#finding similarities between lore has been fun

[acircusfullofdemons]

someone get me out of the kitchen im cooking the worst crossover known to man

[tagidearte-spam-sb]

The Daycare Attendant and Their Dialogue

A little ramble on some of the things I've noticed about their ways of speaking. This post ended up being predominantly about how they refer to one another. Most of this is speculation mixed in with my own views on them and their relationship, without discarding some other possible alternatives (for instance, although I do view them as two AIs that heavily rely on each other to function properly, I do not cast aside the interpretation that they are the same person).

(note: although I have played SB and Ruin, I did not play HW2 myself. All I know about that game has been through let's plays).

Sun is, obviously, the chattier of the two. Not only are his sentences longer, he speaks more of them in a row than Moon does - in fact, we only see Moon going on and on in Ruin (which we will discuss later).

Both of them use a lot of repetitions when speaking. From their infamous "clean up, clean up" line, to Sun's panicked "you like glitter glue? I have glitter glue!" and "light's on! Light's on! Keep the generators on!", to Moon's "hidey hide, hide away" and "bad children must be punished. Bad children must be found", "knock knock", etc. One of the first things Eclipse says is also a repetition ("warning, warning"). They appear to occasionally rhyme their words too, or at the very least use similar sounds in their sentences. This is a robot that works with young children, so it's not surprising.

On that same vein, their main insult to misbehaving children (and employees... or at least Cassie's dad) is also a repetition: "naughty, naughty" (which turns into "naughty boy" for Gregory), "rulebreaker, rulebreaker", and "bad kid, bad kid". In fact, it appears they repeat words more often when they're mad/stressed (Sun's no no nos, Moon freaking out in Ruin). Taking into account they get mad pretty easily when things don't go their way, it's not surprising we hear it so often, but it's neat.

Although both of them speak in an almost song like manner, with Sun's run on sentences flowing well between one another, Moon is the one where this is more evident due to how much shorter his lines are.

Moon is also the one who speaks in a more childish manner. Not only are his phrases shorter, he doesn't articulate them as much as Sun does, and seems to prefer shorter words and sounds, especially giggles. This makes Sun appear more developed. Key word being appear.

Sun tends to speak as if he's entertaining a crowd, doing his best to keep the attention on himself while trying to keep it fun. This is most evident in his level explanation parts in HW2, but it's also clear in SB. In Ruin, this is absent for... obvious reasons.

Both of them are somehow direct in their way of giving orders/saying what they want to do. When they can't be direct, they find workaround truths in order to conceal what they truly want to say, while keeping the main order clear (such as Sun saying the player will hurt their eyes if they work in the dark and ordering them to keep the lights on, rather than saying Moon will kill them so keep that room bright. Direct, but nicer).

Not at all important to FNAF speech lore but I think it's funny: Sun says the infamous Vanny line during the daycare intro section. "Are you having fun yet? (Are ya, are ya?)". 0.5 seconds after Gregory just stands there, which coincidentally is what Vanny does 0.5 seconds after Gregory gets into a vent (numbers exaggerated). I don't know. I just think it's funny. Replaying the daycare section after hearing Vanny yapping that line non stop gave me flashbacks.

The way they refer to each other and the pronouns they use are an entire thing, so let me separate it in two parts.

So that this post doesn't become scrolling hell on the tags, I'll keep it below the read more line:

Sun

Sun is the one who refers to himself the most. He frequently uses "I" or "me" when talking about himself, and does it way more often than Moon. Examples of this are "I have glitter glue!", "I'm stuck in a nap", "it really speaks to me", "I feel dumber just looking at it" - you get the point by now. The reason I'm going hard on this point is to contrast his way of speaking to Moon's.

When it comes to him referring to Moon, we only ever hear it twice. In HW2 he says "He'll wake up if the lights go out!". In Ruin, he says "Not me, the other me!". Besides those two voice lines, he merely alludes to Moon without ever mentioning him by name or by pronouns (such as when he says he'll turn the lights off himself, implying he'll let Moon deal with you, or when he says you can't work in the dark and instead of saying the real reason as to why, he cuts himself and goes "You'll- hurt your eyes if you work in the dark").

This is interesting for two reasons: one, we only see him directly mention his counterpart when he's in a ruined state (the HW2 voice line comes from the mask off section, when they're broken down. At least I think so); two, he simultaneously views Moon as separate from himself ("he'll wake up") and as a part of himself/another side of himself ("the other me"). You can take that as them really being the same "person", or as a reflection of their complicated body sharing situation. Take it as you will.

As far as referring to himself and Moon at the same time, he only does it in Ruin when he states "We need to be whole".

Moon

The way Moon structures his sentences means that he seldomly actually refers to himself directly. For instance, he doesn't say "I will find you" or "I will punish you", putting himself as the subject of the sentence. Instead, he puts others as the subject, wording it as "Bad children must be found" and "Bad children must be punished". This is consistent across all of his voice lines except one... Well, technically two.

To get it out of the way: there's a deleted voice line where he says "I'm putting you in time out", a line he and Sun share and which worked the same way the clean up one does - them saying the same thing, a push towards them being the same person ordeal.

The only in-game time he refers to himself directly is in Ruin. This line is also the only time he refers to both himself and Sun as a duo. This line is also the longest line of dialogue Moon has.

"(groaning noises) Naughty! Naughty! Make it stop! The light makes us hurt! Grind Grind! Grinding gears inside my head! We can't move. Error! Error!"

This line, much like Sun's, is interesting for various reasons. Even though Sun is no longer with him (being stuck in the VR world and separate from Moon, shown by how Moon can't move because the lights are on but his body can't shift into Sun, so he's completely stuck), he first refers to himself as a "us" - adding Sun into the mix. Then he refers to himself alone, "my head" instead of "ours", before going right back to a plural.

We can assume one of three things here: one, Moon refers to himself as a we more often, adding Sun into the mix, a complete opposite of his counterpart who typically speaks in singulars; or two, Sun is not as absent as he appears and in that moment he is in fact with Moon, just stuck on the passenger sit, hurting alongside him; or three, this is merely an effect of this being in the Ruin DLC where the whole point of the daycare section is to fuse Sun and Moon into the Eclipse, so the writers decided to bring the point home further. If you have more options, feel free to add them.

Side note: This voiceline also shows Moon's speaking patterns pretty well. Putting "the light" as the subject instead of "we/I", the rhyming, the repetition, the clipped sentences compared to Sun's endless ones, the noises, the scratchiness, the vague childlike mannerism... All ending with "we can't move", way more straight to the point, said right before he freezes up, which deviates from the "other subject first then me" rule due to the pain tearing through him at the moment.

Moon does not call Sun "the other me" or anything similar in any of the games. He never refers to Sun as if he too was Sun. However, we can assume his view on their situation probably mirrors Sun's - being in the same body and all -, so take it as you will.

And as for Moon referring to Sun as a separate individual... He does not refer to him as a "he". Instead, he actually mentions his counterpart by name, saying "No more Sun". Meaning he's the only one of the the two that has canonically used his other side's name. I think it's interesting how the least chatty one is the one actually calling the other by name and not the other way around. And yes, you can say it's a way of speaking and he's referring to the concept of the sun rather than saying his name, but taking into consideration Sun never utters the word moon, I'd say it's still quite a big thing.

In my headcanon land, due to the happenings at the Pizzaplex, Sun is probably too embarrassed and mortified to even mention Moon. Moon, on the other hand, has no reason to have such troubles besides hating Sun for (in his perspective) keeping him locked in a prison of light. So for me, it makes sense we never see Sun saying Moon's name, and it makes it more impactful when he actually acknowledges Moon as the other me rather than a he.

Eclipse

I lied there's three parts.

Eclipse has very few voice lines. The only one that matters here is "We need to clean this place up before we can open in the morning." This is pretty straight to the point: Eclipse, unlike Sun and Moon, doesn't use an "I". They immediately speak in the plural. They do not view themselves as just Eclipse, but rather as both Sun and Moon combined, at the same time.

As for the DCA being two AIs or one... in Ruin, Sun thanks Cassie after Eclipse is activated. It's left ambiguous. You can say Sun speaking afterwards proves they're not one and the same, "with the Sun and Moon AIs still running separately somehow", or you can assume Eclipse existing doesn't mean Sun and Moon can't keep doing their thing under safe mode, albeit in a less chaotic manner, allowing Sun's voice to come through but not making him any less Moon - he is Moon, he is Sun, and they are complicated yet very simple.

I believe in whichever version is more convenient at any given time, with a preference for "two codependent AIs" given what the games show us. Although, going by everything I collected here, the only theory I believe to just not be supported by canon at all is the one with Eclipse as a separate thing all together. Eclipse refers to themselves as a "we', not an "I". Eclipse activates when you make Sun and Moon "whole". It canonically makes no sense for Eclipse to be a third thing. (Please remember this is a post about what's in the games, the canon of FNAF. AUs and fandom or whatever, you do you).

That's it. Hope you enjoyed my rambling. Uh artblog unpaid promotion @tagidearte thank you for making it this far.

[tinyfantasminha]

HIIIII ur oc is so cute i love her 🥺 her dynamic with jamil looks so funny could you elaborate on ur thoughts 👉👈

HAHA... yall yearn for some toxicity...

Recommended to read her OC intro/lore for context

No one knows why or how Vic’s attraction to Jamil began (I mean can you blame her?) At first glance, it might seem hypocritical for someone like Vic, who values raw honesty above all else, to be into someone who constantly hides his true feelings and intentions. But Vic is highly perceptive; she sees through Jamil's polite masks and recognizes the similarities between them. It’s his rare moments of unfiltered honesty (when his sharp tongue slips or his composure cracks) that make her swoon 🥰 On the other hand, when he’s overly polite or uncharacteristically kind, she finds it unsettling and even a little disturbing. It feels insincere and unnatural... ''T-That's not Jamiru...''

Jamil's opinion on her is that she's just a little weird. She reminds him a bit of Ace with her mischievous tendencies, which is precisely why he doesn’t trust her around Kalim. (She has a habit of charming Kalim into giving her “small” sums of money).

Still, while she can be... a little inconvenient sometimes, Jamil doesn't hate her, not at all!! In fact, Jamil would never admit just how much her constant attention and praise inflate his ego. Her enthusiasm for even his smallest successes leaves him secretly flattered, though he’s careful not to show it. He may even take advantage of her willingness to help him when it suits his needs...... she’s too eager to be useful to him for him not to 🤭

Despite his cool demeanor, he isn’t entirely heartless when it comes to her. His attentive nature means he’s quick to notice when she’s in trouble, and he sometimes finds himself worrying about her safety. That said, there’s a darker part of him, a tiny, selfish voice, that sometimes wonders if it’d be easier to just leave her to her fate. For example, if she were kidnapped, (basically the NBC event ig??) his initial instinct would be to rescue her. But then, the little devil on his shoulder might whisper, ''Just leave her. Think of the peace and quiet. No more headaches!'' while his conscience, his inner angel, would protest, ''You’d never forgive yourself if you left her!'' In the end, Jamil almost always listens to the angel, albeit with a heavy sigh and gritted teeth.

overall fun facts

Jamil seems to run into Vic more often than he'd like. While he’s pretty sure she’s not stalking him, the sheer frequency of their encounters feels like a cruel cosmic joke... He detests the way she greets him ''Hi, Jamiru~'' in that same overly sweet, breathless tone every single time.

