#because they HAVE to combat the cruelty of the world

[merwgue]

The portrayal of the Night Court in the A Court of Thorns and Roses series by Sarah J. Maas is one of contrasts. On the surface, it appears to be a bastion of freedom, justice, and equality, particularly in the city of Velaris, which is often depicted as a utopia, protected from the horrors of the world. However, this glossy exterior hides the deeply autocratic, oppressive systems in place in other parts of the Night Court, particularly in Hewn City and Illyria. When compared to the other courts in Prythian—especially the Autumn Court—the Night Court’s supposed “freedom” becomes suspect. In reality, it operates much like a dictatorship, cloaked in the false narrative of equality and liberation. This deceptive governance is comparable to the division of Berlin during the Cold War, where the West thrived under democratic principles while the East suffered under a repressive regime. Likewise, while Velaris prospers, the other regions of the Night Court endure systematic abuse and oppression, with little transparency or accountability. Ironically, the Autumn Court, often painted as cruel and harsh, presents a more authentic and straightforward approach to governance. At least the Autumn Court doesn’t hide behind a façade of democracy—it is what it is, without pretenses of liberation.

The Night Court’s False Utopia: Velaris vs. Hewn City

Velaris, often called the "City of Starlight," is repeatedly emphasized as a sanctuary of freedom and safety, where creativity and culture flourish. Rhysand, the High Lord of the Night Court, takes pride in shielding Velaris from external threats and from the corrupt politics of the other courts. On the surface, it seems like a dream: the inhabitants live freely, without the threat of violence or oppression, and they enjoy the benefits of Rhysand’s protective, yet benevolent rule. But, as with many dictatorships throughout history, the paradise of Velaris exists because of the sacrifices and subjugation of others.

Hewn City, often referred to as the Court of Nightmares, serves as the dark underbelly of the Night Court. While Velaris thrives, Hewn City languishes under a system of abuse, exploitation, and terror. The inhabitants of Hewn City are ruled through fear and cruelty, and women, in particular, suffer in this system. They have no rights or means to escape the oppressive confines of their city. Even Morrigan, one of Rhysand’s closest allies, admits that Hewn City is a "hell for women." The people there are not granted the same freedoms or protections as those in Velaris, and they are actively barred from entering the so-called “City of Starlight.” This two-tiered system, where one part of the court is free and the other is enslaved, mirrors totalitarian regimes in history, where a privileged elite enjoys all the benefits of the system, while the oppressed majority suffers in silence.

This segregation brings to mind the division of Berlin during the Cold War. West Berlin was the image of prosperity, freedom, and opportunity, much like Velaris. However, East Berlin, like Hewn City, was a place of oppression, suffering, and control. The illusion of unity within the Night Court, just as in Cold War Berlin, masks the reality of systemic oppression. Rhysand presents himself as a liberator, much like many leaders of totalitarian regimes do. However, his rule over the Night Court is based on a contradiction: he preaches freedom and equality, but only for those fortunate enough to live in Velaris. The rest of his court is controlled through fear, coercion, and subjugation.

Illyria: A Military Regime Under the Night Court

In addition to Hewn City, the treatment of the Illyrians further underscores the autocratic nature of the Night Court. The Illyrian warriors, though valued for their strength in battle, are treated as little more than tools for Rhysand’s military ambitions. Their entire culture is built around combat, and while Rhysand claims to want to reform the oppressive practices within Illyria—such as the clipping of female Illyrians’ wings—he does little to actually enforce change.

The female Illyrians, in particular, suffer grievously under this regime. Despite Rhysand and his Inner Circle’s claims of valuing equality, they have failed to stop the heinous practice of wing clipping, which leaves female Illyrians crippled and without agency. The Night Court’s inaction in the face of these abuses mirrors real-world dictatorships, where leaders proclaim lofty ideals of reform but do little to actually improve the lives of the oppressed. The Illyrians, much like the inhabitants of Hewn City, are kept in a state of subjugation, while Rhysand and his circle continue to thrive in Velaris, free from the consequences of their own policies.

Rhysand’s Autocratic Rule

While Rhysand is often praised by both characters in the series and fans for his progressive values and the freedom he offers to those in his inner circle, his governance bears all the hallmarks of a dictatorship. He wields absolute power over the Night Court, making unilateral decisions without any input from the people he rules. There are no democratic processes in place, no checks on his authority. Even the members of his Inner Circle, who seem to have a voice, ultimately serve at his pleasure. Rhysand’s rule is absolute, and any dissent within the Night Court is quickly quashed.

His treatment of Tamlin in A Court of Frost and Starlight and A Court of Silver Flames further demonstrates his authoritarian tendencies. Rhysand repeatedly invades the Spring Court, trespassing on Tamlin’s land and undermining his authority. In a real-world context, these actions would be seen as violations of sovereignty and could lead to serious diplomatic consequences. Furthermore, Rhysand’s psychological manipulation of Tamlin, particularly his cruel suggestion that Tamlin should kill himself, reveals the depth of his callousness. This is not the behavior of a benevolent ruler—it is the behavior of a dictator who will stop at nothing to maintain his power and control, even if it means destroying the mental well-being of a rival.

The Autumn Court: Brutal, but Honest

In contrast to the Night Court’s deceptive veneer of freedom, the Autumn Court, ruled by Beron, is presented as a brutal but straightforward regime. The Autumn Court does not pretend to be a land of equality or justice. Beron’s rule is harsh, and the court is rife with intrigue and betrayal. However, the Autumn Court does not hide behind false promises of liberation. Its inhabitants know what to expect, and the court’s politics, while cruel, are transparent.

In many ways, this brutal honesty makes the Autumn Court a more genuine form of governance than the Night Court. Beron does not pretend to be a benevolent ruler, nor does he claim to value freedom or equality. The Autumn Court is harsh, but it does not dress up its brutality in the guise of progressive ideals. In this sense, it is a more authentic regime, unencumbered by the hypocrisy that pervades the Night Court.

False Advertising and the Dangers of Illusion

The Night Court’s portrayal as a beacon of freedom is, in many ways, false advertising. By allowing Velaris to serve as the shining example of his court while neglecting the suffering in Hewn City and Illyria, Rhysand perpetuates a dangerous illusion. This illusion allows him to maintain his power without facing the consequences of his autocratic rule. It also obscures the real, systemic problems within his court, making it difficult for any real change to occur.

In the real world, dictatorships often rely on similar tactics. They present a false image of prosperity and freedom, while behind the scenes, they suppress dissent, abuse their citizens, and maintain power through fear and control. The Night Court, far from being the progressive utopia it claims to be, operates much like these regimes. Its leader, Rhysand, may present himself as a liberator, but in reality, his rule is just as oppressive as that of Beron or Tamlin—perhaps even more so, because it is hidden behind a façade of freedom.

Conclusion

In conclusion, the Night Court is not the utopia it pretends to be. Like the divided Berlin of the Cold War, it is a court of stark contrasts, where a privileged few enjoy freedom and prosperity while the majority suffer under oppressive regimes. Velaris may be a city of starlight, but Hewn City and Illyria are plunged into darkness. Rhysand’s rule is not one of liberation, but of control, and the supposed “freedom” of the Night Court is nothing more than a carefully constructed illusion. In contrast, the Autumn Court, while brutal, is at least honest about its nature. In the end, it is this honesty that makes the Autumn Court a more transparent—if not more just—regime than the Night Court.

