiere.” Animation Magazine. June 15, 2023. https://www.animationmagazine.net/2023/06/nimona-rates-100-on-rotten-tomatoes-after-annecy-premiere/

27. Dilillo, John. 2023. “’Nimona’: Everything You Need to Know About the New Animated Adventure.” Tudum by Netflix. June 30, 2023. https://www.netflix.com/tudum/articles/nimona-release-date-news-photos

28. Reese, Lori. 2001. “Is ‘“Shrek”’ the Anti- Disney Fairy Tale?” Entertainment Weekly. May 29, 2001. https://ew.com/article/2001/05/29/shrek-anti-disney-fairy-tale/.

29. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 255. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

30. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.

31. White, Abbey. 2023. “How ‘Nimona’ Explores the Model Minority Stereotype through Its Queer API Love Story.” The Hollywood Reporter. July 1, 2023. https://www.hollywoodreporter.com/movies/movie-features/nimona-eugene-lee-yang-directors-race-love-story-netflix-1235526714/.

32. Equal Justice Initiative. 2021. “Report Documents Racial Bias in Coverage of Crime by Media.” Equal Justice Initiative. December 16, 2021. https://eji.org/news/report-documents-racial-bias-in-coverage-of-crime-by-media/.

33. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.

34. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 259-260. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

35. Sugano, Aidan. 2023. Nimona: the Digital Art Book. Netflix. 7. https://web.archive.org/web/20240309222607/https://artofnimona.com/.

36. Brown, Tracy. 2019. “In Netflix’s ‘She-Ra,’ Even Villains Respect Nonbinary Pronouns.” Los Angeles Times. November 6, 2019. https://www.latimes.com/entertainment-arts/tv/story/2019-11-05/netflix-she-ra-princesses-power-nonbinary-double-trouble.

37. Department of Homeland Security. 2019. “If You See Something, Say Something®.” Department of Homeland Security. May 10, 2019. https://www.dhs.gov/see-something-say-something.

38. University of Stanford. n.d. “Stephon Clark.” Say Their Names - Spotlight at Stanford. https://exhibits.stanford.edu/saytheirnames/feature/stephon-clark.

39. Kidd, Jeremy D., Tettamanti, Nicky A., Kaczmarkiewicz, Roma, Corbeil, Thomas E., Dworkin, Jordan D., Jackman, Kasey B., Hughes, Tonda L., Bockting, Walter O., & Meyer, Ilan H. 2023. “Prevalence of Substance Use and Mental Health Problems among Transgender and Cisgender US Adults.” Williams Institute. https://williamsinstitute.law.ucla.edu/publications/transpop-substance-use/.

40. “2023 Anti-Trans Bills: Trans Legislation Tracker.” n.d. Trans Legislation Tracker. https://translegislation.com/bills/2023.

41. James, S.E., Herman, J.L., Durso, L.E., & Heng-Lehtinen, R. 2024. “Early Insights: A Report of the 2022 U.S. Transgender Survey.” National Center for Transgender Equality, Washington, DC.

42. Myers, Catherine. 2023. “Protests in the Age of Social Media.” The Nonviolence Project. February 11, 2023. https://thenonviolenceproject.wisc.edu/2023/02/11/protests-in-the-age-of-social-media/.

43. Auxier, Brooke, and Colleen McClain. 2020. “Americans Think Social Media Can Help Build Movements, but Can Also Be a Distraction.” Pew Research Center. Pew Research Center. September 9, 2020. https://www.pewresearch.org/short-reads/2020/09/09/americans-think-social-media-can-help-build-movements-but-can-also-be-a-distraction/.

44. Stevenson, N. D. 2023. “Nimona (the Comic): A Deep Dive.” I’m Fine I’m Fine Just Understand. July 13, 2023. https://www.imfineimfine.com/p/nimona-the-comic-a-deep-dive.

45. Chapman, Wilson. 2022. “HBO Max to Remove 36 Titles, Including 20 Originals, from Streaming.” Variety. August 18, 2022. https://variety.com/2022/tv/news/hbo-max-originals-removed-1235344286/.

46. Iftikhar, Asyia. 2023. “Netflix CEO Slammed by LGBTQ+ Fans over Cancellation Comments: ‘They Are NOT Allies.’” PinkNews. January 24, 2023. https://www.thepinknews.com/2023/01/24/netflix-ceo-ted-sarandos-cancelled-shows-lgbtq-fans-reactions/.

47. Lang, Jamie. 2023. “Netflix Has Released a 358-Page Multimedia Art of Book for ‘Nimona’ - Exclusive.” Cartoon Brew. October 12, 2023. https://www.cartoonbrew.com/books/nimona-art-of-book-aidan-sugano-netflix-233636.html.