He’s lost count of how many times he’s been jumpscared by her presence in the Scarabia lounge, usually because Kalim invited her over for dinner. Of course, Kalim never listens to Jamil's constant ''stop interacting with her so much'' speeches.

He now has a double reason to not get near the game board club (🐙🐙🐙)

Ace is quick to notice her blatant favoritism when she comes to watch their basketball matches, complaining that she always cheers for Jamil and not for him. Jamil pretends not to care of course, but we all know he basks in the attention.

[becausegoodheroesdeservekidneys]

Faerie question! What do you think about the relation between their realm and our geography? Your 'white American fae stories' mention reminded me that I was thinking about this a while ago - if someone is interacting with ~fairyland~ from a regular ass non-European continent, is it (Watsonianly!) weird that they are interacting with Welsh-culture faeries? Or is that place decoupled from our land? Conversely, if the supernatural world you access depends on your human world location, does that imply that different cultures' supernatural entities have a similar geographic relationship with each other to human lands? or does it imply that the shape of the fae is downstream of human culture a la Small Gods?

Oh this is FUN and I am going to RAMBLE

So the thing that sort of answers and sort of complicates both of your questions is that Welsh faerie lore and mythology, while having some Venn diagram overlaps, is nonetheless Very Much Different from Irish or Scottish (or indeed English) stuff. It's an interesting one, because while I have increasingly strong Views on the way Welsh faerie lore is used by white American authors who want to write about elves with wings who fuck and think this is the solution, actually a huge chunk of what those authors use - and what Americans in particular more broadly know about faeries - isn't Welsh at all, it's Scottish. Seelie and Unseelie courts, season-based courts, never thanking a faerie to avoid offending them, selkies, the list goes on. None of that is Welsh.

I, as you know, have been writing werewolf erotica, for fun and sport. Set in Wales, of course. I haven't directly included faeries yet, but they've been mentioned, and I know how I'm going to be building that part of my world. And to me, faeries come in different species with a different geographic distribution - if my characters were to approach the Fae in Wales, it would mean entering Annwfn. They would meet very Welsh types of faerie. Welsh rules would apply.

If they were to go to Scotland, they'd be dealing with different types entirely. Seelie and Unseelie would now apply, and not thanking and all that jazz. To speak like an ecologist for a moment lol, it's a question of biogeography.

Soooo, yeah, I find it weird when American fantasy lit describes Celtic fae creatures in America, because to me... surely there's native shit there. Like what is this? Did the Fae colonise with the humans? Has the American Otherworld been invaded and settled? What am I looking at, here? Why is the author ignoring this question? How are there gwyllion in those mountains and what did they displace? Did they follow the people and just naturalise, or are they invasive? Are there gwragedd Annwfn in Lake Superior? How is that working? These are questions I have, but alas, no answers.

(I can allow arguments for Appalachia, given, you know. <same-mountains.jpeg>)

That said, the rules are fuzzy for time/space distortion with entering Annwfn. This is a (relatively) new addition to faerie lore, because once upon a time Annwfn was a place you could just... walk to. It had a geographical location, like Rhyl. You could find it on a map, and that map would tell you it was Somerset, pretty much. But over the centuries, human population density grew; Somerset stops being a place of mystery and starts being the place your flighty cousin ran away to and now grows a cider orchard. The magical realms hidden in thickest forest are demonstrably not there when you cut the forest down and just find a bunch of exposed bears. So the lines, as it were, get redrawn - we know it's there somewhere, but part of the magic hides it; so maybe what we were pointing to on that map wasn't Annwfn, but the doorway...?

By the 1700s at least, the concept of the faerie ring being a doorway between worlds was fixed. The 1800s gave us the Victorian concept of the veil between worlds, two worlds overlaid on one another, which mapped beautifully on and basically reconciles the issue perfectly in the minds of believers (faerie belief in Wales persisted into the early 1900s). Enter that cave and you'll enter Annwfn; not because it's in the cave, don't be silly, it's because the door is in the cave. Step in that mushroom circle and see another world; not because Annwfn is a patch of land three feet across in Mam-gu's garden, don't be daft, it's because that's the way through. Welsh faerie myth was already enamoured of the time distortion element, but this is where spatial distortion kicks in as well.

So understanding all of that means you can exploit those rules to explain a lot. Watsonianly speaking, does a doorway lead to Annwfn if it's in Wales, but Tír na nÓg if it's in Ireland? Or could a doorway for either turn up anywhere, given that spatial distortion? What is it about Wales that ties Annwfn here specifically? Does the land generate the specific type of magic needed to fuel it? Or could it feasibly go anywhere now, as that separation between worlds has evolved - initially they lived in this world, but they evolved to straddle here and another, and then to draw a veil between the two, and now they run parallel and so can send the tunnels between the two wherever they like. It depends on the story you're telling, I guess. As I say, I know how I'm doing it lol! But there are options available

[chettyspagetti]

Camp Race Show Down (CRSD)

Lore at bottom

(Red?) Racekid is illegal racer and has been racing for a long time. Not the best but definitely not the worst. Keeps his cool most the time and pulls off a lot of stuns. He will either win by a smidge or be ran off by the cops and have incomplete race / loose. Always finds a way out of whatever pickle he’s in and has funny quip about it. He’s willing to do anything for thrill of the ride, and frequently doesn’t think before he does something. Mainly just doing it because he belives in himself.

Neeancy is flag girl / with Racekid as not a racer but as more of moral support / love interest (??) She is in the car when he races and is back seat driver but she sits in the front. Shes the brains of the operation and keeps him from killing himself. She doesn’t race at all but is there to help with plans and strategy since she’s still really smart and can calculate like the air and shit and how it drags. She can get kinda crazy but Racekid likes crazy so it’s okay , she tells him off when he looses or does something stupid in the race and he just nods because he knows she’s right

Mad Max , sponsor/manager for Nikki . Schemes their way into races and does shit under the table. Wears a nice outfit and tells Nikki to “do what she does best”. Is a Bookie, makes bets on races but will make it in his favor . Has a watch and a bunch of different ids on him.

(Panther) Nikki is a reckless driver , hitting cars with hers and grinding them on walls. Has no fear with racing and having a fun time doing it. Gets hurt and acts like a wounded dog when hurt . Car frequently has to be repaired and it’s a pain in Maxs ass to fix

( Erode )Ered is cool racer who has a low rider with lots of mods. Purplely/pink with yellow accents. It can glow with led lights and shit. Very chill with her riding and doesn’t try to hurt the racers, not out of kindness it just doesn’t benefit her like Nikki. Top dawg with racing and wins against Racekid but there’s no bad blood between them. More of “you did good, maybe you’ll be a good as me one day :p” and she drives off. Plays music while she races .

Sasha races and is sponsor of Erin and Tabii. Will pay people to ruin the race for others and purposely sabotaged people. Has very nice car , not fully made for racing but it’s still really good. Does similar things to max but both don’t like each other because they are “different “ with the way they do it. She wears a helmet and it has a visor on it to keep her safe. Bought all the tokens and has a lot more then everyone else.

Erin is a slower driver then Tabii is, being more calculated and less or a risk taker. She has a dark blue car and focus more on accuracy and consistency then speed. Tabii can get bad road rage and if she looses she’ll be extra nasty next race or even after . Tabiis car is more angular and has white stripes. Sasha is hard on both of them if they loose and are lowkey scared of her.

Dolph is sketch artist and makes posters for the event. You can see them in dark parts of town with the list of racers on them. Anyone can sign up. Hes also been asked by the police to sketch who he though did it but just fucks with them cus snitches get stiches (sketched max as Barack Obama) (Rouge Racer) (Rou)

Harrison owns a “bar” that many kids reside/hang out in to drink juice / caprimoons/ whatever like a normal dingy bar. He looks like a normal bar tender and does this instead of racing. He helped his brother get into illegal racing but got caught by Gwen and David, and got sent home. (And to a boarding school) he doesn’t mess with that kind of stuff anymore but still needed to make a living.

Everyone else bets on the races , they also bet with Max cus he has higher risk/ higher reward . It isn’t legal but none of this is

Instead of getting money for winning races they get arcade tokens to “Charles Pizza Family diner” A family owned restaurant with Charles the Hamster and his gang as the mascots. They like it and that’s all it matters.

[chaotic-major]

Every time I throw my hat into the prediction ring, I always end up a little to the left. That being said, I am not one to give up easily, so here we go.

I’m not sure Rui 5 will be the next wxs event.

WAIT!! Before you start calling me a dumb stupid bozo for even thinking that, just hear me out.

Backlight lens flare is agreed to be a pretty nothingburger event (a fun nothingburger event with bakuno reki, but nonetheless). The only lore piece for Rui’s story that it introduces is the unnamed director who (as far as I’m aware) has not reappeared.

With the second WL for WxS having come and gone, it seems like colorpallette could take it two ways, imo:

A) We touch back on Asahi’s offer to Rui, possibly leading to a trust based conflict (“why didn’t you tell us in the first place?!” Yada yada yada)

Or

B) We find out who the unnamed director is and whats his deal (who knows, maybe he wants to steal Rui away to his own theatre company)

With Nene and Emu’s 5th and 6th events tying off the opera troupe part of the arc, and the WL2 finalizing that they have completed their training tour, I can really only see us returning to PXL.

A lot of people, myself included, really want and believe that Rui 5 will be the arc ender, especially because he hasn’t been one yet and well, why wouldn’t we want a Rui event as our arc ender after a YEAR AND A HALF without a focus of his.

Problem is, there is one massive loose end from the very beginning of this arc that hasn’t been touched on since it was introduced back at the start of this arc.

That’s right everybody, I’m talking about Nakayama from A story where you are the star. Introduced in the 8th chapter of the event, “Becoming the character” the entire thing is almost 12 minutes of 3 main things: Rui’s inner monologue, Tsukasa acting as Nakayama, and “Nakayama’s” inner dialogue.

And that’s the most important part. Nakayama’s inner dialogue. Because it’s not Tsukasa’s, they tell us this directly.

As far as I am aware, this has never happened before. Every time a character, especially Tsukasa, is acting and we see their inner dialogue, their name replaces the characters name.

Even more important is the fact that only Rui notices. No one else, not Bakuno, not Nene, not EMU. No one but Rui is aware. In this case, two things are established.

1) Rui and us as the audience are the only people privy to this. This makes Rui particularly special.

2) While Tsukasa is aware after that he went too far with his acting, only Rui is able to establish how dire what happened is, to us and himself.

So, you might be thinking, Major, where are you going with this? I’ll tell you.

During Mizuki 5, the writers made a direct, in universe parallel between Mizuena and Ruikasa’s relationships. Mizuki and Rui being saved and learning to open their hearts to others once more because of Ena and Tsukasa. In Ena 5, Mizuki is properly “saved”, assured that she will never lose Ena as a friend and support in her life, that she will never be alone because of who she is. But Rui already had this experience through the main story of WxS. So what’s my point?

