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rosavargas · 1 year

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. . . dependent original character for nightrestrp : ROSIE VARGAS \

more links : pinterest. connections. playlist.

[ ana de armas, cis female, she/her ] - was that ROSA 'ROSIE' VARGAS i saw by the lighthouse today? i heard that the THIRTY-FOUR year old who has been in nightrest for 18 YEARS and works as a/an MARRIAGE COUNSELOR has a reputation of being OPTIMISTIC, but also SCATTERBRAINED. they reside in LOW POINT & people in town usually associate them with HEARTS DRAWN AROUND THEIR PARTNER'S NAME, FRESH ROSES, DESIGNER CLOTHES AND JEWELRY TO CURE HER SADNESS, & NIGHTS SPENT AT BARS NURSING A GLASS OF WINE. let’s hope the killer doesn’t go after them next.

BASIC INFORMATION:

FULL NAME: Rosa Vargas

NICKNAMES: Rosie, Rose

DATE OF BIRTH: March 14th, 1989

ETHNICITY: Cuban & Spanish

FACE CLAIM: Ana De Armas

HAIR & EYE COLOR: Light Brown with highlights

HEIGHT: 5’6”

TATTOOS & PIERCINGS: None

SEXUAL ORIENTATION: Bisexual

OCCUPATION: Marriage Counselor

LANGUAGES SPOKEN: English, Spanish

BACKGROUND:

Rosa, more affectionately and introduced as Rosie, was born in Amesbury, just shy of Boston and grew up there until she was a teenager. As a child, she really got along with just about everyone, always smiling and outgoing enough to make friends anywhere. Truthfully, Rosie really liked the attention she got as a child, and she began to love the idea of love at an early age. When she was sixteen and in a two year relationship with the star lacrosse player of her high school, Rosie and her family moved to Nightrest after her father took a higher paying job at Grigg’s General.

Initially when she moved, she remained in a long distance relationship, completely in love with what she knew in her heart was her faithful, wonderful boyfriend. She’d made the hour long drive back to her hometown to see him on the weekends and even attended some of his games. Despite always being academically driven and excelling in school, Rosie even ditched for one day to surprise him on his birthday, only to find him in bed with another girl. She was heartbroken, driving back home in tears and didn’t know how she’d recover.

Within a few months though, she found herself falling again, dating another boy until she graduated. Another instance of her being completely head over heels, often letting her studies get the best of her as she couldn’t focus on anything but him. Rosie got scolded by her parents for it, grounded for a few months after failing an important test, so she wasn’t able to see him for a duration of their relationship. Rumors circulated about her boyfriend being with another girl, but she waved off any allegations, knowing he was a good guy and would never do that to her. Because of her dismissal, the two had an amicable breakup and she never found out about him cheating on her. Rosie hadn’t even wanted to break up with him originally, but after she was accepted into a school that was far away and he said that long distance wouldn’t be enough, she agreed to break up and ignore her broken heart.

She went on to attend Northwestern University, where she got her Bachelor’s in Psychology and her Master’s in Family and Marriage Therapy. Rosie was still as much of a hopeless romantic as ever, even when her relationships continued to fail and she always loved a little more than her partner ever did, but she was also optimistic that other people could be happy and in love too. As a result, she moved back home and became a Marriage Counselor, figuring that if she couldn’t find love, she’d help other people maintain theirs. Her methods are a little unconventional, but Rosie likes to believe that anyone who’s married should stay together, believing that true love always prevails.

HEADCANONS

has no tattoos or piercings because she one time heard kimberly kardashian say that you dont put bumper stickers on a bentley and rosie said omg so true queen. however as she has grown with age she'd like to get some stuff but cannot decide what she wants <;/3

obviously is the most hopeless romantic ever, like you could glance at her a little too long and if she’s feeling it she might say “omg do you feel the sparks??”

on the off chance she actually does land herself in a relationship, she’s girlfriend of the year fr, ready to make sure they’re always happy <3 on the other hand though, she is so so clingy and gets attached and will get upset if you don’t answer her text in four minutes (she won’t even think they’re cheating she’ll be like omg are they dead and call 911)

obviously has a really big heart so its usually her friends that see it the most. she loves wasting all of her hard earned money on things she doesn’t need so when it’s time to go to the mall she’s the girl that’s like one for me and one for my bestie :D

speaking of which she has a raging shopping addiction because it’s the best therapy to cure her lack of love

sees the good in everyone unfortunately. she probably feels a little bad for adee cause homegirl couldn’t get any love but she knows better than to say anything out loud

very book smart but as you can see she’s actually very stupid if theres not a textbook in front of her face to guide her

recently got blonde highlights in her hair because the barbie movie came out and she’s spiritually connected to a plastic doll

loves her job and loves helping people but i truly don’t know her success rate cause she’d see something so toxic and tell them to try kissing to see if the love is still there

WANTED CONNECTIONS

best friend/ride or die

ex-boyfriend who fr cheated on her in high school but she doesn’t know and still thinks the world of him

probably a wc but her ex-boyfriend from her hometown as well

other exes!!

flings/hookups (unfortunately she definitely got clingy and was like can we meet again two seconds after it ended)

im a sucker for the sunshine grumpy duo thank u

friends she made when she moved to nightrest

people that are like girl get a grip. someone who grounds her

just friends in general omg she’s so outgoing and could have a conversation with a brick wall

#rosie / about #nightrest:intro

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terramythos · 2 years

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Top 5 favorite female characters? Top 5 books/movies/video games coming out in the future that you're excited for?