[chavisory]

"Maybe it’s because our political discourse swings between deranged and abhorrent on a daily basis and we would like to combat our feelings of powerlessness by insisting on moral simplicity in the stories we tell and receive. Or maybe it’s because many of the transgressions that flew under the radar in previous generations — acts of misogyny, racism and homophobia; abuses of power both macro and micro — are now being called out directly. We’re so intoxicated by openly naming these ills that we have begun operating under the misconception that to acknowledge each other’s complexity, in our communities as well as in our art, is to condone each other’s cruelties."

[vigilskeep]

now that you finished inquisition, what did you think of it? like favorite things, least favorite, etc?

oh man okay

things i love about dragon age inquisition:

capturing the specific feeling of bonding with a group of people you have absolutely nothing in common with because u all had to go through something long and specific together

the maps can be so pretty and in places really calming and lovely to spend time in. it does make me want to explore and i have no explorer’s instinct

i love the war table and judgements i think those are really fun features

i like that approval for many major decisions applies to everyone regardless of who you bring to specific events/quests. it feels a lot less like you have to manage that really hard, as you sometimes do in the other games and also really noticeably to me in something like baldur’s gate 3. it’s irritating when i have to plan ahead and can’t take who i want to hear from

i like how attached you can get to little npcs who wander around

i loveeeee fighting dragons and how beautiful they all are

little puzzles <3

the collectibles are also mostly fine by me i am a magpie by nature. as long as i can find them, obviously, bc if i can’t they suck and this whole game sucks

the templar specialisation is fun and i enjoyed that part of combat a lot. wrath of heaven/spell purge combo is a power trip

i thought my character was pretty :) i defeated u in the end dai character creator. may you be as merciful when we meet in battle once more

i’m not a huge crafter but being able to tint things is rlly nice

blackwall’s romance is good

vivienne is there

they let me briefly tame a dragon at the end there

things i don’t love about dragon age inquisition:

some genuine cruelty in writing the dalish in a way that feels shockingly callous to the real world cultures the writers took inspiration from

never giving the dalish or the rebel mages any kind of voice of their own and making the player do all that work if they care, which i also feel limits my roleplaying creativity

refusing to let you challenge any of the often overwhelmingly conservative views expressed by other characters without receiving only derision and disapproval. inquisition is a game that punishes you at every turn for having your own opinions, in a way that could be interesting if it was willing to truly let you develop complex or antagonistic relationships with those characters, but ends up mostly just feeling mocking when nobody ever even tries to see your side, while simply agreeing with these people always rewards you with content. origins was capable of letting you engage in discussion, and da2 let you form rivalries that mattered; inquisition, despite starring some of the most intentionally controversial characters, does neither

the game engineering conflicts against groups like the freemen of the dales or the avvar that mean nothing to the player and range from vaguely to seriously upsetting in their assumptions about who it’s normal to just start killing en masse. it’s both boring and distressing

odd, for lack of a better word “casting choices”, like having the fantasy impoverished racial minority all be white within the party while the wealthiest and most privileged are characters of colour, or for a more in-world example having the elves express the most distaste towards elves and the mages express the most caution about mages. i don’t know that i quite have the vocabulary to fully discuss why these weird me out, but it all feels... disingenuous? and chosen to forestall criticism based on real world comparisons in a game series that i wish had the nerve to openly confront what it’s talking about if it’s going to try to make any of its conflicts feel relevant

most of the companions, and indeed most of the quests and time spent playing the game, feel disconnected from the main plot. it’s hard to feel any pressure when the game tells you we need to deal with the main plot “right now!” and “get there before corypheus!” when the bulk of the game is doing other things while you’re supposed to be doing that. the majority of companions could be cut without changing anything. and when you finally want to deal with the main plot you just click to start it. it’s not engaging

the game fails to fully expand dialogue for the player character options it provided, particularly notable with its confusing chantry focus when you’ve said for the dozenth time you’re not andrastian

the 2-handed weapon whirlwind ability sound effect is an exercise in creating the worst and most grating sound effect for someone to constantly hear

they didn’t let me romance vivienne

they killed my dragon :(

[kelocitta]

In honor of the @rw-ship-showdown I wanted to write about Artihunter as someone who jokingly slapped them together pre-downpour and still thinks they are actually very compelling. Just not in the super soft love wins kinda way (Although I get why people like that more) And the only way I know how to do that is talking too much so heres a far too long slug essay-

Obviously the slugcats don't offer a ton of characterization but theres not nothing to work with. Their stories, whether by their roles in it or the overarching themes do provide a backbone to work with. Even gameplay itself can provide a bit. (for some more than others) Hunter, to me, is ultimately a story about selflessness. The goal is to revive Moon, which is very much an act of kindness from both Hunter and NSH. But the weight of that action is much more significant for Hunter- Hunter is deeply sick. They're on the clock, and for all their skill in combat none of that will ultimately help them to survive longer than their body can hold out. Moon is a close friend of NSH but that means little Hunter- Hunter really gets next to nothing out of helping them, and ultimately pays quiet a bit spending their limited time alive fighting to deliver that neuron so that someone else can live.

To spend ones limited days on helping another, in a game that very much stresses the unwavering cruelty of the world and nature- is pretty notable. (And you could even say that Hunter being the Hardmode of Rain World adds another layer to this)

And then we have Artificer. A storyline that very much stands out to people as more… villainous (so to speak) than the other slugcats. Artificer's story covers a lot of things. Trauma, violence, revenge, etc. Revenge is a bit of a selfish desire- That need to see someone hurt as they have hurt you. A punishment that ultimately does not fix whatever harm was done- but feels good to see because you were hurt and now those responsible share that pain.

Artificer's actions are founded in that need for revenge, their pups killed for overstepping boundaries they didn't know existed. Is it not fair for them to be angry at that, to punish the scavengers for their violence with their own? Why should the scavengers ever be forgiven when they and their pups were not? And that's how you get that loop- Harm for harm over and over.

The original action has been lost in a spiral of violence for violence. And here stands Artificer- their very spirit scarred. Not just because they sought revenge, but because they never ceased trying to scratch that itch for violence as an answer. Artificer only has two paths for their story- killing the scavenger king (Someone who, really, has little to do with the original 'crime' of the scavengers, but represents an important individual to them- as did the slugpups to Artificer), locking themselves as karma one for good and spending the rest of their life chasing creatures that no longer even fight back in a warped sense of closure- or to dissolve themselves in the acids of the void sea because they're too far gone to find any real peace.