I think what’s going to happen is that we will be getting a similar 2 part continuation event with Tsukasa 6 and Rui 5, as we did with Mizuki 5 and Ena 5. They reintroduce the loose end fact that Tsukasa’s method of acting is getting dangerous for him personally, and with Rui as the only person who has any prior knowledge and experience of this happening before, is the only person able to help Tsukasa, to return the favour and save him from himself. The reason I specify this will be a 2 part, continuing into Rui 5 as the arc ender, is because I think the initial efforts will fail. I think that no matter what Rui, or WxS as a whole do, they won’t be able to help him right away.

While it’s never said outright, it’s heavily implied that Tsukasa is a method actor. I myself was an actor for a bit, and can give one or two cents on the matter. Method acting is often described to be the most effective way of portraying a character, the most realistic, but also the most harmful to the actor. Looking at how Tsukasa’s acting has evolved over each event, I think we’re standing on the precipice. Back in Sky’s Edge he was emulating the conditions Rio went through to better understand him (ie, trying to survive off of water for three straight days), that’s method acting. With the Nakayama thing in Story where you are the star, “Becoming the Character” and all that, and acting the character to a point that the narrative tells us that his inner dialogue isn’t his anymore but the character’s? Yeah, I’m calling that method acting.

All of this is to say, the next big step Tsukasa can take in his acting journey, is off the cliff; trying so hard to be the character he’s given and succeeding. Once an actor has adopted the mannerisms, the attitude, the thoughts of the character they’re playing, it’s hard for them to unlearn them. You hear stories of how actors can’t get rid of an accent they adopted for a movie, or have a limp because the character they played did.

That is where I believe Tsukasa is heading, and only Rui can save him. This is why I will say, that by the end of Tsukasa 6, Rui fails; hardening his resolve to save Tsukasa from himself, the consequences of his acting, and pull him back to Rui, to WxS, and to himself in Rui 5’s story.

TL;DR I don’t think Rui has enough narrative pieces in play to make his 5th event narratively compelling or the arc ender, which is why Project “lore over schedule” Sekai will have Tsukasa 6 as the july 7th hakolim and Rui 5 as the arc ender to tie up the Nakayama loose end.

Or I’ll be wrong. Who knows. Only proseka and Apollo at this point. What do you all think?

[mikashisus]

connections between venti and arlecchino that i found particularly interesting, a rambling 🗣️

ARLECCHINO STORY QUEST SPOILERS‼️‼️

(these r just some cool things i found kinda sus and interesting. this was for fun.)

1. first, my thoughts on clervie — specifically what she says in response to learning about mondstadt:

2. the similarities between arlecchino and venti regarding “freedom”:

venti fought for freedom that was earned, and eventually became the god of freedom shortly after he earned said freedom.

he also tested vennessa. he tested her by saying he could grant her freedom and waited to see if she would leave the cell with him, but she didn’t. she stayed and showed him how freedom was meant to be earned, not given. venti was more than satisfied with her answer and left.

venti has shown time and time again that he believes freedom is meant to be earned. at least, that’s how i see his character and his ideals.

now i want to bring up what arlecchino said towards the end of her story quest. i find it interesting how she also believes that freedom is meant to be earned, not given.

pretty interesting.

3. now for my own personal rant and theories:

“freedom” itself is always being mentioned in this game. it started in mondstadt, the nation embodying freedom. the god of freedom himself entered the fray and showed us what freedom truly meant.

liyue was “freed” from their own god, who saw it time to step down from his position as archon and left the task of ruling & protecting liyue to the humans.

wouldn’t say there’s much freedom in inazuma tbh. unless you count the people being “freed” from the vision hunt decree and the sakoku decree.

nahida being freed from the hands of the sages/akademiya.

furina being freed from her curse and the act she played out for 500 years.

i wonder if we’ll see any freedom in natlan too.

ANYWAYS, ALL THIS TO SAY (i didnt mean for this to become a venti rant, i have constant venti brainrot) — i believe that venti and freedom play an ENORMOUS part in the lore of the game and we haven’t seen anything yet.

i am a firm believer that venti is one of the most important characters in this game. bro has lore in literally every nation, maybe with the exception of fontaine (iirc, there hasn’t been anything in fontaine calling back to barbatos).

he even has lore in the chasm and enkanomiya, which says A LOT. i haven’t finished the remuria world quest yet, so idk if there’s any lore about him or istaroth sprinkled there too. tbh i wouldn’t be surprised if there was.

everything always comes full circle when it comes to venti. he’s everywhere, which is pretty cool to think about when you realize that he’s supposed to be the embodiment of the wind, which is everywhere all at once and can hear everything.

which brings me to my last point —

4. this voiceline from arlecchino about the wind.

hmmm.. 🤨

[novantinuum]

Pink Onyx AU- An Analysis and Theory Post, Part 1

[Part 1- You are here!] | [Part 2] | [Part 3] | [Part 4] | [Part 5]

~

Howdy! Those of you who have followed me for a while have probably been seeing my reblogs of the @pink-onyx-au comic made by @ceephorsshitshow. Well, today I wanna share with you something a little different than my usual SU meta… because today I’m gonna analyze this really cool fan work with the same level of seriousness as I do canon. (Like. Seriously. This first post alone is really, really long. I put most of it under a cut.)

This particular comic is a very special one for me to watch unfold, because it’s evident that a lot of deep care and attention to detail has been poured into its creation. There’s fascinating bits of expanded character development to chew into here, as well as plenty of mysteries and lingering questions for us readers to muse and theorize over. If you follow me for Steven Universe and haven’t read this AU yet I highly recommend you check it out. The most basic pitch is that it explores what a fusion between Steven and Jasper might look like, and does a LOT of deep-diving into the similarities and differences of both of those characters’ psyches.

Here’s the episode masterpost on tumblr.

And you can find it on Tapas, too! 

(Note: For the purposes of these posts, I was given permission by the comic artist to post screenshots of various pages where relevant in this discussion. For each frame used I will list the episode and page number for easy reference. Additionally, this post and all future ones on the topic will contain full spoilers for the comic thus far.)

Now with all that introductory stuff out of the way, here we go!

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So, on the final page of the most recent update, we get one hell of a visual plot bomb for Steven as ol’ Onyx unfuses:

(Episode 9: Page 22)

He’s now visually expressing remnants of his corruption, where before he was not.

And it’s this mysterious plot point in particular that got me wanting to analyze this comic more deeply in the first place. This is completely new for him in this story. Thus far, he’s never expressed any of these remnants when he’s just himself- not in the way Jasper does. So it made me wonder… how might this shift in his appearance play into the ultimate trajectory of the plot? How does Steven suddenly showcasing corruption scars integrate into the larger story that is being spun here about him and Jasper and how they relate to each other?

Well, there’s a lot of comic details and story lore we need to unpack first before I can take my best theorizer’s stab at this. Let’s dig right in.

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Prelude: The analyst’s treasure is in the speech bubbles

Anyone who’s been a fan of this comic for a while has probably noticed these fun visual details already, but I’m going to take a moment to break down what I believe each speech bubble style signifies for folks who may not have context. It’ll make some of my analysis later a bit easier, too, ahah.

So. Speech bubbles. What kinds do we have here? 

(Episode 1: Page 6)

Style number one: Solid with black text

This style is standard for non-fused characters, and is also utilized when a fused character is speaking whilst in a state of internal harmony.

Steven is pink and Jasper is orange, of course. Onyx’s speech bubbles are a distinct darker pink, and the main three Crystal Gems get their own colors as well. More minor characters get white bubbles.

(Episode 1: Page 10)

Style number two: Scribbly pink lettering overlaying black text

Whenever you see this type of speech bubble, it’s a sign that there is some level of internal discord going on within Steven or Onyx that is related to their diamond side. It usually shows up when one of the two is in pink mode, but from what I can tell this is not a solid rule.

(Episode 2: Page 12)

Style number three: Pink/orange mixed bubbles

This is how we see Onyx talking for a good portion of the early comic. Their speech bubbles are a clean mix of Steven’s pink and Jasper’s orange. And most vitally, the color on the top and the tail signifies which of them is “fronting” at that moment.

(Episode 3: Page 11)

Style number four: White bubble with solid pink text

So far, this style has only been used to represent dialogue that is being spoken by Steven’s gem half exclusively. Which makes things very interesting, as in Steven’s own remembrances of shattering Jasper on the very first page of the comic, the line “I have been holding back!” is shown in this specific style, instead of the scribbly pink lettering that signifies internal discord.

There is one additional sub-style here- and this is the one moment where we get Onyx’s mixed bubble but WITH the solid pink text. 

(Episode 3: Page 11)

I believe these two styles pretty much mean the same thing… only, the white/pink text is either viewed within memory or a metaphoric fusion mindscape where we the viewer are actually “seeing” Steven’s instability, and thus can “see” his gem half as a separate entity there. While, in reality, this is an argument Onyx is having with the disparate pieces of themself.

(Episode 4: Page 9)

Style number five: Pink/orange tye-dye mixed bubbles

When you see that darker shade of pink start dappling into the standard mixed bubbles, this indicates that there are small whispers of Onyx’s true personality beginning to surface, instead of them constantly being wrested back and forth between Steven and Jasper’s conscious control.

(Episode 4: Page 16)

Style number six: Pink/orange mixed bubbles, but with a darker pink tail

From this page onwards, Onyx’s speech bubbles always have their darker pink shading the tail no matter who is fronting. Sometimes there are little lines of another color etched out of it, and sometimes the tail is solid dark pink. I like to believe that when it’s solid, it means that Onyx is just a little closer to reaching a fully harmonious state than when it’s not.

(Episode 9: Page 6)

Style number seven: Onyx speech/thought bubbles with a hint of pink/orange underlying

This style seems to signify moments where it’s still Onyx fully in control of themself and their actions/words/thoughts, but they’re taking subtle influence from their components or accessing their memory a bit.

These are all of the distinct styles I have caught so far, but quite honestly, it would not surprise me if I am missing something. All of this to say… pay close attention to the speech bubbles. They can tell you a lot about Onyx’s state of mind throughout the story.

Now with all this established, I’d like to finish off this first post with my first big discussion point.

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Question One: What does Jasper actually know about Steven’s “meltdown,” if anything?

The AU author recently solidified this comic’s placement in the SUF timeline in an ask response, saying that the first episode takes place just a week after Steven’s corruption event.

I’m glad this point was clarified, because it was super vital information which deeply influenced the way I analyzed Steven’s actions and responses in my recent re-read… it means this experience is still super raw for him. This is VERY important and we’ll get back to this in more depth later in future posts. But first, let’s explore what Jasper knows of this event.

The full extent of her knowledge is unclear-

(Episode 1: Page 6)

In Episode 1, Steven briefly alludes to his corruption as seen above… referring to it as “[his] meltdown.” Notably, Jasper does not seem to ask any questions about this stray comment. This COULD suggest that she knows what happened to him a week prior via hearsay, but given the context of the rest of the scene and the fact that she’s as isolated as she is out here I genuinely wonder if she thinks Steven’s so-described “meltdown” is his shattering of her.

This idea would make a good deal of sense, as she doesn’t start to make any commentary on the topic of corruption at all until they’re actually fused- with Steven bringing it up first.

(Episode 2: Page 14)

On this page, Steven takes note of Onyx’s very visible spikes (which are Overtly in the same placement as his own when he was corrupted), and initiates the musing upon his own corruption himself.

With the way Jasper phrases her response, the vibe I get is that she somehow gleans a bit of ambient shared knowledge about what happened to him through their fusion.