Thanks for the asks Wiz! 😘

Favorite Female Characters:

1. Akane Kurashiki from Zero Escape - surprising absolutely no one, she makes me go completely insane at all times and I've thought about her every day since I played 999 a decade ago. She is such a genuine surprise and a compelling character, there are so many layers and analyses one can have about her. Deception, narrative, fate, humanity vs godhood, thoughts shaping reality, etc etc etc. Blorbo In Chief.

2. Venat from Final Fantasy XIV - A very recent addition and I'm avoiding advanced story spoilers, but for a character that's technically introduced early but has the bulk of her development towards the end of Endwalker, I was very impressed with how well the writers pulled this character off. If you told me 2 years ago that she'd be on this list I'd call you a liar, but holy shit. They give her the coolest fucking cutscene in the entire game, no contest, which is in itself impressive, but her monologue and how it thematically connects to the story, lore, AND THEME SONG???? seals the deal. She also makes me go insane.

3. Midna from The Legend of Zelda: Twilight Princess - I think Midna is one of the most complex and compelling characters in Zelda, I love her character growth and how her relationship with Link changes over the course of the game. She seems uncaring and cruel toward the beginning and grows more compassionate-- a well known arc, but I like how here it's a mix of facade and genuine growth. I think it's a damn shame they haven't explored Midna or the Twili in subsequent entries, I think she fully deserves to join the core three, triforce or no.

4. The Luidaeg from October Daye - God there are so many layers to this character. Her genuine tragedy, cruelty, and compassion are a highlight of the series and one of the things that keeps drawing me back in. Her different faces and relationships with each character and how that ties thematically to her protean nature... chef's kiss. She's a terrifying, vengeful force of nature older than time itself, but also a protector and guardian of the helpless, but also just a woman and mother who has been deeply wronged time and again. God I could go on for hours about her. She steals every scene she's in and I look forward to seeing her every book.

5. The Psychologist from The Southern Reach - I debated putting her here, but she is a fascinating example of narrative limitation. She goes from a stock villain in the first book (the biologist's interpretation), to an obsessive weirdo in the second book (Control's interpretation). In the third book we finally get her full story and perspective and learn what a fundamental character she is to the whole series. I find her fascinating in how much she shapes the narrative and events of the story despite being killed off early in the first book-- and just how wrong both the biologist and Control are about her.

Top Things I'm Excited For

1. System Collapse (next murderbot novel). I'm SO glad it's a full novel again, Network Effect was incredibe.

2. The "A Wonderful Life" remake for Story of Seasons. I liked the Friends of Mineral Town remake so I'm glad they're doing another one. I spent so much time playing this on the GameCube and was soooo disappointed when the PS2 special edition was such an unplayable mess.

3. Shadow and Bone Season 2. I was skeptical but really liked the first season and think they nailed the casting.

4. These Violent Delights (next October Daye). Boy did the last book reel me back in. I'm wondering whether the Maeve reveal is going to happen this book or not, I'm so excited for it.

5. ??? I'm sure there's a fifth thing but I can't think of what :3

#long post #heywizards #asks

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dark1k · 3 years

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can't stop thinking about the beauty from markus and connor's intertwined stories??? you're seriously telling me that the first time markus heard of connor's existence was while riding the subway to ferndale station – which turns into him discovering jericho – while the first time connor heard of markus' existence was while investigating stratford tower – which ALSO turns into him discovering jericho???

there's also a connection with these introductions. even though markus is distracted by thoughts of newfound freedom (and possibly trauma from the junkyard), you can argue that he's actively paying attention to the news report of connor joining dpd, glancing at the android department in comparison to such an accomplishment. as for connor, he is clearly captured by markus' speech and doesn't move his eyes away from the screen for even a second, even LYING to hank and keeping information that would help both dpd and cyberlife a secret, resolved to finish his investigations alone (hm i wonder why?)

and don't get me started on their first face-to-face interaction??? i still can't believe it's MARKUS – not hank, not a human, not ANYONE connor personally encounters throughout his story – that ultimately influences whether or not he turns deviant. it's just so??? insane to me that most of the dbh fandom disregards CANON GAMEPLAY. markus makes one 3 minute speech and latches onto some of connor's biggest indicators of software instability. his fear of being replaced ("we are your people. we're fighting for your freedom too! you don't have to be their slave anymore.") and his confusion whenever he makes a choice that goes against his mission ("you've never done anything irrational, as if there's something inside you? something more than your program?").