They can't meaningfully recover from that state, not alone, twisting in on themselves. Even if they halt their actions, they've been using violence as a feeble defense against their own pain- violence that no longer has any real direction or basis. Artificer gets no real closure from killing the scavenger king. All they can do is continue the cycle, or try to scrub it away. No real peace in a prison of their own making. So you have a creature, who even with a strict timer on their life- a body that will crumble to disease, spends its last bit of time on saving another. And another who was so caught up in the pain of loss that were eaten alive by their own anger, poisoned their own soul on such a deep level even self-proclaimed gods have no solution for them. What peace can they offer each other? For Hunter, its only a fleeting moment of happiness- of selfish love, before their own body fails them. A bit of indulgence in something for themself. For Artificer, its a single, comforting thread to ground them again, something tangible to protect and care about again. But thats a thread that will ultimately be snapped under the cruel indifference of the world. Hunters timer will tick down regardless of if it takes another with it. Its a tragedy- its doomed to end badly. Whatever good it offers to either of them to find each other will only provide the fleeting comfort of a band-aid that will be ripped away too early. But all that can be worth indulging in anyway, if only for the moment. It doesn't change the ending, but the ending was never going to be happy. Its can so yuri

[khaosrealms]

YUE LAO’S BLESSINGS (part three!) / saying i love you— as if urged by the gods themselves.

a/n: i promise you all that a part to the princess series is in the works (along with many other things) but i saw y’all have been liking this a whole lot! as such, here you go— a part three to satisfy your needs ! 🩵

LIU KANG:

"I love you" from Liu Kang is all-encompassing, all-knowing. You know you're not his first love, and perhaps, you won't ever be the full holder of his adoration-- but there's no cruelty in that truth. "I love you" is a steady hand on your back, a gaze that never aches, a kiss where you are the first to part and him the first to watch as you return. "You are perfect." And he's so certain as he says it because he knows. Because Liu Kang is the maker of your existence-- but every step that you've taken to him is in your wonderful image.

KUAI LIANG:

"I love you" is devotion from Kuai Liang. Certainty, stability. It is the mornings when you wake with him, enveloped in his arms, and his eyes have yet to open. Trusting you with every ounce of his body and soul; smiling as you kiss him, his heart pounding against your chest. "I love you" is the times where he searches for you, whether in combat or training; to return back to you, his love, to protect and be protected by you. "There you are, my love." Kuai Liang sighs, with every bit of relief and adoration he can muster. Here, back in his arms; as perfect as the day he fell for you.

ASHRAH:

"I love you" are newfound words for Ashrah. The first steps of many in becoming human. They are awkward words on her tongue and stumbled movements. Hands held too long, kisses left too quickly. "I love you" is learning from you, learning the ways you blush under her touch, the things that make you smile and moan. "You are my first love." Ashrah admits, tangled in her arms, the sweat of your sex still fresh on each other's skin. Smiling, every bit as radiant as the sun.

HAVIK:

"I love you" is your binding contract with Havik. It is a promise that you will be there, always, forever; through the chaos, through the realms, there with him till the world stops to spin. "I love you" is gasping for breath every time you kiss, begging for more time, for every chance you can spare to be with one another in the turmoil of it all. "Our love will never cease." Dairou promises, the pulse of his own heart, wretched from his chest, steady in the palm of your hand. His blood melding with your own in beautiful, grotesque harmony.

[headspace-hotel]

the foundation of a lot of conservative thought is that there is some kind of magical force keeping the amount of suffering in the world constant, and that any effort that would broadly reduce suffering a great deal can be safely dismissed as being useless or untenable without examining it very closely.

This goes along with a very deep fear or intuition that something very very bad will happen if people do not suffer enough. It is a belief that the innately corrupt aspects of human nature will run rampant without "punishment" both in the strict sense and in a bigger, more general sense of "being taught a lesson" about how the world is harsh and cruel.

Conservatives who aren't, like, openly sadistic monsters can only resolve the cognitive dissonance by placing a very sharp dividing line between "kind/good/compassionate behavior as an individual" and "things that would improve society."

You, as a conservative individual, can donate to a charity or do something nice for someone, but this cannot be part of any responsibility you have as a member of your society. An individual can be kind, but it is either necessary to make sure the society individuals belong to is cruel, or at least necessary not to try to make it less cruel.

Conservative folks that don't consciously embrace cruelty must rely on historical illiteracy to call upon a monolithic " The Good Old Days" where the cruel and coercive aspects of society were stable and accepted enough that they were tempered by the benefits of true absolute conformity to traditional morality and gender roles+ the pleasures of a Simple Homesteading Life.

They rationalize coercive social standards through the argument that it only FEELS like coercion if you are introduced to another possibility, and if you immediately go limp in the jaws of the role predetermined for you, you will never want anything else. Women for instance were all perfectly happy being submissive housewives, back when there was no choice socially or legally. Everyone would be straight if no one was ever exposed to a happy openly gay person.

There is also a deep conviction that the human brain can only handle a small amount of pleasure or happiness above a neutral baseline, and "too much" sexual pleasure or mercy or relief from pain always either comes from or causes something grotesquely evil.

Their view of pleasure and happiness is very cynical and economic Law of Equivalent Exchange type stuff. Often, lots of sexual things are evil in the eyes of these people basically because they offer a suspicious amount of pleasure with no obvious "cost." They will SAY that sexual deviance is all these terrible things, but they believe that "deviant" sex feels good—too good, in fact, that's why it's that much more evil.

A lot of "trad" losers believe masturbation is from Satan because their schema for understanding the world can't accommodate the idea of something that gives you pleasure for "free," without hurting someone else or hurting you. For that pleasure to be "given" to you, it has to be "taken" from somewhere else (your soul or whatever)

It also works in reverse: the more you suffer in the present, through Hard Work or whatever, the more Good you will reap. It's a big reason why war and dying in combat are so romanticized by these people: that kind of Extreme Bad unlocks a level of Good not accessible otherwise (Freedom🎆🇺🇸)

real turd of an ideology all things considered

[gulnarsultan]

Yandere the borgias family with innocent reader

Yandere Borgia family and innocent reader.

The reader's financial situation and status do not matter to the Borgia family. It doesn't matter how you met them. What matters is that you are now a part of their family. So there is no way back now.

》 Protective/ possessive/ jealous/ manipulative/ violent/ 《

◇Pope Alexander vi /Rodrigo Borgia.

Head of the Borgia family. He is ruthless, ambitious and extremely devoted to his family. Bringing power, influence and wealth to the Borgia family are the most important principles for Rodrigo. Shortly after meeting you, Rodrigo sees you as his second daughter. So now for Rodrigo you are his sweet and innocent Princess. Rodrigo has a say in all decisions about your life. He wants the best for you. He is protective of you because of your innocent nature. He believes that an innocent like you cannot survive in such a world. Rodrigo will ensure that you live a life worthy of a Princess.

◇Vanozza dei Catannei.

For Vanozza, you are now her child and second daughter. She is very determined to be your confidant and advisor. She tries to help you in everything. She is protective and possessive about your innocence. She will not allow anyone to defile you. It will allow you to have the most expensive jewelry and dresses. Mother and daughter moments with you are very precious to Vanozza.

◇Cesare Borgia.

To Cesare, you are his innocent little sister. There is no limit to the abominations and cruelties he will do to you. It is very severe against the smallest mistakes made against you. Cesare will do anything for his family. So there is nothing that you cannot do. Even if he is a brash and arrogant man, this changes when he is with you. He maintains his image as the perfect man and the great older brother when he is with you.

◇ Lucrezia Borgia.

Lucrezia has always dreamed of having a sister. You are now her little sister. She is possessive and protective of your innocent nature. To Lucrezia, you are pure sunshine. Chatting with you, trying on new dresses and jewelry, and walking around together are her favorite activities. Lucrezia supports you in everything. She shares all her secrets and fears with you.

◇Juan Borgia.

Juan is not exactly close with his other siblings. But the only exception is you. Juan is improving his skills in combat so he can protect you better. He rarely visits taverns and brothels anymore. He doesn't want to spoil his image and innocence in your eyes. He fights a lot about you, especially with his brother. There will be a great rivalry between him and his brother.

◇ Giulia Farnese.