(Episode 2: Page 15) 

“That human form you wear must have been hiding your markings.” This quote is SUPER vital. We’ll come back to this later on in this post series, too.

(Episode 2: Page 15)

It’s clear that Jasper doesn’t REALLY understand what he went through or what caused it, since she then outright mistakes the casual woes and body pains of organic life as corruption. (As seen above.) 

(Episode 8: Page 4)

But later on, she outright relates to him over their shared experience of past corruption, so she must at least know enough from mere ambient thought-sharing by this point to recognize it happened.  

It’s obvious that she’s barely scratched the surface on fully understanding her fusion partner, though. Neither of them have. It’s gonna take a lot of fusion, comedic mishaps, and genuine conversation to get there. All in good time, I’m sure.

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Please do join me tomorrow at 7am PST for the next post in this series! This has been a blast to write up and muse upon.

[jojo-schmo]

Here we have two little creatures of unknown origin.

Their appearances are deceptively innocent, but they are not from this world. They seem to not remember everything about themselves, but their past hides some profound secrets. Perhaps even some powers of cosmic proportions....?

Their arrival to the world was sudden and mysterious. Meta Knight would call it suspicious. King Dedede just wants to make sure they're safe because they remind him of his own Waddle Dee subjects.

And so they have been accepted and cared for by the heroes of Dreamland. But these beings will always recognize that they are outsiders and it causes them some internal turmoil.

They share the ability of mimicry. They recall voices and sounds from their past, and communicate this way when words fail them. They specifically focus on sounding like a Waddle Dee, parroting their cries and mutters of "Wanyas."

But what will the future hold for these curious life forms, the land they now call home, and the unknown forces they are connected to......??! >:O

Roleswap Elfilis by me, Starstruck Dee by @starflungwaddledee

More thoughts below:

So for a while now, as Starflung has slowly revealed lore, the coincidental similarities between Roleswap Elfilis and Starstruck Dee have not been lost on me! ;D But I LOVE IT!!

I think it's actually super duper awesome how two characters written by different people and created at different times can have so much in common, but have very different stories and personal developments and obstacles! :D

So during my lunch break today, I thought that if Elfilis and Starstruck met, one of the first things that could happen is their mutual mimicry turning into a face-to-face echo chamber. Each one would point at the other in surprise and confusion, because this being is not a Waddle Dee, yet they sound just like one?! And why does physical contact with her make Elfilis feel strange and dizzy??!

After the initial shock, Elfilis would probably find her intriguing and curious. As he learns more about her, he'd find it comforting to be around someone in a similar situation as his. Plus I think he'd really enjoy exploring the wonder and whimsy of the world with someone like her. :3

Just a little something for fun and to show my admiration and respect for Starflung's art and writing, teehee. Hopefully I didn't get any of your lore too wrong! tell me if I did tho :0

[vigilskeep]

Did Ophelia and Minerva ever interact in kinloch? 👀

What would Ophelia's reaction be to meet warden blood mage Minerva?

Who is Irving's & jowans favourite between the two?

I love how different both these characters are while also being perfect products of their circumstances & upbringing

i’m kind of operating on the premise that ophelia & minerva exist in separate timelines entirely... minerva already has an amell in her backstory (halliserre amell) and i didn’t make ophelia with minerva also existing in the tower in mind. however, i stole a lot of halliserre’s traits and lore for ophelia, which confuses the issue, though ophelia is not halliserre, who had a rivals to lovers situationship with minerva. ophelia couldn’t handle all that god bless

if ophelia and minerva both existed in kinloch they’d have massive beef (whether ophelia liked it or not lmao) over being the two apprentices personally mentored by the first enchanter. minerva takes that position and the safety & opportunity & status it affords very seriously. she’s worked hard to maintain it, and would see ophelia as a threat, especially because ophelia’s human noble background gives her certain unearned advantages that a tevinter-born city elf like minerva can’t replicate. minerva & ophelia are also academically opposed: minerva has an extremely high level of raw power but is impatient with subtle theory, whereas ophelia is overall weaker but is smarter and more thoughtful with using the magic she has, plus excels in straight theory lessons where minerva struggles. this means they’re evenly matched but it’s difficult for them to learn from and understand each other.

minerva & halliserre had a similar dichotomy and spent all their teenage years bickering abt it and competing because hallie loved to get a rise out of her. ophelia on the other hand does not argue for fun, and is very genuine. i could very easily see ophelia being niceys, getting rebuffed because minerva feels threatened by her, feeling very needled by this unfair out of nowhere rejection, and that making her compete for irving’s attention. (minerva always thinks five steps ahead and then is thinking so hard about it that she stumbles and creates her own problem at the step she’s currently on jsgsjdkdk.) however, i could also see them becoming friends eventually... ophelia’s so kind no matter what her relationship has been like with someone previously. if you are having a bad day in her vicinity or you just need someone to not snitch she is immediately ride or die. minerva wouldn’t trust it initially but. you know. baby steps. they had a lot of time in there. i’d flip a coin on whether or not it ever worked out

jowan’s favourite if they were all friends would be ophelia because he’d hide behind her when minerva was being mean lmao but he also takes ophelia somewhat for granted and minerva is the one he admires/envies. irving’s favourite... i don’t know that favourite is the word but minerva is definitely for better or worse made in his own image. he picked out ophelia for more superficial reasons, she’s smart and promising, they have similar academic approaches & interests, and he thought her noble connections might be useful one day. minerva was a rare impulsive choice in a moment of connection (though of course it was also because he saw her potential). i don’t know that it always means he likes minerva more—you don’t always like a mirror—but he’s more true to himself with her. irving & minerva have something approaching a father-daughter bond whereas i wouldn’t quite say that for ophelia, it’s a close mentor-student relationship but that’s all. she doesn’t rlly know him like minerva does because he correctly assumes she wouldn’t like what she would find

ophelia would be horrified by blood mage minerva, and if they had spent that time training together, she might make poor assumptions about it being driven by minerva’s ambition for power. but it’s possible she could be talked around to it depending on the circumstances, i haven’t figured out exactly where her head will be at later in the game

[drakorn]

Rewriting Veilguard Part 8 - The Inquisition

Rewriting Veilguard Part 7 - The Lords of Fortune

Disclaimer: I don't hate the game, I actually think it's quite great given the development hell Bioware went through in those 10 years. This is more of a hypothetical universe where there was less of that behind the scenes drama. Just a fun writing exercise.

Reintroducing the Inquisition

It is now time, time to finally move away from the origin story missions. Now, the main story begins. We have explored the potential depths of what each factions’ origin story may bring to Veilguard as a whole. But what about the glue that brings them all together? What about the Inquisition?

In this chapter of my ongoing rewrite project, we shall look into how the Inquisition, and by extension, the main story, may be introduced into the game. As I’ve often said, I don’t really like how DAV just throws you into the confrontation with Solas without any prior build-up. It was quite apparent that, despite DAV doing away with World States, one is expected to understand at least the general plot of Dragon Age: Inquisition, and while Varric’s little narration tells us what we need to know to understand Solas’ role in the story, it’s not enough to make us care. Obviously, I cared because I played the previous game, but if we want DAV to stand on its own, like the previous games succeed, we need to do some more work.

So, without further ado, let’s get right into it. This is how I would introduce Veilguard’s main quest.

Our Canon Rook

In case you might have missed it, I recently held a poll about which of the six origin stories we would be using for our hypothetical playthrough of this rewrite, and the choice fell on the Veil Jumpers. So, for the duration of this rewrite and this World State in general, our Rook is going to be Ashara Aldwir, a Dalish mage.

That being said, occasionally, I will touch upon how the other Rooks may react to situations and characters more fitting for them. For instance, I will describe how a Shadow Dragon Rook reacts to returning to Minrathous and meeting Neve Gallus again. I will also describe how an Antivan Crow Rook would react to encountering Lucanis. Things like that. But for the most part, it’s going to be Aldwir from now on.

Travelling with Varric

So, we choose to stick with our Veil Jumper, and at this point the people watching this hypothetical stream are going to whoop and cheer with relief because this guy has finally stopped with the damn origin stories. Now we can get into the main story.

We get a small transitional scene narrated by Varric, which shows a map of Thedas, specifically our journey out of the Arlathan Forest, quite similar to what we get in the actual Veilguard. Varric tells us that what we’ve seen of the agents of Fen’Harel is just a fraction of what we should be worrying about, but that we first have to attend a certain meeting.

It should be noted that each origin will have a unique narration and map display. While Varric talks to Aldwir about Fen’Harel’s agents, he’ll speak to Mercar about the Venatori and the war effort instead. But all in all, it amounts to them having to make a stop somewhere at the Eyes of Nocen.

The Eyes of Nocen are a large geographical landmass in the North-East of Tevinter, not far away from the cities of Ventus and Carastes, which have both been overtaken by the Qunari between Trespasser and Veilguard. There is also some interesting lore surrounding that place, which we’ll get to later.

On the Road

When we return back to in-game cinematics, we find Rook and Varric travelling through the Tevinter countryside at dusk. At this point, we can ask about where exactly we’re going and what we’re hoping to find here.

As we walk, Varric begins telling us that there are people who have been working to stop the Dread Wolf’s plans for the past decade. But since resources are sparse and only a handful of people are trustworthy, such efforts can’t be spoken of out in the open.

Since we’re playing a Dalish elf, we get to voice our disbelief that the Dread Wolf is actually supposed to be walking Thedas right now. But we’ve seen Revas, we’ve seen the agents of Fen’Harel. And we’ve seen Merrill’s betrayal. That last part is something Varric is clearly hurt by. We can ask him about Merrill and why she would let herself be deceived by the Trickster God. Since we imported a World State where Hawke romanced Merrill, Varric states that Merrill experienced great loss and that this might be her way of trying to set things right. We as players can begin to guess that perhaps Merrill is hoping to get Hawke back from the Fade. But even without the romance, Merrill is someone who tries to restore old and lost knowledge. It would have been easy for Solas to convince her to join his efforts.

We proceed further down the road, until we are met with a distressing sight: a battlefield, and a very recent one at that. We come across the remnants of a skirmish between the Antaam of Seheron and Tevinter troops who were sent to retake some of the occupied lands. It’s an image of absolute carnage, war, and death. Since we’re playing a Veil Jumper, we get a short dialogue by Varric in which he breaks down the conflict between Tevinter and the Qunari. As a Veil Jumper, we know the Antaam for what it did to Arlathan Forest a few years ago. Without them, the Veil Jumpers wouldn’t exist. It’s an example of something good coming out of something very bad.

The Scout

As Rook and Varric traverse the battlefield, they are suddenly approached by a surviving group of Antaam warriors, who are looking for Tevinter legionnaires that might have escaped their blades.

They circle us and demand to know who we are, what we want, and where we’re off to. Varric, having plenty of experience with the Qunari up until this point, tries to talk our way out of it. Here’s a small choice to be made:

Do we silently prepare for battle?

Or do we contribute to Varric’s attempt to talk?

Since we’re a pretty confident Dalish elf, we’ll chime in, but that only leads to some unwanted attention. Since we’re a mage, they immediately see us as Saarebas and therefore too dangerous to be seen walking around unshackled. We bristle at that and get ready to fight. Varric simply shrugs. Reasoning with the Antaam has never quite worked out for him. But this small exchange showed Varric that we’re eager to talk first before hitting people.