and connor????? can just listen in silence, his hands wavering on the gun and his shoulders shuddering from breathing so hard. not to mention how markus is so determined, so dedicated to helping connor make the right decision. markus has a keen eye and (depending on the playthrough) notices how close connor is on the cusp of deviancy. he stares down this android, the one he first heard on that train ride to ferndale station and the one he's heard others refer to as deviant hunter, and he just CALMLY AND RATIONALLY EXPLAINS HIS INTENTIONS?????

then markus actually gets to WITNESS connor turn deviant as a result of his WORDS, rather than his touch. and connor's red wall scene is so gorgeously done because it highlights his struggle, a primal instinct to tear down the weight of his oppressors and be FREE. after all is said said done, there's a moment of tranquility as connor lowers his gun and markus watches in quiet awe. AND??? THEY ARE SO??? idk it just absolutely amazes me how similar they are as the two active RK models and how their identities become so linked for the rest of the game.

i'll stop my rant right here bc if i don't it will turn into an essay about the church scene ("BE CAREFUL." HELLO???) and connor's trip to cyberlife tower and markus' relief when seeing him return safely. their relationship is so utterly indescribable if you look at how many times they directly AND indirectly impact one another in both words and actions, before and after meeting. it genuinely gives me chronic brainrot bc how can a single relationship be so beautifully symbolic of growth, acceptance, sacrifice – I JUST LOVE THEM SO MUCH?!?! okay i'm shutting up.

#rk1k #rk1000 #dbh markus #dbh connor #dbh #shut up me #CAN YOU TELL HOW CRAZY I AM #trust me i could talk about them for hours #the slack the dbh fandom pays them is my villain origin story #ALSO i promise i'll be writing more soon i have prompts in my inbox #i've just been so busy BUT i hope you enjoyed this rant #them <3 <3

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felassan · 4 years

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Dragon Age development insights and highlights from Bioware: Stories and Secrets from 25 Years of Game Development

Some really tasty factoids here.

Cut for length.

Dragon Age: Origins

The continent of Thedas was at one point going to be named Pelledia, a name initially floated by James Ohlen

“Qunari” was a temporary name that ended up unintentionally sticking, much like “Thedas”

Mary Kirby wrote the Landsmeet. To this day, nobody understands how it works, except possibly her. If she’s “really really drunk” she can explain how it works. There’s as many words in it as Sten’s entire conversations put together

Concept art for Thedosian art - as in in-world art - draws heavily on Renaissance-era portraiture, the Art Nouveau movement, religious styles and media like stained glass, and favorite pieces from the golden age of illustrations in the early 20th century

Andrastianism in-world (art-wise) is depicted in wildly different methods depending on who in-world made the art in question. “One religion, 3 different lenses”. There’s the Chantry take, the Orlesian take and the Fereldan take; each with its own different interpretations, different mediums and different stories

The stained glass images were drawn by Nick Thornborrow for DAI, to decorate religious spaces in that game “and beyond”

irl Viking art influenced Ferelden

Greek and Italian art influenced Orlais

The book also had other insights into and anecdotes from the development of DAO, but I’ve transcribed them recently as they’re essentially the stories DG has recently been relating on the awesome Summerfall Studios DAO playthrough Twitch streams. (On those streams he provides dev commentary while Liam Esler plays through DA. The ones with DG are currently once every two weeks. Check them out! Here’s a calendar where you can check when the next one is) Instead of repeating myself I’ll just provide the link to the first transcript. From there you can navigate to the subsequent parts. Note these streams are ongoing. At this point I will also point you to a related post which is cliff notes of the Dragon Age chapter in Jason Schreier’s book Blood Sweat and Pixels.

Dragon Age II

DAO had the longest development period in BioWare history. In contrast DA2 had the shortest

Initially DA2 was going to be an expansion to DAO. A few months in EA said “Yeah, expansions like these don’t sell very well, so let’s make it a sequel.” So it suddenly became DA2 and they had to make it even bigger, although they still only had 1.5 years of time in which to do this

Production of DA2 officially lasted only 9 months, and at the time the team was still supporting live content for DAO! They finished development that January after the design team crunched all the way through the holiday period that year. Then it went to cert 9 times

The limited time they had is why the story takes place mostly in and around 1 city, and over 7 years (so it was temporal, rather than over physical distance, because a more expansive world would have taken more irl time to make)

They had no time to review even the main plot. Mike Laidlaw pitched the idea of 3 stories taking place at different points in the PC’s life, tied together by Varric’s recollections of events. DG rolled with this and made 1 presentation on the idea. This presentation was then approved and off they went

As they were writing DG realized that there was going to be no oversight and that everything was going to be a ‘first draft’. “Because nobody had time.” He sat down with the writers and said “Look, here’s the conditions we’re working under. A lot of what we’re putting out is gonna be raw. We’re not going to get the editing we need. We’re not going to get the kind of iteration we need. So I’m going to trust you all to do your best work.”