Giulia sees you as the daughter she never had. She's always fighting with Vanozza to mother you. In Giulia's eyes, you are an innocent girl. That's why the instinct to protect you is so strong. She never gets tired of buying you lots of gifts. The competitive battle with Vanozza never ends. However, both of them do not hesitate to work together for your good.

[vinyls-and-valentines]

The most noticeable thing that changes about the Fabulous Killjoys is the way they fight.

Fun Ghoul, although blessed with a knack for chemistry and mechanics, has unsteady hands. While this does not impede his work with electronics and explosives, it makes him a slower shot than most due to a shaky aim worsened by recoil. Because of this, in his early days in the Zones, Fun Ghoul relied primarily on incendiary devices and his own physical abilities to dispose of opponents in an area all at once. The downside of having a combat style based around such tactics however, is that it meshes poorly with the mid-to-close-range the Fabulous Killjoys have developed over the years (in no small part due to Kobra Kid), and thus led Fun Ghoul towards a style focused more on dodging hits and making decisive point blank shots or further sacrificing accuracy for the sake covering a wider area.

Jet Star, is the opposite of Fun Ghoul, in the sense that he has exceedingly steady aim born out of years of practice and a greater-than-life sense of competition, but can struggle to move effectively due to his size. As such, it perhaps comes to no surprise that Jet Star used to prefer long-range fighting, neglecting close-range in favour of playing up the fear factor of both his skill and affiliation with some of the Zones' most infamous snipers and gunslingers. That doesn't mean that he was useless in a close-range fight, of course, however his movements were simple, predictable, and incredibly limited, which put him at a disadvantage against anyone with more experience or endurance than him. Jet Star's current style hasn't as much shifted in order to accommodate the others' as it evolved alongside Jet Star as he learnt to direct his body as deliberately as his shots even when it comes to close quarters.

Party Poison has always been a flexible fighter, and it is this very adaptability which highlights just how purposeful their attacks truly are. In the grand scheme of things, nothing fundamentally changes about Party Poison's fighting style outside some improvements in their aim and the variety of their movement as they learn to fight alongside other people, however, the intent with which they fight does. As a young killjoy, whether consciously or not, Party Poison's intent in a fight was to always harm the oponent, prioritizing ways in which they could incapacitate them without having them lose consciousness or simply inflicting as painful an injury as possible to attain their goal. This intent then gradually shifts towards a desire to protect others from the cruelty Poison's own fighting style reflected back at the world because despite the cruelty of their actions they had never done it because they enjoyed it.

As candidate to become an exterminator, Kobra Kid's fighting style used to something akin a swiss knife, however much more calculated and deliberate. While trying to figure out its way through the Zones, Kobra Kid relied on any weapon available to it, going through a wide variety of combat and more often than not pushing aside his distaste for blasters in favour of having a weapon which was effective and easy to replace. Having Jet Star, Fun Ghoul, and even its sibling by its side, allowed Kobra Kid to focus on its unarmed combat and blade-wielding, casting long-range combat aside in favour of a style which gave it better control over the situation, enabling it not only to easily dispose of opposing combatants due to its athleticism, but to also support its crewmates in situations where long-range combat is the favourable approach

[my-hyperfixation-hell]

Katara belonged in the final Agni Kai

I was thinking about ATLA again, particularly about the common fandom complaint I hear that Katara was out of place in the last Agni Kai, and it should have been about exclusively Zuko and Azula, or that because Katara technically finished the fight, Zuko doesn't "count" as Firelord; he never won.

But I think that Zuko and Katara winning it together is actually crucial for not only Katara, but Zuko as well.

Let's start with Zuko by examining what the Agni Kai is to begin with. We've seen Zuko engage in two Agni Kais before; against Admiral Zhao, and of course, Firelord Ozai. The notion of an Agni Kai in theory is to prove one's honor.

In practice, it has been used as a means of displaying your power over someone else through firebending. Ozai overpowers Zuko, and Zhao intended to do so over Zuko, but failed.

It's reflective of Fire Nation society as a whole, and the way that displays of power and force have become more valued than actual honor. This is the lesson Zuko has to learn, too; no one can give him honor or take it away, especially not through violence. He cannot earn his honor back through acts of violence, either.

The final Agni Kai, for Azula, was once again about power. Her goal was to overpower Zuko and force him to yield. Zuko's goal was different, he wanted to save the world, and fighting was the way to do so.

Another issue Zuko had to overcome was not allowing others to help him. He rejects help at every turn in the past, most notably from Iroh and Katara, back in Ba Sing Se, when she was sympathetic towards him but he still chose to side with Azula.

Additionally, I'd like to point out the episode where Zuko's crew finds him irritating and self centered, and Iroh explains his backstory to them. Then, Zuko makes the decision to save a crewmate, earning respect for the first time through genuine means.

Lastly, remember why Iroh taught Zuko to redirect lightning to begin with; lightning bending is symbolic of the Fire Nation royal family's abuse. It's a protected secret, a display of force and firebending prodigy. Iroh teaches Zuko to deflect his father's abuse in a very literal sense.

Now, tie all this in to WHY Katara steps in; when Azula lightning bends Katara, Zuko takes the shot for her.

Zuko, the Fire Nation prince, takes the shot from Katara, the last bender of the Southern Water Tribe, one of the areas most impacted by the Fire Nation's cruelty.

This is reflective of Zuko choosing above winning, above the misguided beliefs his family had about what honor is, to protect his friends, his chosen family, and the rest of the world from what the Fire Nation is doing.

By becoming Firelord not by the rules of the Agni Kai, but through the help of a friend, Zuko breaks the cycle of violence that it represents.

Now, onto Katara. This is the finale, the final fight, and it lets Katara shine, too. Remember, here she is, the last Southern Water Tribe bender, putting an end to the rule that had hurt her people.

I don't think bearing that in mind it's any question whether or not Katara deserves to be there.

But it's more than that. Being present at the final Agni Kai lets Katara shine both as a master bender in combat, and as a healer, two skills that she worked hard to grow over the series.

When Zuko says he's going to fight Azula alone, Katara initially protests, pointing out the intention from the beginning was to get help from Katara. Zuko changes his mind because he believes he can do it alone, seeing Azula isn't at her best, and Katara ends up respecting his decision, until the chips are down.

Like Zuko made the split second decision to save her, Katara then saves him, first by beating Azula in a remarkably clever way. The freezing-the-water-around-them trick was a brilliant stroke of creative thinking for her.

Then, after the fight is over, she begins to heal Zuko from a BLAST OF LIGHTNING TO THE CHEST. Iroh made it very clear how dangerous that was when he instructed Zuko to redirect lightning. Always through the stomach, never through the heart.

Zuko isn't 100% healed, as evidenced by him still being in pain during his coronation, but even being alive at all is pretty miraculous by that point.

She shows that she is a waterbending master both in combat and healing.

And more than that, think about what it means for Zuko and Katara as friends. Katara is the last to accept Zuko into the Gaang, because she is not as ready to forgive as, say, Aang, or like Toph who wasn't there when Zuko was the gaang's main threat and had her talk with Iroh.

When she and Zuko do bond, it's over grief for their mothers, and, I think, the fact that Katara can finally recognize Zuko the way she started to see him in Ba Sing Se; as someone else the Fire Nation has hurt.

Zuko, on the other hand, disregards Katara quite a bit during the earlier seasons, as he does Sokka. His focus is primarily on Aang and capturing the Avatar, and I think he falls short of seeing her for the powerful bender she is.