48. “Wayback Machine.” n.d. The Internet Archive. Accessed June 10, 2024. https://wayback-api.archive.org/web/20240000000000.

49. Lang, Jamie. 2023. “Netflix Has Released a 358-Page Multimedia Art of Book for ‘Nimona’ - Exclusive.” Cartoon Brew. October 12, 2023. https://www.cartoonbrew.com/books/nimona-art-of-book-aidan-sugano-netflix-233636.html.

[sinofwriting]

Protective - Max Verstappen ( I ❤️ MILFS verse)

Words: 910 Word Prompt: Protective (Part of the I ❤️ MILFS verse) Note(s): Takes place during the Baku 2024 race weekend. Also I hate James Vowles

Masterlist | Support Me! | I ❤️ MILFS verse | Sin’s Sept. Blurbs

Logan is a momma’s boy. It’s something he’s known for as long as he can remember. It’s something that has been thrown in his face, a taunt, a tease, as if he’s supposed to be ashamed that he loves his mom. There isn’t anything he wouldn’t do for his mom and that includes ending what was supposed to be a good month of silence from him other than a short interview he did just after the news broke and the quickly deleted statement he put out.

He’s no longer an F1 driver for the 2024 season, but he still is traveling with the calendar. He hadn’t used the hotel room Williams booked for him since Australia, not when Red Bull always gives Max a suite and there’s always a little envelope with Logan’s name on it that holds a key.

He had stayed completely in the hotel during Monza. He loves the amount of support Charles gets, loves how passionate they are, but it’s a lot to be around, to walk around. He also doesn’t need to hear another drunk Italian man shout about wanting desperately to have Charles’ babies.

He had planned to do the same in Baku just because he didn’t feel like exploring Baku. But then a video gets leaked.

And that’s the end of Logan’s silence.

He shows up on Friday by himself. His parents are already in the Red Bull garage, waiting for him, but they know that he’ll be awhile.

He smiles at fans when they cheer and greet him, taking his time to sign stuff and take pictures, ignoring the hungry photographers and reporters that are watching. He squeezes the hands of fans who despite what happened are wearing his number and telling them how much they love him.

He takes a few more photos before finally pulling away from the fans and beginning to walk. It doesn’t take long before someone finally pounces. A microphone being handed to him, that he easily takes and a camera trained on him and oh great, he wants to roll his eyes a bit, Will Buxton.

“Logan, how are you doing?”

Logan smiles, nodding at some of the people he recognizes from other teams as they pass by. “I’m good. Enjoying the weather.”

Will laughs and it’s so fake it grates on Logan’s ears. “And are you here for duties with Williams?”

His eyes are hungry, his whole expression is. He clearly wants to press and dig deep but is trying to be patient.

He shakes his head, “Here to support my dad. I no longer am associated with Williams.” He knows fans had speculated after seeing his name cleared from their website, but the dissociation had only become official just three hours ago.

“Really? Not even development.”

He shakes his head, smiling. “Ties have been cut, man.” He laughs.

“And Logan, the video that has been circulating these past twelve hours, have you seen it? What are your thoughts?”

“I have seen it. And it’s disgusting really. James has never been shy about sharing his feelings about me and that’s fine, I was a driver on his team, I was a driver. But there’s no reason to bring up and say things about someone who isn’t a part of the team or any of the teams, but is just part of the driver’s staff and a parent. I could see why if they were disruptive or causing a mess, making a scene, but that isn’t the case.”

Will nods, “I couldn’t agree more, Logan.”

“I also want to say thank you to all the people who have been talking about this and talking about the words he said about my mom. I haven’t yet seen a statement put out, but I hope that what he said isn’t brushed aside.”

“I hope so as well.”

“I still say I should get to punch him.” Max comments after they finish watching Logan’s interviews and Logan can’t help but hum in agreement.

“Max.” Christian sighs, though he looks more amused than anything.

“If he wants to call someone a whore, he should call himself that. He has a wife and baby at home and yet is talking about meeting with Carlos in hotel rooms. And calling Pan a bitch just because she supported Logan? Fuck him.”

“We know, Max.” GP nearly looks bored, but there’s a glint in his eyes that Logan just knows means trouble for the Williams team principal.

A throat clears and everyone looks at his mom. “I think we all need to calm down. Especially you,” she gently pokes Logan’s forehead, before running her fingers through his hair. “The protective thing is nice, but it’s not the first time I’ve been called those things and it won’t be the last. We need to be adults about it.”

Logan frowns at her words. “You’ve been called a whore before?”

Max is frowning as well and something churns in Logan’s gut.