Looking back, DG has mixed feelings on DA2. “A lot of corners were cut. The public perception was that it was smaller than DAO. That’s a sin on its own.”

Despite this he thinks DA2 has some of the best writing in the series, especially character-wise. The DA2 chars are his favorite

The pace with which production progressed may in some ways have helped. “When we do a lot of revision, we often file away [as in buff off] some of the good writing as well. Somehow DA2′s whirlwind process resulted in some really good writing”

The pace meant chars landed on the writers in various stages of completion. For example Isabela was fairly defined due to appearing in DAO. In contrast Varric at the start was just that single piece of widely-shown concept art

Varric was conceived as a storyteller not a fighter. His skills are talking and bullshitting. Hence the question became, so what does this guy do in combat? The direction was to make him as different as possible to Oghren, so not a warrior. He couldn’t be a dual-wielding rogue in order to differentiate him from Bela. But you can’t really picture this guy with a bow. “For a dwarf, it would probably be a crossbow. We didn’t have crossbows, or we only had crossbows for the darkspawn. And they were part of the models. We didn’t have a separate crossbow that was equip-able by the chars. They had to like, crop one off a darkspawn and remodel it. And that became Bianca” (quote: Mary Kirby)

“Dwarven mages are exceedingly rare.” [???]

If DAO was a classic fantasy painting, DA2 was a screenshot from a Kurosawa film or a northern Renaissance painting. (Here Matt Rhodes was commenting on art style)

John Epler: “In any one of our games, there’s a 95% chance that if you turn the camera away from what it’s looking at, you’ll see all kinds of janky stuff. The moment we know the camera is no longer facing someone, we no longer care what happens to them. We will teleport people around. We will jump people around. We will literally have someone walk off screen and then we will shift them 1000 meters down, because we’re fixing some bug.” John also talked about this camera stuff in a recent charity Twitch stream for Gamers For Groceries. There’s a writeup of that stream here

Designing Kirkwall pushed concept artists to the limits of visual storytelling, because it has a long history that they wanted to be present. It was once the hub of Tevinter’s slave empire, so it needed to look brutal and harsh, but it also then needed to feel reclaimed, evolved, and with elements of contemporary Free Marches culture

The initial plan was for DA titles to be distinguished by subtitles not numbers, so that each experience could stand on its own rather than feel like a sequel or continuation. (My note: New PCs in each entry make sense then when you consider this and other factoids we know like how DA is the story of the world not of any one PC). Later, DA2′s name was made DA2 in a bid to more clearly connect the game to its predecessor. For DAI they returned to the original naming convention. (My note: so I’d reckon they’d be continuing the subtitle naming convention for DA4)

DA2 was initially code-named “Nug Storm”, strictly internally

The Cancelled DA2 Expansion - Exalted March

This was a precursor to DAI

It was meant to bridge the gap between DA2 and DAI

It focused on the fallout from Kirkwall’s explosion, with Cory serving as the villain

Meredith’s red lyrium statue was basically going to infest Kirkwall and it would end up [with what would end up] the red templars taking over Kirkwall and essentially being Cory’s army

To stop him Hawke would have recruited various factions, including Bela’s Felicisima Armada and the Qunari at Estwatch, forcing Hawke to split loyalties and risk relationships in the process

It was meant to bring DA2′s story to an end and end in Varric’s death. DG was very happy with this because all of DA2 is Varric’s tale. The expansion was supposed to start at the moment Cassandra’s interrogation of him ended in the present. “And we finished off the story with Varric having this heroic death.” It tied things up and would have broken many fan hearts, something BioWare writers notoriously enjoy. But between a transition to the new Frostbite engine and the scope of DAI, the decision was made to cancel EM, work any hard-to-lose concepts into DAI, and in the process save Varric’s life. DG has talked about the Varric dying thing before

Concept art for EM explored new areas previously not depicted in the DA universe, with costumes that reflected next steps for familiar chars. Varric was going to war, what would he have worn? With Anders, if he survived DA2, the plan was to present a redeemed Warden

A char that vaguely resembled Sera in DAI was first concepted for EM. This fact was mentioned near this concept art (see the female elf) and this concept art of Bethany with the blond bob

The writers sketched out plans to end it with Hawke having the option to marry their LI. This included alternate ceremonies for party members like Bethany and Sebastian if the player opted not to wed. There was even a wedding dress made for Hawke. This asset made it into DAI (Sera and Cullen’s weddings in Trespasser). The dress can also be seen in DAI during an ambient NPC wedding after completing a chain of war table missions

The destruction of a Chantry was explored in concept art as it might have happened in EM. This idea ended up carrying over to the beginning of DAI. (My note: Lol, the idea that DA2 could have had 2 Chantries being destroyed in it 😆)

World of Thedas

Sheryl Chee and Mary Kirby started with “a disgusting little dish called fluffy mackerel pudding”. In the middle of DAO’s busy dev period one of them (they can’t remember who) found a recipe online for this, scanned in from a 70s cookbook. “I don’t understand why it was fluffy. Why would you want fluffy mackerel pudding?” MK says. “We loved it so much we included it in a DAO codex.”