Just as the Qunari are about to attack, their group leader is struck down by a well-placed arrow in the eye. At this point, another, very familiar face joins the scene: Scout Lace Harding! She thinks we could use a little help, to which Varric responds that the odds are even now, even though the Qunari still rather outnumber us.

We fight the Qunari with Varric and Harding at our side. It’s a short battle mostly serving to introduce Harding to the party, and we make rather short work of our enemies.

What follows is Harding’s proper introduction. She is happy to see Varric and intrigued by Rook. So, this is the one Varric chose for this mission, the integral part that will give us an edge. Varric confirms this, a bonus being that Fen’Harel’s agents presume us dead. Harding tenses. So we did meet them? Yes, and Merrill and Abelas were among them. Troubling news, indeed. Even more reason to get to our destination as quickly as possible. Harding then tells Varric that everything is ready. Everyone’s just waiting for us. Well, Varric says, then we shouldn’t keep them waiting. Rook is about to meet some very esteemed company.

But before we press on, Harding mentions that she was tracking a group of Antaam soldiers who rounded up some Tevinter slaves with the intention of bringing them to Seheron, and suggests we free them. Varric is generally for the idea, but worries that our numbers might be too sparse.

So, now we get to make a choice:

Do we take this small detour to free the slaves?

Or do we not risk further battle and quietly move on?

This right here is going to be the first of many smaller choices we get to make in the game. Before Veilguard came out, people spoke of how incredibly reactive it would be, how it, while not having a World State, would compensate by having many intricate choices on its own. This didn’t quite happen the way I thought it would, so let us entertain the idea of what minor reactive consequences could look like if placed in the proper moments.

We are a Dalish elf. We know what slavery is and what it did to our people. We know that the Antaam survivors who ended up founding D’Meta’s Crossing with Clan Morlyn were essentially slaves to the Qunari. We’re not going to let anyone share in this fate if we can help it. We choose to take the detour and free the slaves.

Freeing the Slaves

Once our trio is on the same page, we follow Harding to a small Qunari encampment on the battlefield. It’s absolutely nothing fancy, just a temporary base. The slaves aren’t hard to find as they’re all cooped up in an improvised large cage, guarded by Antaam warriors.

After a brief and slightly more difficult fight, the Qunari are defeated and we free the slaves. And here’s when we notice something rather dark: the slaves are all wearing collars. If you recall our Shadow Dragon origin story, the Imperator of Tevinter’s legions, Magister Laskaris, introduced the blood magic collar as a way to combat the Qunari threat. And seeing it here means that he’s already implementing in in small doses amidst the army, permitting the use of blood magic.

We are horrified by this discovery and see that the slaves have no way of getting them off. They tell us that the Centurio who led this party performed a blood magic spell to bind them to his will, as per Laskaris’ instructions. The Centurio in question is still alive, about to be given the qamek treatment, which would render him a mindless puppet.

We tell the slaves to wait here until we’ve dealt with the Centurio. So we proceed further through the encampment, fighting off a few more Qunari along the way, until we get to the leader’s tent. The leader in question is a Sten (no, not our Sten, that one’s the Arishok now).

We make it just in time before the qamek is able to be applied to the Tevinter mage screaming in absolute panic. And here’s where we get to make another smaller choice:

Do we save the Centurio?

Or do we let him be mind-wiped?

As a Dalish elf and someone who came here to free slaves, we are furious about these new blood collars. But we’re also not someone who exposes people to fates worse than death, that’s not who we are. So we hurry up and blast the Sten into the Void before he can apply the qamek.

With all the Qunari dead, the Centurio is now free as the sole military survivor of this small campaign. Now, you might think he would thank us for freeing him, but as he sees our vallaslin and pointy ears, he’s immediately going to resort to calling us a savage knife-ear.

At this point, we allow ourselves to be a little angry and strike him while he’s weakened. This at least gets the man to listen, so we demand that he release the slaves from the blood collars. We threaten that if he won’t comply, we shall either bind him to a pole for the next Qunari patrol to find, or we can apply the qamek ourselves. Or we could just kill him, his choice.

Reluctantly, the mage relents and we take him to the slaves. With one last look, he relinquishes his blood magic hold on the collars and they open up, falling into the dirt.

Now comes the next choice. What do we do with the Centurio?

Do we kill him?

Do we leave him here for the Qunari to find?

Do we apply the qamek ourselves?

Or do we let him skulk back to Minrathous?

Everything in us wants to cause pain to this man who had contributed to the enslavement and torture of innocent beings. But we’re choosing to play a Rook who’s of the more merciful sort. Rook chooses to let the Centurio live and allow him to scamper back to Laskaris and report on his failure. Is this truly the merciful way? Who knows.

We send him on his way with the knowledge that he owes his life to a Dalish elf who forced him to release his slaves.

We turn back to the liberated slaves who thank us profusely. And now comes our last choice for this scene. What do we do with the slaves?

Do we send them on their way?

Or do we take them with us?

We ask Varric if the place we’re heading to has any room for more people, to which he says yes. We could either take them to safety or send them on their way. In this case, I’m actually going to send them on their way. We know that we’re about to possibly go up against Fen’Harel, so taking these newly liberated slaves with us would mean putting them in yet another dangerous conflict. So, we give them some resources, let them loot the camp, and wish them good fortune. Varric asks why we let them go, to which we say exactly what I wrote above. He nods and approves, as does Harding.

Now we really need to get going before even more Antaam troops arrive. We gather ourselves and move on.

This entire segment was completely optional, we could have skipped it entirely. But choosing to free the slaves gave us an early insight into the blood collars and allowed us to participate in some potentially morally grey choices. Of course, our Rook chose the most paragon-esque outcomes, but the game lets us do some extensive roleplaying in scenes like this.

The Cliffside

As the day draws to a close and night falls upon the coastal countryside of Tevinter, Rook, Varric, and Harding reach a cliff overlooking the vast Ventosus Straits, the body of water that separates Tevinter from Seheron.

At first, we see nothing truly remarkable, just a cliff, a very high cliff at that. But then, Varric directs us to a set of barely noticeable steps, carved into the rock. Slowly, we make our way down, closer and closer to the moonlit surface of the sea, until we come upon the entrance to a cave, hidden behind a spell of concealment. Since Varric and Harding know where the entrance is, they just pass through the wall. Rook has a momentary confused reaction, before following.

Meeting Charter

As we enter the cave, we are approached by another rather familiar figure: Charter. Those who only played the games might remember her as the stoic elven commander from Caer Bronach in Crestwood. Those who have read the comics and Tevinter Nights will remember her as basically the new Leliana. She goes around Thedas and recruits all kinds of people into the Inquisition. Veilguard mentions that she is the new Spymaster after Leliana, and you can read a few letters from her.

I absolutely adore Charter as a character and think it’s rather criminal that she was scrapped from Veilguard. So, we’re going to include her here. Since in this World State, Leliana has assumed the role of Divine Victoria, we can confidently say that Charter is the Spymaster here.

Charter remarks that we’re late, to which Harding explains that we took a little detour. The Spymaster studies us and remarks that, somehow, she isn’t surprised that “another” of the elven people has been chosen for the job given the circumstances.

Since Rook hasn’t been living under a rock, we can now begin to guess where we are headed. So we ask the people around us if we are about to join the Inquisition. Charter explains that the Inquisition does not officially exist anymore, only a shadow organisation that operates in the dark, away from the enemy’s gaze. Too great is the risk of corruption amidst the ranks, as we all remember from Trespasser. But in the most direct sense: yes, we are about to join what became of the Inquisition. But all of it can be explained later. We must now head off. Everything is ready. We ask what “everything” is, to which Charter only replies that we’re about to find out. Harding promises that we’re going to be absolutely floored by what we’re about to see.

The Palace of Almadrius

As we move further down through the cave, we occasionally see glimpses of ruins, remnants of an ancient palace that must have been magnificent once. By investigating and asking our guides, we learn that we are traversing what remains of the palace of Archon Almadrius. He was briefly mentioned in DA2 in a codex entry for having built a lavish palace near the Eyes of Nocen, manned by many guards. But one day, everything disappeared without a trace. Well, given the state of this place, we can deduce that some kind of spell or cataclysm caused it to collapse beneath the waves.

This is one of many examples of environmental storytelling that Dragon Age is so masterful at. Just by looking at the world, we can see traces of its history. We could have made this a simple cave, but thanks to the location and the legends surrounding it, we can now make it so much more.

Eventually, Charter takes us to a wide cavernous area beneath the sea. Magical barriers prevent rocks, ruins, and water from collapsing upon us. And right in the middle of it all, we see a monstrous vessel. An underwater ship in the shape of a great dragon. True to Harding’s word, Rook is absolutely floored by the sight. We have now reached the end of our journey. This is the Dumat.

The Dumat

Just like the rest of you, I have seen the concept art book. And when I saw this gigantic dragon submarine, I knew I had to include it in the rewrite. Does it take heavy inspiration from the Normandy in terms of having a mobile base in the form of a ship? Yes. Does that mean we’re no longer following the Dragon Age formula? I…honestly don’t think so.

Tevinter is a land of magic, a land of magic allied with the dwarves of Orzammar, master craftsmen. There is a lot that can be done when those two forces sit down together and plan not war, but a work of wonder. And I don’t really subscribe to the idea that the concept of a submarine goes against the fantasy genre. You can make it work if you give it the proper look and feel, and give it a logical explanation for existing in the setting.

But I also have another reason for choosing the Dumat as the hub instead of the Lighthouse: I have something else planned for the Lighthouse and the Crossroads as a whole. It’ll still be a while before we get there, since Solas is still around and has his agents in this rewrite.

As we approach the Dumat, Rook is still absolutely shocked. This is the first time she has ever seen an underwater vessel. And truth be told, this is probably the first submarine in Thedas’ history. Varric tells us that we still have some friends in the Magisterium and Orzammar, plus the funding of some other powerful friends. Combine all that, and you get this.

We board the Dumat and find ourselves in an…actually very homely-looking interior. It’s not overly lavish but definitely comfortable, as well as practical. There is a lot of room for people here, that much is clear. While we’re walking, we just can’t shake off the feeling of sheer awe that’s going through us right now. This is where we’re going to be staying for the foreseeable future? Incredible.

The Briefing

We eventually make it to a war-room-like place with a large round table in the centre. Only Rook, Varric, Harding, and Charter are currently present. But that is soon changed, for before we even get to properly speak, the door opens and another face joins us. It is none other than Isabela! The moment she heard Varric had arrive, she needed to come and see him for herself. Varric is glad that she accepted the offer and made it in time. As seen in the Lords of Fortune origin story, Isabela gave the Siren’s Call II to her first mate for the time being as she was chosen for another job. This is it. Isabela is going to be the captain of the Dumat.

Personally, I think this is something that fits Isabela’s character a bit more than being the stay-at-home leader for the Lords of Fortune. This way, she’s going to still be able to contribute to the story, but in a way that is far more in-line with her personality. Isabela would never miss up on the opportunity to sail an underwater vessel. And she does happen to be one of the most skilled captains around.