But when it comes down to fighting Azula? Zuko didn't think he could do it alone until he saw her slipping. Katara was the one by Zuko's side. The one who perhaps best understands and shares in his pain, as he understands and shares in hers, after they bonded going after Katara's mom's killer.

She, too, was hurt by the Fire Nation, lost her mother to them.

And the focus of that episode entirely! Katara wanted revenge, she wanted to kill for her mother. Zuko was ready to support her in that (and ironically going back to my earlier point about how Zuko used to disregard Katara and Sokka, being focused on Aang, it was definitely one of those moments where he realized just how strong she was).

Katara bonded with Zuko and healed the part of herself seeking revenge for the ways she'd been wronged at the same time. Their stories of grief are intertwined and I think that's beautiful.

Really, what better character to participate in the Final Agni Kai?

My last point is this; ATLA from the very beginning stresses co-existence and harmony, balance. The Fire Nation waging war upset this balance.

I think a water bender helping restore power into better hands in the Fire Nation fits in with this idea of balance and harmony, with the nations working together rather than against one another, or an "every nation for themselves" alternative.

So, basically, TL:DR; Katara belonged in the final Agni Kai, and her helping Zuko win does not make it any less of a victory for Zuko.

[paragonrobits]

so one thing i've thought about before is how in AtLA, bending without any apparent effort, doing it casually or performing noticable feats of bending with very small movements (and in a similar way, doing it with apparent effortlessness) are all feats of the most powerful and skilled characters.

We see this most prominently with Bumi and Aang; Bumi is the first Earthbender we see fighting extensively, so its technically a misleading impression because a lot of what he does is directly contrary to regular Earthbending; he moves a LOT more, for one, and he famously bends with his face. this is notable because other benders, even those approaching his power, make use of powerful movements that are very showy and easy to see. Besides the fact that a lot of Bumi's feats feel like he's taken inspiration from Airbending in terms of technique, he is so powerful and skilled that only Toph approaches him, and she still doesn't do quite as much as he does with tiny movements. (and to be fair, Bumi is a master that's over a hundred years old, while Toph is 12 or 13, and has learned most of her practical skills either in solitude with the badger-moles or fighting in the ring; arguably a lot of her skills in less combat-centered stuff or finer details in Earthbending philosophy are learned more gradually on the road, and we DO see her doing subtle things like pulling metal around herself in a single movement, making her a very noticable example of this phenomenon.)

However, this begs a question; what does this say about Ozai?

He is very explicitly stated to be the most powerful Firebender in the world; he is very much not the wisest, nor does he really seem able to understand the fine details in Firebending or the control required; both Zuko and Azula perform feats he doesn't seem interested in doing at all, or learning, whether from Azula's fine precision allowing her to produce intensely burning blue fires, or Zuko's skill in doing stuff like manipulating existing fire with less effort and same results as producing it himself.

Its hard to get a grasp on his actual skills because we only see him Firebending a few times (one off-screen when he burns Zuko, another when he generates lightning almost instantly in Day of Black Sun) before the finale, where he is incredibly powerful but explicitly has his power amplified, so the best we can judge is comparing him to other Firebenders who do the same thing. Notably, Iroh seems to outclass him in sheer power (blasting through the walls of Ba Sing Se after a short time to power up, whereas Ozai's fleet fire blasts is not exclusively his doing), and while Ozai can use fire thrust to fly in a limited way that other Firebenders are not shown to do normally, Jeong-Jeong outdoes him here as well by hovering with his flames, achieving true flight and likely indicating a superior grasp on energy conservation, given how Ozai just blasts around, and not doing sustained attacks for the most part.

Bending, in AtLA, at its highest power is closely associated with wisdom and enlightenment. Ozai, on the other hand, is powerful but a staggeringly immature man-child whose vicious cruelty and lust for violence is only equaled by his complete incompetence when it comes to basic common sense. He's cruel, regards all non-compliance as insults on him, and regards his family as furniture whenever they're not actively serving his purposes. He is very much NOT wise.

But we also see him performing this same kind of effortless feat by constantly leaving fires burning in his throne room as a show of power. It's possible that this is standard for Fire Lords in general, or at least has become so since Sozin's time. So what does it say about him that he can do this effortlessly?

The first thought that occurs to me is that in his case, he might have achieved a strange kind of inverse enlightenment in being deliberately blind to anything except his own wants and ambitions. He's deliberately unaware of most things that the genuinely wise care about and can't conceive that he might be wrong or even be unsatisfied. This tracks with his ability to generate lightning, in that its required to be calm of mind, and yet both he and Azula show extreme rage when they feel insulted or have their dignity damaged, which doesn't seem consistent with what lightning bending requires according to Iroh. It might be that both Ozai and Azula, in their general lack of introspection, are superficially calm and are able to use lightning this way, but not as effectively as they MIGHT. A superficial, worldly power that seems mighty but ultimately is a sign of them being chained; a metaphor for everything wrong with the Fire Nation.

(Or in other words, he's achieved a poor man's version of enlightenment by being so goddamn childish and oblivious to any kind of actual insight that he's failed to have a mindset that's counter to Firebending despite lacking the wisdom to do that conventionally and he never noticed.)

The other idea is that the effortlessness he shows is also superficial.

Ozai is a very superficial person; he puts a lot of stock on appearances and doesn't think much about anything past that; by all indications, he was never particularly close to Zuko or showed much interest in him (and its quite likely the same applied to Azula, but his praise of her was interpreted as genuine pride when he honestly couldn't care less the second she was no longer making him look better by proxy), he just wasn't motivated to harm them.

Now, consider the possibility that while he is quite powerful, he's putting on a show to make himself look stronger. He makes it LOOK effortless, but he's going to a lot of trouble to put on a show. Now, this may not be likely (we see him doing a whole lot of powerful attacks in Sozin's Comet without much apparent effort, just a vicious glee) but it also tracks with his character to go to this kind of effort and put in a show just so people don't think he looks less than perfect, which also is a nice parallel to how Azula picked up that attitude.

It also nicely contrasts him against Aang, Iroh, the Air Nomad elders, and other genuinely wise characters who get embarrassed, look ridiculous, have pranks played on them, or get stuck in silly situations and they rarely care or even really acknowledge it. Wisdom, in AtLA, is heavily associated with characters who don't care if they look silly, while its characters like Ozai, Zuko and Azula whose violent defensiveness and hostility towards anyone threatening their pride are specifically framed as unwise, and even childish.

In this regard, Ozai mutilating his child over an act of disrespect by proxy lines up very well with that, and him constantly pushing himself to make a threatening image even when it needlessly tires him and doesn't serve any purpose beyond his own ego or frail fear that someone MIGHT not think he is the most badass thing ever.

[best-underrated-anime]

Best Underrated Anime Group F Round 4: Talentless Nana vs Welcome to Demon School! Iruma-kun

#F6: Talentless Nana (Munou na Nana)

Normal school until stuff happens

#F8: Welcome to Demon School! Iruma-kun (Marimashita! Iruma-kun)

Young boy gets sold to a demon to be his grandson

Details and poll under the cut!

#F6: Talentless Nana (Munou na Nana)

Summary:

Fifty years ago, horrific creatures dubbed as the “enemies of humanity” suddenly appeared around the world. To combat these threats, teenagers gifted with supernatural abilities called “Talents”—such as pyrokinesis and time travel—hone their powers at an academy on a secluded island.