This led them to create more food for Thedas, full recipes included, like a Fereldan turnip and barley stew from MK and SC’s Starkhaven fish and egg pie. The fish pie became Sebastian’s favorite. “To me it made sense for it to be fish pie because a lot of the Free Marches are on the coast”, SC says, “It was something that was popular in medieval times, so I thought, let’s make a fish pie! I looked at medieval recipes and I concocted a fish pie which I fed to my partner, and he was like ‘This is not terrible’”

For WoT the whole studio was asked to contribute family recipes which might have a place in Thedas. SC adapted these to fit in one Thedosian culture or another, including a beloved banana bread that localization producer Melanie Fleming would regularly bake to keep the DA team motivated. “Melanie’s banana bread got us through Inquisition”

DAI

It says part of DAI takes place in or near the border with Nevarra [???]

This game was aimed to be bigger than DA2 and even DAO in every conceivable way

The first hour had to do a lot of heavy lifting, tying together the events of DAO and DA2 while introducing a new PC, new followers etc in the aftermath of the big attack. DG rewrote it 7 times then Lukas Kristjanson did 2 more passes

DG: “Our problem is always that our endings are so important, but we leave them to last, when we have no time. I kept pushing on DAI: ‘Can we work on the ending now? Can we work on the ending now? Can we do it early on?’ Because I knew exactly what it was going to be. But despite the fact that it kept getting scheduled, whenever the schedule started falling behind, it kept getting pushed back... so, of course, it got left til last again.”

“The reveal of the story’s real antagonist, Solas, a follower until the end, when he betrayed the player”. “Solas’ story remains a main thread in Inquisition’s long-awaited follow-up” [these aren’t DG quotes, just bits of general text]

Over the course of development they had 8 full-time writers and 4 editors working on it. Other writers joined later to help wrangle what ended up being close to 1 million words of dialogue and unspoken text. While many teams moved to a more open concept style of work for DAI, the writers remained tucked away in their own room, a choice DG says was necessary, given how much they talked. All the talking had a purpose ofc as if someone hit a bump or wall in their writing they would open the problem up to the room

As writing on a project like DAI progresses, the writers grow punchier and weirder things make it into the game. This is especially the case towards the end of a project (they get tired, burned out)

Banter and codexes require less ‘buy-in’ (DG has talked about this concept a few times on the Twitch streams) from other designers. DG liked to leave banter for last as a reward because it was fun. Banter begins as lists of topics for 2 followers to discuss. These may progress over time or be one off exchanges. One banter script can balloon to well over 10k words. “The banter was always huge because we were always like, laughing, and really at that point, our fields of fucks were rather barren, so we would just do whatever”

The bog unicorn happened pretty much by accident. It was designed by Matt Rhodes and was one of his fav things to design. They needed horse variations and he had already designed an undead variant which was a bog mummy [bog body]. irl these are preserved in a much different way to traditional mummies. When someone dies in a bog their skin turns black and raisin-like. The examples we know of tend to have bright red hair for whatever reason. It’s a very striking look and MR wanted to do a horse version of this as he thought it’d be neat. 5 mins before the review meeting for it he had a big ‘Aha!’ moment, quickly looked up a rusty old Viking sword, and photoshopped it through its skull like that was how it died. “And I was like, ‘I just made a unicorn. Alright, in it goes!’” It got approved. “So we built the thing. It fit. It told a little story”

With the irl Inquisition longsword, one of the objects they tested its cleaving ability on was a plush version of Leliana’s nug Schmooples

The concept art team explored a wide variety of visuals for the Inquisitor’s signature mark. It needed to look powerful and raw but couldn’t look like a horrific wound. In some cases, as cool as the idea looked on paper, they just weren’t technically feasible, especially as they had to be able to fit on any number of different bodies

Bug report: “Endlessly spawning mounts! At one point during development, Inquisitors could summon a new horse every time they whistled, allowing them to amass a near infinite number of eager steeds that faithfully followed them across Thedas. “You could go charging across levels and they’d all gallop behind you,” Jen Cheverie says, “It was beautiful.” Trotting into town became an epic horse siege as a tidal wave of mounts enveloped the streets. Jen called it her Army of Ponies”

The giants came from DA Week, an internal period when devs can pursue different individual creative projects that in some way benefit DA. They also had a board game from one of these that they were going to put in but they didn’t have time. It’s referenced though. It was dwarven chess

Josie’s outfit is made of gold silk and patterned velvet, with leather at her waist. She carries “an ornate ledger” and she has “an ornamented collar sitting around her neck, finished by a brilliant red ruby, like a drop of Antivan wine in a sunbeam”

Iron Bull’s armor is leather. His loose pantaloons and leather boots give him agility to charge

On DAI in particular, concept artists took special care to make sure costumes would be realistic, at least in a practical ‘this obeys the laws of physics and textiles’ sense. “While on Inquisition, we thought about cosplay from a concept art perspective. Given how incredible a lot of [cosplays] are, I now am not worried about them. In fact in some cases in the future I want to throw them curveballs like, ‘All right, you clever bastards. Let’s see if you can do this!’”