Isabela greets us and says we remind her of Merrill, and ooff. Yeah, about that. The meeting begins with Varric and Rook telling Charter and Isabela of everything that happened in Arlathan Forest and how we confronted the agents of Fen’Harel. Because we took that slave-liberating detour, we can also speak of the blood collars. When she hears of Merrill, Isabela’s face darkens and she refuses to believe it at first, but then…yeah. When she thinks about it, about the pain Merrill went through after losing Hawke and the trust of her people…she is shaken by this revelation. In a surprisingly endearing moment, Isabela proclaims that Merrill can still be saved. She just needs her friends to pull her out of the wolf’s maw.

At this point, Rook has had enough of the secrecy surrounding her part in all of this and asks Varric why she specifically was recruited into this affair. Varric agrees that it is time, so he begins a story. And this is where we get the “I knew him as Solas” speech we get at the beginning of the vanilla game. But it’s going to be slightly longer. We get a few more thoughts and feelings of how Solas was as a person and what exactly he did while serving in the Inquisition. We get a brief recap of the war against Corypheus, the betrayal at the end of Trespasser, and the decade-long shadow war against the Dread Wolf. It all culminates in Varric saying how Solas is now approaching the fulfilment of his promise: to tear down the Veil and restore Elvhenan. “Somebody’s gotta stop him. And that’s…where you come in.”

So then. This is what our purpose is. To join the fight against the Dread Wolf, the evil deity from our very own religion. He who caused the imprisonment of our gods. And now we learn that it was he who created the Veil. Of course. It lines up. How else would he have imprisoned the gods if not for the literal Veil? We try to reason it with ourselves, but it’s all a little…much.

We just got absolute confirmation that the Dalish beliefs, the way we see it at least, are true. Well, Varric says, yes and no. Solas never referred to himself as a god. Of course he wouldn’t, we think, he’s the great deceiver. But then we realise something else. “How do I…come in?” we ask. “What am I supposed to do?”

Then we learn our role: We won’t just be joining this shadow war. We’ll be one of the people leading it. As Varric’s second-in-command. While he will be making plans and arranging everything in the background, it is us who must be out there in the field, recruiting allies, carrying out heists, learning and undermining the Dread Wolf’s plans. We are Rook. The strongest piece on the chessboard. The one Solas will never see coming. The one he doesn’t know.

So at this point, I’m choosing to play Rook as incredibly shocked and overwhelmed, to the point where she outright refuses. Why would we be the perfect fit for such a high position? Varric lists our accomplishments among the Veil Jumpers, how Strife and Irelin speak so highly of us, how we took initiative in the ruined Temple of June, how we are the perfect seeker of ancient artefacts, and how we don’t give up. We fit perfectly. Obviously, this dialogue is going to be different for every origin story. We get an added line that we are of the Dalish, we know the Dread Wolf like few do.

We are still overwhelmed, and don’t know what to say. But then the door opens, and another figure steps in.

The Inquisitor

We are joined in the meeting chamber by Inquisitor Lavellan herself. Yeah, I chose to have the Inquisitor appear right at the beginning of the story. I mean, we already made her in the CC, it’s not a big reveal that she’s in this game. But it also makes thematic sense for her to be here. She was our last player character. Who better to pass on the torch and give us the final push into this new adventure than her?

For this playthrough, I’m choosing to go with my canon Inquisitor, Elera Lavellan. In my canon I romanced Cullen, but if you so choose, I can go with the Solavellan route here, yeah okay, I see ya.

The Inquisitor, wearing Dalish mage clothes and carrying a staff, no Shadow Dragon pjs to be seen anywhere, walks up to us and pretty much says how she felt the same when she was given the task to close the Breach and defeat Corypheus ten years ago. Nobody’s born a fighter, much less so a leader.

We get to have a small conversation with Lavellan. I’m choosing to have Rook react in awe to her because, of course, she has heard of her, how one of the People rose up and heroically led the Inquisition against the greatest of evils. Those were stories we heard as a teenager. And now we shall be joining this fight. Now it’s our turn to become a part of this ever-growing tale.

The Inquisitor, just like Leliana and Cassandra did at the beginning of DAI, tells us that we are free to go if we so choose. But if we stay in this fight, we shall make the world a safer place.

Varric chimes in and states how all of this started with the Hero of Ferelden’s quest against the Blight, how it continued into Hawke’s battles with the shadows of Kirkwall, how it reached new heights in the Inquisitor’s war against the Elder One, and now the time has come for what he feels and hopes is the final chapter. And Rook gets to be one of the central characters, if not the central.

We think long and hard, but then we see where we are. We are aboard an underwater ship, amidst the remnants of the Inquisition. We are standing amidst legends. And these legends have become flesh and chosen us to join them. We have the chance to avenge our people, to finally strike back at the god who has been deceiving us all this time. Solas, Fen’Harel, the Dread Wolf, has returned. And with him, the ancient conflict may come to an end. Justice may be served at last.

With a heavy breath, we shake hands with the Inquisitor, mirroring the scene in Haven’s Chantry so many years ago.

What follows is a cinematic showing Rook, Varric, Harding, Charter, Isabela, and Inquisitor Lavellan standing in the control room of the Dumat. Lavellan gives a nod and Isabela takes hold of the helm.

From outside, we see how the protective spells and wards that kept the cavern dry during the ship’s construction phase begin to flicker, until they disappear entirely. The Palace of Almadrius sinks beneath the waters once again, having fulfilled its purpose.

The Dumat floats in the darkness of the cavern, seemingly suspended in a shapeless void. But then, dwarven crystals and runes begin shimmering around it. Tevene magic creates light on the interior side, flooding the rooms with mysterious shines of many colours. Then, the ship begins to move. It slithers and glides through the cavern, until it swims out into the open sea. From afar, it looks like a great sea creature, not at all a ship. Perfect for the purpose of remaining unseen.

As the Dumat glides through the moonlit waters, the camera pans up to show Thedas’ two moons shining upon the deceptively calm sea. A distant wind comes up, and as the screen begins to fade to black, we hear the single howl of a lonely wolf.

The screen goes black, and we finally see the title of our game:

Dragon Age: Dreadwolf

And there you have it! This is how I would pitch bridging the gap between Rook’s introduction and her joining the greater story. And…yeah, I do kinda prefer the Dreadwolf title. Obviously, The Veilguard is more fitting for what the vanilla game does, but I believe that the original title has more merit here, given that we’re ditching the Lighthouse and the Fade for the time being. But what we’ve definitely established so far was that Solas is a threat that must be stopped. The sequel hook that Trespasser dangled in front of us has to be paid off.

This concludes the Prologue segment of our hypothetical Veilguard rewrite. Now, the real story begins. Next time, we shall be dealing with the beginning of Act 1, a detailed look at the Dumat submarine, the people inhabiting it, and some first missions.

Thank you to everyone who’s still following this project. It’s really been quite an entertaining and captivating journey so far. And there’s so much more to come. Stay tuned!

Rewriting Veilguard Part 9 - The Dumat

[beauty-and-passion]

Love Olympus: the "charming" lessons we learned from it

Hi! Are you searching for a good story, filled with creativity, care, coherence and beautiful art style? Then please, turn left and you will find something worth your time.

Here we will talk about that beautiful, terrible disaster that is Lore Olympus. Ah, it's always so nice to read a new retelling of Greek mythology and find out it's basically the same 200 stereotypes slapped together into something that's way older and staler than the original. What did my ancestor ever do to the world, to be treated like that.

But I've already talked about what a waste of potential Lore Olympus is, how pathetic the writing is and how bad the protagonists are. I've spent more than enough words commenting on why this series could've been great and came out like this.

Now there's only one thing left: to make fun of it. To draw our conclusions on the whole thing and the finale and find out what "wonderful" messages we got from it.

Don't worry: the messages are absolutely wonderful and I'm not sarcastic, not at aaaaall.

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Planning in advance is for the weak

Don't you know how to fill your third season, after the "battle" that closed season 2? No problem! People will read you anyway, so instead of planning and moving the plot forward, waste everyone's time writing chapter after chapter of pure nothingness: your characters can have discussions so stupid, that people will question if they have been written by using ChatGPT. That will surely prove what a great writer you are!

And don't worry too much about the plot: just wait until inspiration magically falls from the sky. That's how it works, isn't it? Stories are just random events slapped together, with no planning, care or coherence whatsoever. When we write a story, we don't want to treat our readers like intelligent human beings, oh no: people are idiots, so we can just throw them the first shit that pops out of our minds and everything will be fine.

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Coherence is for the weak

After waiting for inspiration (that somehow hasn't fallen from the sky yet, jeez I wonder why), you still don't know what to do with your plot? Easy, use one of the villains! Like the rapist guy! Now he's running for President.

Yes, we know there is a monarchy in this land, because there is a king, but it doesn't matter. The rapist is trying to be President now. President of what, you ask? It doesn't matter! Presidents exist, right? So he's trying to be one, that's all you need to know.

Will he become President? He's running from it, that's all! You don't need to know what happens after that! As we all know, stories do not have closed plot points, they're just random shit thrown around. So why care about solving a problem you just raised? Just forget it, it's not important.

Is the story supposed to take place in Olympus or, at least, in Greece? Well, what's the problem? As we all know, Europe and the US are basically the same thing, so how different can Greece and America be?

I mean: one is a huge country with many climate zones and wide areas, the other is a small, hot country mostly made of mountains and islands. One has a millennia-years-old culture that influenced the entirety of the West, the other is literally called the New World, to emphasize how young it is. Same place.

So, since they're so similar they're basically identical, just fill your Greece with American stuff and give your characters English names. Greece is notoriously full of English names. It's not like there are millions of people with similar names because parents give their own parents' names to their offspring and sometimes all siblings give their parents' names to all their children and the result is that your cousins all have the same goddamn name and you all came up with nicknames to distinguish between them.

No, that's not based on personal experience, what makes you think that.

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The protagonist is better than anyone else

Is Zeus telling you he wants to give his child to some nymphs, because he knows won't be a good father? Well, clearly the most normal thing to do is steal his baby. No, not because you're a psychopath, but because you clearly know how to handle the baby better than some nymphs. Remember: you are the protagonist, hence you are better at everything anyone can do, especially a stupid nymph. You will care for the baby more and better than anyone else, no doubt.

Is the child you stole running around without supervision? But you took care of him! You even hired a babysitter! No, of course you didn't spend time with him, you were busy! What? It could've been better to leave the child with the nymphs as Zeus wanted, because at least they would've spent their time with the child and not hired someone else to do it? Listen, we don't work with logic here and you are the protagonist, so of course all of your decisions are perfect and should never be questioned.

Speaking of kids: is your mother telling you she had a son who died? Time for some favoritism! Your husband is the god of the dead, so death isn't a problem anymore. What? Death is supposed to be impossible to overcome? But you're the protagonist, so the mere mortals' rules do not apply to you. Death is nothing, compared to your perfection.

Oh no, you accidentally caused winter! And a genocide! But remember: you're the protagonist, so of course you're always perfect. And you didn't do it on purpose, so you're automatically innocent and people attacking you are just mean and jealous.

See? You're so perfect, you found a way to solve the problem! How? Easy, by believing in yourself ✨✨✨ And by talking (badly) about how life and death are linked. Yes, we know it's the equivalent of saying that 2+2=4, but we don't want to treat our readers like intelligent people, here. All they have to do is just revel in your perfection.

_______________________________

More villains! Because Yes!