Nanao Nakajima, however, is quite different from the others on the island: he has no Talent. With many “Talented” teenagers around him, Nanao is often a target for bullying, but even so, he still strives to complete his training. Soon after, two transfer students, the mysterious Kyouya Onodera and the mind-reading Nana Hiiragi, join the class. But just as everyone starts blending as comrades-in-arms, mysterious disappearances begin to threaten the class’s entire foundation.

Propaganda:

I’d like to start off by saying that this is NOT a copy of My Hero Academia, even though it sounds as such. It’s kinda hard to explain the show without spoiling a major plot point, but it’s pretty much as the summary says. Honestly, if you want to watch this, don’t look up anything about it—you will get spoiled right away, and it does ruin the experience. I started this without knowing anything about it and I think that’s for the best because it’s plot twist after plot twis,t and you’re not sure what to expect next. That’s honestly something I really liked about it because you don’t know where the story will take you. Anyways, highly recommend because more people should know about this series.

Trigger Warnings:

Child Abuse, Emotional Abuse, Graphic Depictions of Cruelty/Violence/Gore

There’s a Nazi-coded character who does eugenics, and he’s also the reason for the child abuse tw

Sexual assault attempt on main character

Necrophilia (there’s a character who controls another person’s corpse and act like they’re dating)

#F8: Welcome to Demon School! Iruma-kun (Marimashita! Iruma-kun)

Summary:

Fourteen-year-old Iruma Suzuki has been unfortunate all his life, having to work to earn money for his irresponsible parents despite being underage. One day, he finds out that his parents sold him to the demon Sullivan. However, Iruma's worries about what will become of him are soon relieved, for Sullivan merely wants a grandchild, pampering him and making him attend the demon school Babyls.

At first, Iruma tries to keep a low profile in fear of his peers discovering that he is human. Unfortunately, this ends up being more difficult than he expected. It turns out that Sullivan himself is the chairman of the school, and everyone expects him to become the next Demon King!

Iruma immediately finds himself in an outrageous situation when he has to chant a forbidden spell in front of the entire school. With this, Iruma instantly earns a reputation he does not want. Even so, he is bound to be roped into more bizarre circumstances.

Propaganda 1:

The main character, Iruma, is very kind and wholesome, and you really just want to see him succeed throughout the series, especially after knowing everything he’s been through. He was neglected and used by his parents, but now he gets to live out a nice life despite being surrounded by demons, as his new grandfather spoils him. The demon that adopted him, Sullivan, is an extremely powerful figure in the demon realm, but through most of the series, he looks like an egg. The side characters are also well-designed with interesting personalities. The main two, Asmodeus and Clara, become almost inseparable from Iruma after they become friends, and the three of them are very cute together. There is also a canon nonbinary cat person, who is technically Sullivan’s servant, but he is treated as part of the family, and he’s a disaster bisexual.

Propaganda 2:

It’s really good in terms of art, plot, and characters. There’s nonbinary representation in the form of Opera, and there’s friendship galore with very poly undertones. It’s so sweet and good, and it’s just rahhhhh. Everyone is silly but also realistic and well-developed. There are reasonable arcs, and there’s a well mix of plot-driven growth and character-driven plots. I love every person who appears onscreen, even for like two seconds. The world building is lovely and so bright and colorful.

Propaganda 3:

You should vote for it because it is genuinely one of the best animes I’ve ever seen. It has good character development, mysteries, focuses on the cast well, and it is not a harem anime. The plot is also really good and is suitable for all age groups.

Fun fact: the main character crossdresses three times in the first three seasons

Trigger Warnings: Child Abuse (mild)

When reblogging and adding your own propaganda, please tag me @best-underrated-anime so that I’ll be sure to see it.

If you want to criticize one of the shows above to give the one you’re rooting for an advantage, then do so constructively. I do not tolerate groundless hate or slander on this blog. If I catch you doing such a thing in the notes, be it in the tags or reblogs, I will block you.

Know one of the shows above and not satisfied with how it’s presented in this tournament? Just fill up this form with your revisions, and I’ll consider adapting those changes.

New: Starting round 5, screenshots will be included in the poll post. You can submit screenshots through the form linked above, or through here, via ask or dm.

Guidelines in submitting screenshots:

No NSFW or spoilery images.

Pick some good images please. Don’t send any blurry or pixelated ones.

You may send up to 9 screenshots, but not all may be used.

[simplylupin]

Steve Rogers as The Archer

i will never shut up about steve rogers and consequently my mind also never shuts up about him - especially when i'm listening to this song because it's so fundamentally him

so here is my pointless, nonsensical analysis of it

Combat, I'm ready for combat I say I don't want that, but what if I do?

in age of ultron it's mentioned that steve is a man who doesn't know what to do/doesn't know who he is if he's not fighting

in civil war he also says that he wishes when he sees something wrong he "could ignore it". when tony points out that "no he doesn't" steve straight up admits that he doesn't; he craves fighting because it's all he's known

'Cause cruelty wins in the movies I've got a hundred thrown-out speeches I almost said to you

Easy they come, easy they go I jump from the train, I ride off alone

easy they come: everyone flocking to him after he gets the serum

easy they go: him waking up to pretty much everyone from his life gone

i feel like i don't even need to explain the "jump from the train, ride off alone"

I never grew up, it's getting so old Help me hold onto you

"i never grew up, it's getting so old" - he never got to live the life he was supposed to before freezing; he constantly has to readjust to the modern world and practically relearn everything

he's grasping for the opportunity to have someone he can rely on because of this

I've been the archer I've been the prey Who could ever leave me, darling? But who could stay?

kind of self-explanatory but he's been both the hunter and the hunted in his life

"who could leave me/who could stay"; the idea of who could ever leave captain america because he's captain america, but nobody actually stays in the end for him

And I cut off my nose just to spite my face Then I hate my reflection for years and years

i mostly associate this bit with civil war simply because of the cutting of my nose to spit my face phrase; it means to disadvantage oneself through a wilful attempt to gain an advantage or assert oneself

whilst i don't think steve regretted the decisions he made in civil war, i think there must've been some regret about how he went about doing it and how it affected him and his relationships

like he was on the run/in hiding for two years essentially because of his choices soooo

I wake in the night, I pace like a ghost The room is on fire, invisible smoke

this isn't really anything crazy but i always think about the scene in tfa when him and bucky are escaping hydra and the whole place is on fire and he has to jump over it yknow?

And all of my heroes die all alone Help me hold onto you

"my heroes" aka "my friends"

'Cause they see right through me They see right through me They see right through Can you see right through me?

They see right through They see right through me

I see right through me I see right through me

i feel like his character is one that has the constant anxiety of having to prove himself; all his physical abilities and what others deem as useful in combat came from the serum - there's the thought of having to show that he's worthy of it, that he was the right decision etc etc

he also canonically has a lot of guilt for things that've happened eg bucky's 'death' - we're are own worst critics so this paired with the want to be worthy must've felt like a thousand eyes watching for him to make a mistake again

'Cause all of my enemies started out friends Help me hold onto you

i think of both bucky and tony with this line tbh

neither of them are really his 'enemies' at all but

[askzloyxp]

Fun question: which hermits could you beat in a fight? (Both playing fair and playing dirty)

So going off vibes and vibes only, I think it really depends on what kind of a fight we're talking. If we're going off in-game PVP, I would lose every time, against any of them. I am just that bad. If we're talking IRL hand-to-hand combat, I would also lose to any hermitcraft member, current or former, with the exception of I think Keralis but only because I don't think he would want to hurt someone this young and handsome, yet if forced to, he will still annihilate me. IMPORTANT NOTE HERE IS, that I would absolutely bring my switchblade. And I would still lose, just with a switchblade.