2 geese that nested on the office building and had chicks were named Ganders and Arishonk (it wasn’t known who was the mom or the dad). Other possible names were Carver Honke, Bethany Honke, Urdnot Pecks, Quackwall, Cassandra Pentagoose, the Iron Bill, Shepbird, Garroose, Admiral Quackett, Scout Honking, HChick-47 and Darth Malgoose

Bug report: “The surprising adventures of Ser Noodles!” DAI was the first time the series had a mount feature, meaning this had a lot of bugs. A lot of the teams’ favorite bugs were to do with the mounts. There was a period of time where the Inquisitor’s horse seemed to lose all bone and muscle in its legs. They had a week or so where all quadruped legs were broken. It was a bit noticeable in things like nugs and other small beasties but the horse was insanely obvious. “The first time we summoned the horse [for this] and started running around, the entire QA exploration room just exploded with laughter.” Its legs flapped around like cooked fettucine, leading testers to lovingly nickname it Ser Noodles. At galloping speeds the legs almost looked like helicopter blades, especially when footage was set to classic pieces such as Wagner’s Flight of the Valkyries

For DAI the artists were asked questions like “What would Morrigan wear to a formal ball? Can Cassandra pull off a jaunty hat?”

On DAI storyboarding became the norm. John Epler: “Cinematic design for the longest time was the Wild West. It was ‘here’s a bunch of content, now do it however you want’, which resulted in some successes and some failures.” Storyboarding gave designers a consistent visual blueprint based on ideas from designers, writers and concept artists

Quote from a storyboard by Nick Thornborrow (the Inquisitor going into the party at the end of basegame sequence): “Until Corypheus revealed himself they could not see the single hand behind the chaos. A magister and a darkspawn combined. The ultimate evil. So evil. Eviler than puppy-killers and egg farts combined.”

A general note on concept art:

In the early stages of any project, before the concept artists are aware of any writing, they like to just draw what they think cool story moments could be. It’s not unusual for the team to then be inspired by these and fold them into the game as the project progresses

– From Bioware: Stories and Secrets from 25 Years of Game Development

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mybg3notebook · 3 years

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Gale: Manipulation, Lies, and Trust

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in June 2021.

Additional disclaimers about meta-knowledge and interpretations in this (post) while disclaimers about Context in this (one).

Before anything I strongly suggest reading this post about "Context, persuasion, and manipulation" to understand in a simplified way the meaning of the words we use, so despite not being related to bg3, it's related to communication and social issues. Since fandom loves to misuse them, I think it requires a proper explanation so we all know in which frame we are analysing these scenes.

Due to the fact that this post ended up turning into a much longer one than I wanted to, I split it into four posts, each of them showing how many sides Gale has in those scenes, how much his actions are "manipulative", how many details related to lore he shares, and possible interpretations of his behaviour, since it's rather easy to lose his scenes because they have the lowest priority. In this post I will only make a summary and a compilation of the broad details explained in those posts, so pick what you want to read since all these posts may have overlap of information and repetitive concepts (they were written to be self-contained as much as possible).

'Stew'Scene

"Loss Scene"

"Party Scene" (with Revelation scene)

"Extra Scenes": Death Protocol and Comments on Dreams

I'm analysing these scenes in detail because I noticed that many players incorrectly paraphrase Gale's words, putting in his mouth words he never said, so for the sake of transparency, I transcribed many fragments of his dialogues, making these posts more lengthy than they should be.

The stew scene

The details are shown in the post of the "'Stew'Scene". In this scene, Gale shares a friendly introduction with the stew and with a list of good deeds done by Tav. This shows that he has begun to trust Tav so he can talk about this issue earlier than he wanted to (he will wait much longer in the neutral version). As a gesture of honesty, Gale sets an explicit boundary by telling Tav to refrain their curiosity and do not ask about the 'why' of the issue he is about to talk about (under no circumstance he is forcing Tav to agree with the delivery of artefacts before telling them 'what' he needs). He acknowledges that it may be unfair not to give the whole context, but he still can't speak in detail about this very personal issue. As an interesting detail, his trust in Tav at this moment of the conversation is so honest that he has not shielded his mind, so Tav can intrude with the tadpole without Gale knowing it—if Tav succeeds— . If Gale doesn't trust Tav even successful intrusions of the tadpole can be perceived by Gale's trained and cautious mind. For more detail read the post of "The Tadpole".

I personally interpret the stew scene as one of those moments in which one is developing a friendship with a stranger, and at some point, someone has to trust first. It's a rare occasion in which the act of trust is shared in equal measure by both members in a new relationship. Usually, one of them offers a bigger portion of trust, testing the other, seeing if it was not misplaced or if it will be honoured later. It's a normal asymmetry, and in this case, Gale is only explicitly asking for that asymmetry in his favour.