Do you still have no idea what to do with your plot, after too many useless chapters? Easy, use the cartoonish supervillain! He will do the trick! And throw another naked woman to defeat him: it worked once, it'll work again.

Is your cartoonish supervillain actually useless? No problem, make another villain even more useless. And make him appear out of thin air for two chapters. And since readers are stupid, just tell them that he was the evil mastermind behind everything. They'll eat it up.

Oh, and President Loser is in cahoots with SuperMegaVillain now. Why? Because Yes, of course.

You don't know how to defeat SuperMegaVillain? 🧑‍🤝‍🧑Avengers Assemble🧑‍🤝‍🧑and you're done. It worked for Marvel, it'll work for your story too. I know it's settled in Greece and fertility goddesses do not have resurrection powers or whatever the fuck they're doing, but shhhhh.

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Random justice is good

With all those villains to defeat, you forgot your story is supposed to be a retelling of the myth of Hades and Persephone? No problem, just stick a "Gaia Ex-Machina" here and let her solve the story with a power and authority she doesn't have. No one will notice the difference.

Speaking of justice: is the rapist gonna get the punishment he deserves? Sure, get this: he will fall in love with you and turn himself in. And he will get community service as punishment.

Are you saying that this isn't a real punishment? But of course it is! He turned himself in! The victim isn't allowed to expose him, nor to see him actually getting punished. All the victim can do is walk away. It's not that lack of control is a big deal for a rape victim, right? And seeing the rapist finally get punished won't give them the catharsis they need, right? And it definitely won't free them of the huge weight they carry on, because of the awful, horrible act they suffered from, right?

Of course not, so ah ah ah, the rapist gets to build places, very funny. And aside from that stupid punishment, of course he's free to walk around and, who knows?, maybe rape someone else. Wow, justice truly works well in this place! I would feel so safe to go around there!

_______________________________

Queer people are stupid too (and ghosts, sometimes)

All those villains could've been great in a story centered around Zeus? We don't work with Zeus here: we hate men, all men except for the capitalist hubby of our dreams. So Zeus is a useless piece of shit and he will keep being a useless piece of shit until the end. Also, he's not a real king anymore, because apparently democracy popped out of nowhere and everyone just rolls with it. I wonder why it too centuries to accept it all over the world...

And Hera is a lesbian now. Why? I already told you we don't work with logic here. She's a lesbian because queer people are idiots too, so thrown them a queer character and they will like it, doesn't matter if it makes zero sense.

Uh? Are you saying that asexual and aromantic people exist too? No, of course not: they're just waiting for the hot lesbian of their dreams or for the hubby that will turn them into wives and mothers.

Hence why the organization centered around celibacy closed: it was just a cover for lesbians after all! And we all know that women can only be lesbians or mothers. A woman doesn't want or feel any romantic attraction? She doesn't exist, then.

Wow people, I don't exist! I'm a ghost!

_______________________________

Feminism means gender stereotypes

As Wikipedia says, feminism is:

"... a range of socio-political movements and ideologies that aim to define and establish the political, economic, personal, and social equality of the sexes."

But Wikipedia is stupid, while we won a shit ton of prizes for some reason, so we're the good authors here. And we decided that feminism means "women good, men bad". This definitely isn't a point of view based on a warping of the original concept of feminism, that focused on helping women because, since societies are patriarchal, men already have a powerful position. Hence why, feminism fought (and fights) to give women a powerful position too: to make both genders on the same plane.

But nope, this is all stupid and wrong and doing research is underrated - after all, we wrote a story entirely based on the first shit that popped into our mind, so why do research about this? Let's focus on the superficial vision of feminism and fight for women's equality, by making them lesbians or mothers.

Because sure, feminism is good, but capitalism is better. And since capitalism wants you to have kids, go home to your rich hubby and have a ton of kids you definitely won't neglect, like the child you stole or the supposed godson you never cared about and only after he's an adult "sometimes" you have a conversation with. That's how a perfect, traditional family works, after all. And we know this didn't lead to any generational trauma at aaaaall.

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In conclusion

I don't know if you noticed the teeny tiny veil of sarcasm in my words. I know, it was so subtle, almost invisible. I made it oh-so-hard to find it, please let me know how hard it was.

But you know what? This story is over and I needed to let some sarcasm out. I am finally free to read something else, possibly (hopefully!) better.

And the next time I will approach another retelling... who am I kidding, I know I will fall for it like an idiot because that's what I do every time. They get me with something I love and once I find out it's shitty, I keep reading because I want to see how bad it is.

In this, Lore Olympus didn't disappoint: I expected something bad, I got something bad. And, sometimes, it was so bad, to make me laugh, so extra points for the stupidity: I appreciate something that makes me laugh, way more than something that makes me angry.

And, as I said in my previous posts, even something bad is useful, because it teaches you how NOT to do something.

So thank you, Lore Olympus, for being a terrible teacher. And thank you for making me appreciate the original myths even more. There's a reason why they still stand after millennials and can still capture the popular imagination, while this series will probably be forgotten in a couple years.

To you all, my readers: if you managed to reach the end of LO like me, congrats for surviving it, I hope you learned something useful about how to make better art.

But if you never approached Lore Olympus, don't do it: it's not worth the time you will lose.

Unless you want to see with your own eyes how does it look a story with zero planning and random ideas thrown everywhere. In that case, please, be my guest: read it and learn how not to write. You will learn a lot from this.

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(How about a coffee? ☕)

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[propfortytwo]

its so funny to me how de made all these alternate history legally distinct names for everything in 1999 except xipe totec is still xipe totec. there was some massive point of (at the very least linguistic) divergence in the warframe timeline with our own, except for the aztecs, theyre a universal constant.

jokes aside its interesting actually whats changed and what hasnt, like it seems like its specifically the anglophonic world thats diverged the most, since plenty of myths from other cultures have apparently endured long enough to have orokin terminology named after them. and of course to some extent this is, from a doylist perspective, a result of orientalism and viewing non-european cultures as inherently exotic. which is frustrating but not surprising from a western dev team.

having said that, im going to keep talking about the in-universe perspective because its fun and toys. anyway im assuming that the sol-lua mythology is the "principle of dualism" that ballas says came before "the vain faith"- which i'm also assuming is the whole orokin thing. given that other mythologies still existed, as evidenced by xipe totec, and the context clues of it being present in britannia (enough for eleanor to complain about it sneaking into childrens stories) and höllvania (theorized to be near where cetus ends up being by some), my assumption would be that in this timeline christianity did not emerge but this new mythology is still occupying a similar role in history, which is kind of low hanging fruit to notice, but still. its particularly interesting that ballas ascribes this faith to "our people"- either the orokin or the culture that proceeded them, despite the chat logs establishing that it was not the sole mythology of this timeline, which to me seems to imply a very chauvinistic origin to the orokin, presumably the socioeconomic bloc that the icr answers to.

the orokin, if im remembering right, had access to kuva prior to albrecht's Incident (unless im misinterpreting his statement of "i will not take the kuva"- it could be that it was invented after the fact and he's recording the logs much later, but its ambiguous, and i feel like the writers would have made a bigger deal out of it being a new invention from his perspective), and a tablet in duviri explicitly refers to kuva as being void-empowered. at this point, i wouldnt be surprised if kuva is a bootstrap paradox, being introduced into the timeline from the future and allowing the orokin to emerge from the ruling classes of 1999- after all, between the technocyte coda, scaldra's attempts to use the techrot for political upheaval, and the digital extremes infestation gag in the arg, its clear that the bourgeoise of this time have no qualms about trying to use dangerous eldritch forces for their own gain. they absolutely would establish the orokin empire, given the chance. this wouldnt be a huge far reaching lore reveal if it was true, of course, if anything it would be painfully mundane and anticlimactic- but unsurprising. scaldra especially, with its religious undertones, would make sense as an origin.

that just leaves this sol-lua culture as the only unexplained variable. is it the divergence point of the warframe timeline? when did it come about? we know its ancient even in 1999, since komi apparently comes from it, but just how ancient is the question. modern german, french, and jamaican patois exist in 1999, which seems to imply that certain aspects of history havent changed- its just very unclear how much has been influenced and its driving me nuts. i need drifter to go find a world history book and take notes for me to read.

[ck-17088]

Similarities between Transformers One and the Aligned Continuity (aka Transformers: Prime) 

Watching the trailers and reading the interviews made me realize that there are many similarities between TF One and the Aligned Continuity. As a reminder (or for those who don't know)- the Aligned Continuity consisted of the War for Cybertron games, Transformers: Prime, Robots in Disguise, Rescue Bots, etc.

Transformers: Prime got me into the fandom, so it's interesting to see a multi-million-dollar movie use elements from the continuity it is a part of.

Here is a list of similarities I have found so far. 

Note: I'll also be mentioning IDW1 briefly since the Aligned continuity and IDW1 comics have similar concepts and have constantly exchanged ideas with each other.

Megatron's name: D-16

In TF One, D-16 will become Megatron. D-16 is a name directly taken from the Aligned Continuity and has been solely associated with it until now. Even though Prime Megatron and IDW1 Megatron have very similar backstories—both being miners and then revolutionaries—only Aligned Megatron was also known as D-16.

Caste system/Social Inequality (hinted)

In both the Aligned and IDW1 continuities, pre-war Cybertronian society had a rigid caste system where one's role in society, thus their life, was determined by their alternate mode (Functionism in IDW1). In Aligned, Orion Pax's desire to learn more about this system, specifically the corruption and inequality it created, leads him to find Megatron (as described in Exodus and TF: Prime). The two become friends who desire change for their society. The interviews with Josh Cooley (the director) hint that something similar exists on Cybertron and is the main cause of their fallout.

 

The thing that starts the wedge between him [D-16] and Orion Pax is that the world is not what they thought it was, and they then start to form two different views on how to solve the problem.

 (Entertainment, Comic-Con 2024 Issue) 

In addition, someone on Twitter -who saw an early screening-said that the movie was "very in-line with IDW's ideas for how the war started," so it's safe to say it draws heavily from Aligned/IDW.  

Extra note: Another interview with Cooley revealed that in an early version of the film, Megatron was supposed to be a gladiator. He and Orion Pax were also supposed to have "very different backgrounds" - which sounds very similar to the data clerk and gladiator origins of the Aligned continuity.  

 Unfortunately, the limited runtime meant Cooley had to limit how much of the characters' origins to show on screen, including changing part of Megatron's accepted story. "If we had all the time in the world, it would've been fun to show Megatron as a gladiator and have the two characters come from very different backgrounds," Cooley added. "We actually had a gladiator scene that alluded to this origin that was cut out." Instead, Orion and D-16 are reimagined as bunkmates working as miners to bring Energon back to the planet after a years-long drought.

(IndieWire)

Cooley also mentioned being given a "bible" of the franchise's entire lore, which reminds me of the Binder of Revelation Hasbro made, or the source material for the Aligned Continuity...

The 13 Primes 

The 13 Primes will appear in the movie (you can spot them in both trailers). The idea of the 13 Primes isn't new, but this particular group version is heavily inspired by the Aligned Continuity. In Aligned, Alpha Trion is canonically one of the 13 Primes (aka the Covenant Primes, who also include Prima, Solus, and Megatronus). He wasn't considered a Prime in other stories before TF: Prime. The Covenant Primes also appear in Cyberverse and Earthspark, and TF One continues the trend. 