“Yes.” She says simply.

“Momma.”

She shakes her head, “No more interviews, Logan. Not about this at least. You didn’t say anything wrong, but I don’t want people thinking that it’s okay for them to just ask and talk about.”

She then turns to Max and Logan watches as she stares at him. “Do I even bother asking you to not say anything?”

Max shrugs. “You could.”

She sighs. “Just don’t threaten him. The FIA is already looking closely at you.”

“No threats.” He agrees.

[tjodity]

Scrapped lore bits from the Dream SMP I'm still mad we never got:

-Whatever lore Nihachu had planned for the day Doomsday happened

-The Egg finale scheduled for immediately after the Red Banquet

-Jschlatt's Las Nevadas resurrection (heavily implied by Quackity trying to get the Revival Book after gambling with Glatt and cc!Schlatt saying he'd be coming back to the SMP)

-Any further development of Puffychu

-Ranboo getting resurrected (cc!Ran saying he was meant to be revived two weeks after the prison break)

-Hitting on 16 in livestream format. Like I know we still got the lore but cc!Wilbur simply could not fit what the format brings into written form. The long periods of characters just talking to each other, body language, random impromptu moments, etc.

-The Manhunt Arc (slight speculation but the streams where Tommy reinforced Tubbo's old house and convinced Eryn, Sam Nook, and Phil to help him track and kill Dream after the prison break felt like it was setting up something)

-Cyberknife lore (cc!Techno planned on having his character leave and acting as an antagonist for the syndicate)

-Ranboo's ARG (never properly finished)

-Ranboo and Slime in the multiverse (I have no context but I swear cc!Ranboo said something about this and if I had to guess tftsmp!Ran and O!Ranboo could've had something to do with it)

-whatever Connor had going on (I know his SMPLive stuff I'm referring to him knowing Karl could time travel)

-Tubbo's ending of growing old and raising Michael (planned but cut for the nuclear ending)

-Tommy's soft ending which would apparently resemble Jesse Pinkman from Breaking Bad. (this is secondhand information but I've seen people talk about it. I assume this to mean he would escape the SMP and we wouldn't see what happened to him. Cut for the nuclear ending)

-Captain Puffy being the main antagonist of Season 2 (as seen by her being the vessel for the fully powered Egg in the finale and having a skin ready for season 2)

Feel free to add your own!

[aficionadoenthusiast]

*me, with tears of frustration in my eyes* rick didn't include annabeth's crush on luke or luke's pseudo-crush on annabeth for no reason! it is not something that needs to be cut because it's 'gross'! it serves thematic purpose! it adds to characterization! guys! please!

annabeth is twelve, and luke is the guy she's looked up to since she was seven. she not only has that bond, but she has the admiration from him getting his own quest. she has a lot of hero worship going for him, and it's really not unreasonable that she would like him or even that she would think of him as more than a sibling. beyond that, it's a great example of how a person who has never received real, unconditional love can become unhealthily attached to someone who is not good for them just because they've been shown a modicum of respect. if you want to look at it from a percabeth perspective, it could even tie into how her character has to learn the difference between love and kindness from a place of love and respect (i.e. percy) vs love and kindness from a place of obligation and manipulation (i.e. luke as kronos' vessel)

on luke's side, especially with him calling her his little sister now (in the show) and him literally turning into kronos later, it's symbolism for how he's being pulled farther and farther onto the dark side. as kronos takes over his body, he sees her less and less as a sister and more and more of something else, something that would be considered dark and unhealthy by anyone not on the dark side (for good reason), until eventually she has to remind him of their years on the run when he considered her a sister: "Family, Luke. You promised."

you're supposed to be grossed out by it! that means the theme is working!

you're supposed to see a traumatized 12 year old with a crush on her 19 year old mentor and think, "hey, that's weird! i wonder if her not getting any love or attention until she met him plays a role in their relationship?" and eventually see a 24 year old get a villain-induced crush on a 16 year old and think, "hey, that's really weird! i wonder if his turn to the dark side and how that turn happened twisted his view of her?" and ultimately think, "i wonder what that says about the type of trauma that develops in kids who grew up thinking they were unloved, especially since the author specifically wrote the book for his son with disabilities, the author who used to be a teacher, a profession that regularly encounters kids that are actively being abused and neglected?"

anyway thanks for coming to my ted talk

edit: this post is not speculation! i'm not trying to say i don't think they're going to include annabeth's crush! i am perfectly aware that we are only two episodes in! this post is in response the people i keep seeing say they're glad because they think Luke's little sister comment means they're not going to include the "gross stuff from the books" (other's wording, not mine), and I was trying to explain why including it would be a positive. sorry, i really thought i made that clear