Considering how Gale opens up later, Tav passed the test in his eyes. Helping him during his direst moment and accepting that temporal trust asymmetry made Tav “earn the respect of years” despite being a stranger he met a couple of days or weeks ago. But Gale will not be blind to that gesture. He will progressively honour that trust in the Weave, the Loss, and the Revelation scenes. And by the end of EA, if it is not bugged as usual, Gale's approval status can change to “best friend” (an information given as meta-knowledge, therefore very unlikely to be "a trap set by Gale". For more details read the post about "meta-knowledge").

It's pretty common for manipulative characters (whose trait of manipulation belongs to their personality, not characters who may have circumstantial manipulative actions) to expose their pain too soon with strangers as a tool to force empathy on the listener and "catch" them. Gale does exactly the opposite: he won't open up until having a solid ground where to place his trust. Nobody wants to share their pain in unsafe places, after all.

Helping him with artefacts is deeply appreciated by him and a great boost of his approval for obvious reasons: people tend to place their trust on persons who helped them in their most desperate situations or in their survival. It has to do with the unique connection that often happens between survivors of extreme situations (war-like) who helped each other in surviving. The shared link is deep. One could expect this link to be built with any of Tav's companions since the Tadpole experience is traumatising and extreme. I think this has higher chances of happening with neutral and good aligned companions, since evil ones may have little scruples to not honour the trust received.

Gale could have avoided Tav's questions and mistrust for this secrecy by just lying. However, Gale opts for an explicit enunciation of his limits and boundaries. And Tav is completely free to agree or not since Gale won't abandon the party if not. We know that, in that case, he will try to find another solution that he may find in Raphael's deal. Some players consider this situation of mutual agreement in the terms and conditions that the conversation will happen as a coercive one. What I see is diplomacy and negotiation rather than manipulation.

Gale's need for secrecy is related to two factors:

Survival: He needs to be sure that Tav won't kill him out of fear (which we saw during the scene with Nettie; it's a common procedure in Faerûn: exterminate what's dangerous). Gale's case is even worse because killing him will only activate the devastation he is desperate to avoid: Gale wants to survive but also wants to avoid the massacre that the “orb” can cause.

Personal reasons: Which is the main reason at this point: Gale is unable to speak about the "why" of this condition because it's originated in Mystra's abandonment and the horror of the “orb”: such traumatising experience that turns the Tadpole experience into an inconvenience (this is why his attitude with the tadpole is more relaxed too, he has already passed through a much worse, terrifying situation).

The Loss scene reinforces this concept when we see Gale—usually so verbose and impossible to shut up— can't speak or find the words to say what he lost and why. And only by the end of the scene, if Tav insisted with many checks, he managed to say something. It's worth noting that these checks tend to be strangely low for a character who is struggling with a personal secret. This is usually understood in DM-code as Gale wanting to share this info (setting a lower DC than the average). Gale is not finding the way to do it, and a Tav gently pushing him will do the trick.

It is for this reason I personally think that Gale's secretive attitude is more like a series of obvious clues he purposely leaves in his conversations for Tav to draw their own conclusions before he could finally open up. If all Gale's scenes are triggered (which at this moment is very hard to do with his priority being always the lowest) and Tav pushes him to speak more than he is willing to, the player obtains a decent amount of information to conclude that Mystra and Gale had a deeper relationship, and that the “orb” is something dangerous not only for Gale. To be honest, the death protocol is a gigantic red flag pointing out that Gale's primary condition is not to be taken lightly and “many innocents” can die because of it.

With a neutral or lower approval, Gale will not ask Tav to trust in him. He doesn't trust Tav either, and there is no promise to speak and disclose his condition later. Gale clearly is more mindful and caring with a medium or higher approval Tav who he is starting to see as a good companion/friend, while with a neutral or lower approval Tav he cares little about keeping the contact beyond what diplomacy demands.

It's not by chance that this Stew scene is meant to happen before the Weave scene. From a narrative, contextual point of view, the trust that Tav gave Gale during the Stew scene is afterwards paid with the Weave and the Loss scene. Let's remember that Gale would only ask for that trust if Tav is of medium or higher approval, so the Weave scene comes naturally (when not bugged). The neutral and low approval Tav is never asked for that trust and therefore the Weave scene never happens (if their approval keeps going down). In fact, Gale can leave permanently without any chance of convincing him to stay if he reaches very low approval. What I mean is that, from a narrative point of view, the Weave and the Loss scenes are Gale's way to return that trust that Tav gave him first during the stew scene and the first artefact consumption.

The Weave was not a premeditated scene. It happened by surprise, triggered by Gale's deep loneliness: Tav startled him when he was longing for Mystra while seeing her image in his incantation. He shares in that moment how important and vital magic is in his life, and only then, the previous actions done by Tav encourage him to share this experience. It's important to highlight that this is too personal for Gale, too important, and a bit painful too, since we know later (second dream) that every time he connects with the Weave, he meets with Mystra's disappointment: "What magic I can still weave is met only with undercurrents of disappointing silence."