Below (in order):

Onyx Prime design from the Covenant of Primus

A mysterious statue (being?) from the trailer that looks very much like the Aligned Onyx Prime

Mysterious beings (Primes?) behind Optimus

Airachnid

 The design for Airachnid in TF One is very similar to the design in TF: Prime. Both have the "arms" on their backs and similar head shapes.

Vehicons 

Some Cybertronians look like the Vehicons. Looks like we're getting multiple Steves…. 

Extra: Brian Tyler 

Not directly related to the story, but the composer for Transformers: Prime (aka the genius who made the ionic Prime theme) is back and composing the music for the movie. If I hear the Prime theme in the movie theater, I might start screaming. 😂

I think it's so cool to see how much influence one continuity can have on the franchise, so much so that its elements are used in a movie that'll soon be seen by millions of people and future generations.

[exn0bis]

So. Completed Veilguard. I have lots of thoughts.

Regardless, I don't think I'd be saying anything that hasn't already been said.

For my part, I went in with the expectation it was going to be bad. I was pleasantly surprised by some things, certainly by the technical aspects, but it fell about where I expected in most other ways.

But first, the good.

It was extremely refreshing to see a AAA game actually release so well optimized for once. I'm running an older system at this point, with a GTX 1080 TI. Even so, out of the box, I was able to run things on the Medium preset perfectly. After some troubleshooting the latest Nvidia driver, and updating the games native upscaling to FSR 3.x, I was running things on a mix of High & Ultra with minimal to no frame drops. This was way beyond what I expected, and made the play experience more enjoyable. While I do think that, like many games in the past few years, there is some over reliance on upscaling to make it look its best, Veilguard still maintains excellent visual fidelity without it.

On that note, the game is objectively gorgeous, regardless of how one feels about the art style (which I did personally like, too); I'm also extremely impressed how they adapted a simulated strand hair system into something playable in real-time without it being overly taxing. Would love to know the technical breakdown for that specifically, but either way, I would not be surprised if we start to see more games released with something similar going forwards.

Veilguard very much proved you can make something look gorgeous and still have it be playable on more than just the latest and greatest systems, and I hope it will encourage more studios to focus on how they optimize and implement their work.

I also found the general gameplay mechanics to be, overall, enjoyable. I was hesitant going in, as I'm 1) bad at games, and 2) from a CRPG background, so the real-time style of combat is not generally something I'm good at. I was also concerned about the stripping down of party mechanics, etc, that was a big part of the previous games. And while I do wish the party tactics had been a little more varied, I ultimately found combat fun and responsive, and that they struck a reasonable balance between simplicity with party, and overly tactical. It did have way too many buttons & combos for me, but that is definitely a me being bad at games thing and not a fault in the game.

I also was extremely impressed with how smoothly the game transitioned from gameplay to cutscenes, and I really liked the more open maps/elimination of excess loading screens.

Unfortunately, that is about all the praise I have for the game.

I'm not really going to talk too much about the complete disregard for the world state built by previous titles, because I think all that needs to be said about that has been. I agree that, from a development standpoint, they needed to find a way to simplify things. However, going so totally scorched earth that character creation literally states "you don't need to customize your previous choices if you don't want to because it doesn't really affect anything" only serves to insult and infuriate the very dedicated player base.

It's very clear that the goal of Veilguard is to wipe the slate clean for the purposes of rebranding and bringing in new players for future installments/capital. Considering the mass layoffs at Bioware, and EA's generally established business practices, this sort of tactic isn't really surprising, no, and was truthfully only a matter of time. But that doesn't stop it from feeling like a slap in the face.

That being established, the total disregard for existing lore, world state, impact of previous titles, glaring plot holes within Veilguard itself, etc, is unfortunately to be expected. No point in picking it apart individually, as it's all just a symptom of the goal of a clean slate reboot.

Which isn't to say I wasn't cursing at my screen by the end of it, but I digress.

I had hoped I could at least enjoy the game as something new, turn off the part of my brain that associated it with Dragon Age and just play it as a stand alone thing. This even worked for the first chapter or so, as I was really enjoying the exploration and gameplay. And then I started recruiting more people. And the main plot started to really get going. And turning my brain off suddenly stopped helping.

The writing is awful, full stop. It's all incredibly surface level and sanitized, and it treats the player with such ineptitude I started to feel like the game had actual disdain for me for trying to play and enjoy it. If I had a dollar for every time an NPC explicitly repeated a plot point or goal immediately after a cutscene that had already painfully spelled it out for me ended, I would have recouped the price of the game three times over. I get that reading comprehension is at an all time low, but holy shit. I paid for a sweeping fantasy narrative, not a degradation simulator that treats me like a moron.

If we manage to put that aside, we're left with a narrative that spends every spare second trying to convince you of how high the stakes are and how important your relationships will be to get through it... and then never actually manages to deliver on any of it. The game repeatedly shies away from showing you anything actually bad, or building anything actually meaningful.

Yes, we see the Blight being gross and a few choice deaths, but that's it. The mass devastation we're told is constantly happening all over Thedas? The staggering amounts of death taking place? The oh-so-vile practices and punishments of our main antagonists? Anything and everything that has to do with the extremely prevalent theme of slavery? That all happens off screen, if it happens at all. Somewhere nice and clean and safe for it to exist, sanitized of any tension or emotional impact. I cannot decide if the flagrant pacing issues in the narrative are a product of the missing tension, or their own problem.

And those important relationships we're told about follow the same pattern. Even if we ignore how everyone speaks to each other like they're reading the script of an HR Workplace Togetherness video, their personal stories are devoid of the stakes we are assured they have. I wanted so desperately to care about the things these character's cared about, but I left still unconvinced the character's themselves even gave a shit.

And with a shallow plot comes a shallow character; I felt no attachment to any of them, despite telling myself they'd grow on me as I progressed. Of course, I also didn't dislike any of them, either; I just didn't care, and I find that infinitely more damming.

I think what I find most frustrating is that the potential in the characters is there, at least. They're each interesting concepts with interesting themes, and every so often I'd get a cutscene that actually got me to feel something, to react, and I'd get excited thinking 'oh, this must be when it gets good.' But no, as soon as you're out of the cutscene, it's situation normal again. No more feelings, no more tension. That all happened off screen, again. Any emotional turmoil the character in question was in moments before is now gone in favor of Group Togetherness.

Rook is no exception to any of this, either; exactly as tepid as the rest, but coated with an even less polished illusion of substance. This is not helped by the fact that the game makes an active effort to remind you that Solas is the actual main character of this story. Rook, you as the player, are just sort of... there.

The headcanons I've seen from fans do more justice to this entire cast than the game ever does.

In summary, it's sad, I think. It's ultimately what I expected, but it's sad. Many of us have a very deep attachment to Dragon Age, the story and the community that built up around it. I literally met my wife through the Dragon Age fandom. I learned to explore some deeply personal things about myself through how I related to the story and characters because of how much depth and nuance there was to examine. To see all that reduced to what amounts to a very prettily polished turd is just... yeah. Sad.

I'm really happy that there are people who have enjoyed the game. Genuinely. I hope they'll continue to do so. Myself, I'll probably still go on a screenshot binge and enjoy how pretty it looks, too. But Veilguard is very much the end of Dragon Age, for me. And I'm sad about it.

[muffin-snakes-art]

Hi. So I’m not a Layton guy and all THAT familiar with the lore, but a close friend of mine is, and as far as I understand Layton has a dead girlfriend? Can I please know who Magolor’s dead girlfriend equivalent in this AU is? I’m legitimately so curious. /pos

I have been thinking A LOT about which Kirby character would fit Claire's (dead gf) role. In the end I chose Taranza bc I feel he and Claire are the most similar in character. They're both really good at what they do (Claire: brilliant scientist - Taranza: immaculate mage), quick thinkers, humble, and have a lot of love to give.

I'll explain more under the cut (along with images of Claire and younger Layton for design ref), but Taranza could've also fit in as a couple other characters bc I made Sectonia as Descole. In this essay I will-

In Kirby there's an interesting connection between Magolor and Taranza. Primarily based on that one Magolor portrait in that haunted house in Triple Deluxe (like ok huh????) and also that one Star Allies Wave 3 illustration.

With that portrait existing, to me it implies that Magolor has met Taranza and Sectonia before the events of the game somehow. This theory is further backed up with the Old Friend mask in Merry Magoland. Magolor would HAVE to have known what Joronia looked like before her transformation, and that means he would also have met Taranza too at that time. I could be completely wrong about this HAHA but those are my thoughts on that.

When Wave 3 was announced, I didn't think much on the connection of the 3 characters other than they were from the first three core games of modern Kirby. But then they posted this art piece.

It's so cute how Magolor and Taranza combined their magic to create a shield for Kirby!! Both of their respective magic circle designs are melded together perfectly. Did they practice together on their own to perform this or was that a lucky in-the-moment occurrence? Either way, they must know and understand each other's magic abilities to a decent extent. Like how both Claire and Layton understands each other's careers and goals. Layton is a professor in archeology. Claire is a scientist researching time travel and other stuffs. Those fields go hand in hand, and the two do what they can to support and improve each other's passions.

Now onto the other characters that Taranza would've fit as and reasons why I ended up putting him as Claire.

So I put Sectonia as Descole. Descole has an extremely loyal partner/butler/henchman named Raymond. Yea Taranza would easily fit as him, but a few things made me decide not to. Descole may appear cold and not show it, but even in his madness he cares for Raymond. He does order Raymond around, but he still gives Raymond freewill to do as he pleases. Sectonia is very controlling over Taranza. If Raymond were to make mistakes, I don't see Descole punishing him for them. Sectonia would. She blasted Taranza away for mistaking Dedede as the hero of the lower world. Maybe when she was Joronia she wouldn't and wasn't as controlling but....I feel we don't have the full story on their relationship. I also focused more on Sectonia's overall in-game personality. I absolutely love seeing the two spiders enjoying each other's company and having fun, but in-game we never really got what Joronia really thought of Taranza. As Sectonia, she saw him as a disposable servant. You can say her personality was corrupted by the mirror, but I personally believe the mirror actually amplified her negative feelings and views. Negative emotions are brought up a lot in Kirby lore. I personally find that more interesting than just the mirror possessing her or something. I may be very wrong on that, but those are what I thought about.

Last reason, which is uhm, Raymond saves Descole from death FGDHSJ I don't think I need to elaborate on that. It would be so neat and ironic to have Taranza as Raymond, but I also wanna keep things in line as possible with Kirby lore canon.

Yet, who could be Raymond then? Idk fgdsj that's why I struggled so much. If Claire wasn't an option, Taranza would've been Raymond.

Now the one other character Taranza could've fit as is Descole's late wife. His wife was never mentioned by name, to my memory, and didn't have a huge role in the games. There's not enough information on who she was. I wanted to give Taranza a fitting role in personality and importance.

So in the end after all that thinking, Claire it is! I also don't know who else in the Kirby cast would fit her better and be Professor Magolor's late partner. One may think Susie would fit Claire more, but I've already decided she will be Emmy. Emmy's and Susie's personalities are very similar to me. And Emmy's lore? Fits quite well with Susie's. I'll draw that at some point.

So uh yea. Thanks for reading all that if you did! Hope you enjoyed the insanity