There is however a scenario when I win EVERY. SINGLE. TIME. And that would be the in-game, on-server, full-video prank war. There is not a hermit I couldn't take and butally out-prank, even in the eyes of their own fanbase. No matter the block- or timeconstraints. The only, THE ONLY exception is not even an exception, but a mild caveat, is ZombieCleo. While I would still outprank her eventually, our battle of shenanigans - though I wouls still triumph at the end, getting her to audibly admit defeat, which there is actually a precedent for - would be such a close fight, that in the process it would destroy the world it's taking place in. I would still overcome and come out victorious, but there would be none to witness my greatest moment for I would have goofed everyone in my life away with my blocky buffoonery, and the cruelty of my clownage would have gotten so extreme, the people in my life would have long ago quit in disgust or fallen inevitable victim of.

I wouldn't care. The outcome would be worth it. Also she would totally kick my ass IRL for real, I'm not even being funny.

[inbabylontheywept]

On Palestine

The Israel-Palestine conflict is not complicated. People will try to make it look complicated in the hopes that you will be intimidated and back away without study, but the truth is simple and can be presented simply.

Israel has full control over Palestine's borders - and among the list of things they've banned from import is rebar, concrete, water pipe, and a significant number of consumer electronics.

They say it's because these things can be used for war. They can. But so can rations, clean water, clothes, and air. Banning these is not a military action - it is cruelty. And in the case of Israel, the goal is to make destruction a one way ratchet. Every building that is bombed, every road that breaks, every pipe that bursts - they cannot be fixed. Palestine cannot get better. It can only rot. And when it does not rot fast enough, it is broken.

The people of Palestine know this. It's obvious. If you as an American don't talk about it, you'll get Ben Shapiro and his ilk all but bragging about it.

If you do talk about it, they'll accuse you of conspiracy. Demand to see credible sources - hoping that you'll forget that foreign journalists are illegal in Palestine as concrete, rebar, and water pipes.

I will not justify the crimes of Hamas. What they have done is unforgivable. But something like Hamas only happens when goading an entire civilization into becoming their worst selves. By condemning them to death by decay, then pointing and laughing. By cruelties beyond imagination.

Imagine being in this situation. Imagine that your water is not clean because a bomb hit your street twenty years and cracked both your sewage line and your water main. Now they leak and mingle. It stinks and you smell it. You see a hospital bombed, and the tragedy isn't just the people in the building - It's the fact that you can't build another. It's just gone. Everything that is taken from you is just gone. And as if that wasn't enough, your tormentors laugh at you. Mock you. Call you a savage that likes to like in open sewage. Call you an idiot that doesn't know how to build hospitals. Call you a zealot for the rage you feel when they shit on your prayer rug. A liar, because every crime you report remains unconfirmed, even as they lock the people who could confirm it out.

It would be very tempting to become a monster. And Israel banks on that too. They want more members in Hamas. It was Israel that raised the organization to such heights. And they did so because it justifies everything they do. Its mere presence in the region does wonders in delegitimizing the dream of a Palestinian state. Its violence is what gives Israel the thin veneer self defense. Hamas gets more members every time Israel drops a bomb, but Israel claims it needs more bombs to deal with the rise of Hamas. This cycle is not an accident. And with self reported casualty ratios of 2 civilians per 1 combatant, all Israel is really waiting for is 1/3 of the region to join. (Although human rights orgs have said the ratio is more like to 9 to 1.)

The world has spent decades watching a slow motion genocide. Now, it's not even slow. There are many things you can do to help Palestine, but the cheapest, easiest, and most effective actions are political. One man spending a day making bombs can undo the work of a hundred men spending a year laying brick. If all you do is keep track of the Zionists and make sure not to vote for them, you'll have done more than enough.

(And thanks for reading.)

[thecreaturecodex]

Sartan

Still from Return of Ultraman accessed at the Ultraman Wiki here

[I am coming to the Ultra franchise pretty much cold, and am watching it in isolation from its fandom except for my girlfriend @abominationimperatrix. One of the things that I gather from her is that the monsters that stand out to me from these series are rarely fandom favorites. Like, I'm not planning on statting up Black King or Gudon or Twintail from Return of Ultraman... but this ratty anthro Snuffleupagus was immediately on my list. Part of that is how grody and gross he looks. Part of it is he has an interesting power set, one that led to my conception of the flavor text. It seems that Tsubaraya Studios thought the idea of a ninja elephant was worth exploring long before it was a joke on RPG.net about D&D 3.0's skill system]

Sartan CR 17 CE Monstrous Humanoid This creature is as tall as a building. Its features are lumpy and misshapen, with bulging eyes and sparse, bristly hair growing from its head. It has a long, elephant-like trunk, clawed hands, and a short tail.

A sartan is an interplanetary thrill killer. They travel from world to world, using their powers of invisibility to spy on people and learn who their heroes are. They then seek these heroes out and kill them for no reason other than to challenge their abilities and to cause other people emotional suffering. Sartans are cruel and enjoy collateral damage in these assassination attempts. Some powerful entities attempt to hire sartans to work for them as assassins, but sartans care little for money. Only if a target interests them, or if the employer resorts to charm spells, will they take on one of these jobs.

A sartan usually only enters combat if it suits them, whether because they have found their target, they want to lure that target into the open, or if they just feel like committing some cruelty for fun. Their supernatural abilities are mostly defensive—a sartan is invisible unless it chooses to appear, or is actively locked in combat. They can become incorporeal, which they often do in order to have mundane weapons pass right through them. When it comes to actual violence, however, sartans do it the old-fashioned way, by getting their claws bloody or grabbing a foe with their trunks and squeezing it to death. Sartans value their own hides too strongly to fight to the death. They will usually attempt to flee a losing battle, but may come back for a rematch on their own terms. 

Sartan  CR 17 XP 102,400 CE Colossal monstrous humanoid Init +13; Senses darkvision 120 ft., Perception +24, scent, see invisibility

Defense AC 32, touch 12, flat-footed 32 (-8 size, +9 Dex, +1 dodge, +20 natural) hp 261 (18d10+162) Fort +15, Ref +20, Will +14 DR 15/magic; Resist electricity 20, fire 20 Defensive Abilities evasion, ghost form, natural invisibility, uncanny dodge

Offense Speed 60 ft. Melee 2 claws +23 (2d8+13/19-20), slam +23 (4d6+13 plus grab) Space 30 ft.; Reach 30 ft. Special Attacks constrict (4d6+19), leap attack, strangle, studied target (+4, swift action, up to 4 targets) Spell-like Abilities CL 18th, concentration +22 Constant—comprehend languages, see invisibility 1/day—find the path

Statistics Str 36, Dex 28, Con 29, Int 11, Wis 17, Cha 18 Base Atk +18; CMB +39 (+43 grapple and sunder); CMD 59 (61 vs. sunder) Feats Dodge, Greater Sunder, Improved Critical (claw), Improved Initiative, Improved Sunder, Mobility, Power Attack, Skill Focus (Stealth), Spring Attack Skills Acrobatics +27 (+39 when jumping), Perception +24, Stealth +28, Survival +24; Racial Modifiers +8 Stealth Languages Aklo SQ meteoric starflight

Ecology Environment any land Organization solitary Treasure standard

Special Abilities Ghost Form (Su) A sartan can become incorporeal as a swift action. In this form, it loses its natural armor but gains a deflection bonus to Armor Class and CMD equal to its Charisma modifier. It cannot make attacks in this form, but does gain a fly speed equal to twice its land speed with perfect maneuverability. It can resume corporeality as a free action. A sartan can remain incorporeal for a number of minutes up to its Hit Dice in a day. Leap Attack (Su) As a full round action, a sartan can launch itself an impossible distance, traveling up to 1000 feet in a single bound. This movement can be vertical or horizontal, and the sartan lands on its feet unharmed regardless of the height it travels. It can make a single melee attack against an opponent in its reach during any part of this movement. A sartan can use this ability once every 1d4 rounds. Meteoric Starflight (Su) Over the course of 1 minute, a sartan can turn itself into a Medium sized hovering rock-like object, then blast itself into space. In this meteoric form, it has hardness 8, can make no attacks, and requires no food, water or air. In this form, it can fly at a speed of 300 ft. with perfect maneuverability, and can survive in the void of outer space and fly with incredible speed. Although exact travel times vary, a trip within a single solar system should take 3d20 hours, while a trip beyond should take 3d20 days (or more, at the GM’s discretion)—provided the sartan knows the way to its destination. Natural Invisibility (Su) A sartan can become invisible or visible as a move action. Its invisibility is broken when it attacks. Strangle (Ex) Due to its enormous size, a sartan can only strangle when it is grappling an opponent of Huge or larger size. Studied Target (Ex) A sartan gains the studied target ability of a slayer with a level equal to its Hit Dice. It does not gain other slayer class abilities, such as sneak attack or slayer talents, unless it takes levels in the slayer class.

[minimujina]

𝑑𝑜𝑐𝑖𝑙𝑒 𝑑𝑎𝑟𝑙𝑖𝑛𝑔

ᴄᴏɴᴛᴇɴᴛ. scaramouche drabble :)

ᴛᴡ. none, just cute fluff. use of scara’s real name

ᴀ/ɴ. i haven’t done the sumeru archon quest yet because i’ve kept procrastinating so i apologize if any of this is lore inaccurate </3 i mean it’s not really got anything to do with lore, i just wanted to write something soft for scara, but i figured i’d say this anyways kjglfkjfl

↳ scaramouche hates it when u do that thing

↳ u know.. that thing

↳ that thing where u are cute all the time and make him feel things. he hates that.

↳ how dare you have the audacity to be that amiable to an infamous fatui harbinger such as himself. how dare you!!

↳ he hates that he wants to protect you. like all the time. it’s like he has a new 6th sense for smelling potential danger. but like

↳ only for u

↳ he’d put himself at great risk if it meant you were safe

↳ i mean,, he’d also put himself at great risk because goddamn it he’s angry at the world and he just wants to kill things

↳ but. same thing

↳ yeah he couldnt give two flying fucks about anyone else. only u. turns out you are his darling whether u like it or not cause he just can’t stand how much he likes you and therefore he’s obligated to keep you around. or whatever

↳ will call u dumb and then immediately feel bad when he sees that you’re about to cry lol

↳ he learns with time that he kinda has to actually be gentle with you. ugh

↳ (but he actually grows to like it) (he comes to the point where he’s okay with being gentle and it comes naturally around you)

↳ comes home from yelling at his subordinates and collapses in ur arms while you pet his hair and hold him close bc god nothing feels better than your touch reassuring him that he’s loved by at least one person. doesn’t matter if the rest of the world wants him dead—knowing you care so much about this wretched, empty heart of his that you would hold him so tenderly is enough for him.

↳ at first he hates kisses. hates all forms of pda and kinda affection in general

↳ but as he grows more confident in his love for you and your love for him, he starts displaying it more

↳ will actually kiss your hand🥺

↳ even in front of his subordinates, he’ll greet you by taking your little palm in his own and bringing it to his lips, always always making sure to prolong eye contact because he knows how much it flusters you :)

↳ cue a bunch of fatui agents sniffling and clutching their chests bc holy shit scaramouche is soft for someone

↳ treats you like a princess. really does. he comes to hold you in the highest regard—he always did, really, but he was simply too embarrassed to admit it (even to himself).

↳ some of the fatui agents end up voicing their surprise that scaramouche keeps you around—they wouldn’t think someone so docile and plain would catch the eye of-

↳ thud. scaramouche’s vision crackles with electro energy, his hands clenched, while the underling who had run her mouth lay writhing on the cold, hard floor.

↳ “let it be known that the sole reason you remain alive right now is because my darling would disapprove of me ending your life,” the harbinger threatens, while the other underlings rush to aid the woman blasted off her feet.

↳ yeah,, he does not tolerate any gossip about the love of his life.

↳ yes, you were docile. so docile, in fact, that you were able to combat the violence erupting from scaramouche with a simple frown, reminding him that excessive cruelty was not the way to win your heart. and so he would change his ways gradually, allowing himself to give what the other fatui agents called “grace”, a grace which they’d never received from this ruthless man before.

↳ but plain? no. you were anything but. and scaramouche would defend your honor with all that he had—how dare those vermin call his darling plain. every day, scaramouche looked you in the eyes and found remarkable beauty, hidden affections, truths folded like a blanket, and universes. he saw universes in your eyes. so scaramouche found it almost offensive that the agents would dare to suggest you were anything but special—he knew you to be a precious gem full of universes. they didn’t understand you like he did; they could never appreciate you like he did.

↳ scaramouche becomes convinced that there is no one more worthy of respect than you, and he’s not ashamed to tell you so. when you shy away from his praises, he’ll grab your chin between his thumb and forefinger, guiding you to look at him so you have no choice but to pay attention.

↳ when you sheepishly avert your gaze, he murmurs, “eye contact, darling—we talked about this,” observing your plush, trembling lips and flushed cheeks. his thumb grazes over your bottom lip so softly, so gently, something you didn’t know he was capable of. and the kiss that follows somehow manages to be all the more tender.

↳ pulling away with a whimper, you quip, “i would hardly call this respect, kuni.”

↳ scaramouche grins, and for the first time you see something akin to joy in his gaze. “well, darling, perhaps you could just think of it as adoration. same thing, no?”

↳ your giggle rings in his ears like the clinking of glass—“sure, kuni. alright.” and you’re forced to let go of any further thought as he swoops in for another kiss.

↳ meanwhile, childe is watching from somewhere nearby, clutching at his chest dramatically while dottore smacks him in an attempt to get him to shut the fuck up. nobody gets caught spying on scaramouche and comes out alive.

↳ childe just can’t help it, though!! this is his comrade, his rival friend, finally experiencing love for another person!! if it hadn’t been for scaramouche’s quick steal, childe quite frankly would’ve taken you for himself—not that scaramouche would ever have to know that, of course. :) you were a gem childe regretted letting slip through his fingers, but it did bring him solace to know that scaramouche was actually treating you right. he could live with it as long as you were happy.

𝑡ℎ𝑎𝑛𝑘 𝑦𝑜𝑢 𝑓𝑜𝑟 𝑟𝑒𝑎𝑑𝑖𝑛𝑔 ! ఌ