After a moment of rambling, Gale invites Tav to share this experience. Here is where all the branches about explicitly displaying Tav's romantic interests can be developed; a neutral option for a friendship path, or very aggressive and violent reactions can be picked as well. More details about this scene can be read in the post of "Gale Hypotheses- Part 2", section: "Proposition to Cheat". And again, for a char so guarded of his own privacy and personal issues, sharing the Weave can be clearly seen as the repayment of the trust that Gale received from Tav during the stew scene.

The Loss scene

The Loss is a scene that starts with a mystery about Gale's incapacity to cast a spell. He keeps pushing Tav away, claiming that night to be of personal regrets. Tav knows already that something is dangerous in Gale's consumption of artefacts that can cause a catastrophe, so in this scene some links can be made between the two conditions.

If Tav gently pushes Gale to speak, we will notice that most DCs are rather low, meaning that Gale is not putting a strong resistance for the pushing: a friendly Tav pushing him can be interpreted as Gale wanting extra help to open up and speak (in the end he approves the caring despite his reserved persona). Gale gives many hints in this scene that suggest he was a Chosen of Mystra. The most relevant one is the Silver Fire reference. For more details about the Chosen's powers read the post about "Mystra and her Chosen ones".

We also see a reinforcement of Gale's pattern behaviour: He prefers to speak in this poetic way when he has to talk about painful topics (we see it after killing the druids that triggers “the barren oak” scene or during the goblin party scene). Talking in third person puts distance, but also the embellishment of his narration makes it easier for him to speak, after all he is a poet/storyteller as well.

What's clear is that the verbose companion, who always has a lot to talk about, is basically speechless in this scene, stuck in his "loss" (literally, metaphorically, and psychologically speaking). Part of this behaviour can be understood a bit more in the post about "Gale Hypotheses- Part 1", section: "Grooming". Besides being a private person, Gale also has a perspective that talking about things that can't be changed is useless. He is so stuck in the loss, that talking about it means nothing to him, "the outcome" is always the same.

After pushing Gale to share his burden, the presence of Mystra in Gale's life is undeniable for Tav. Gale sounds like a strong devotee that somehow lost Mystra. We know in this short description that he “did something” to impress his Goddess and earn her favour back, and in doing it, he failed, invoking death upon him. If Tav is sharp enough, knowing that Gale's consumption of artefacts is related to a “catastrophe” and a certain death of himself... maybe they can start connecting some dots and suspect that Gale's primary condition may be related to the loss of Mystra. My point is, even Tav has been informed quite a lot about Gale's “truth”. As we can see, the “Revelation” scene should not be such a shocking “revelation” as it was written, but more a “detailed description” of the situation.

The context seems clear so far: Gale knows he hides the details of his condition (which are not so hidden anymore), and knows that it's information that can cause a second abandonment (whether as a friend or a lover). Gale is at this point in his life very tired and lonely of struggling with the “orb” inside him too. He could use some emotional support, and this is why I believe he has less tough DCs that one should expect from a character who is actively holding information he doesn't want to share. We need to remember that Gale lives in a permanent anxiety mind-state, too focused on Artefacts and the disaster he can cause, increased with the dreadful, hungry feelings that the “orb” inspires with each passing day. He is getting fond of Tav at this point, and their abandonment would mean too much, even though he knows that he may deserve it.

We know that Mystra abandoned him, but did not ban him from using the Weave. I personally speculate that maybe Gale's point of view of the situation of the “orb” and the following abandonment of Mystra is partial: Mystra may have abandoned him not on purpose but as a consequence of having that Weave-sucking power in his chest. As it was explained in the post of "Mystra and her Chosen ones", Chosen ones have a deeper connection with her, and they are able to use raw magic in the form of Silver Fire. This means that Chosen are part of Mystra herself (in Dead Masks, it's stated that Mystra leaves a bit of her own divinity in each of her Chosen), so Chosen ones are also part of the Weave, always connected to Mystra who is the Weave. If the “orb” inside Gale consumes Weave, and we all know that Weave IS Mystra, it's not too far to conclude that Mystra may have abandoned him as a safety measure since, if Gale remained as Chosen, his contact with her would be deeper and would expose her to the “orb”, destroying her eventually. But this, again, it's a mere personal speculation.

The party scene

Gale has finally reached a degree of trust in Tav that gives him enough courage to finally speak about the details of the "orb" (and I emphasise details because in broad aspects, he already shared what's most important: the “orb” in his chest is a dangerous thing. If Tav assisted in his death protocol, this is undeniable by now, unless Tav did not pushed him and respected his privacy).

If he is romanced, he promises much more: confessions in the art of conversation, pleasures in the art of the body, and, hopefully, acceptance. For Gale, acceptance is a big deal: I personally believe he shows a fair level of naivety on this matter. It seems (especially later, with his arguments in the morning) he thought he needed this level of intimacy to reach acceptance first (a process that this book guarantees to happen), so he could speak openly. He wants to have this night before any confession because he wants to acquire acceptance which, in his mind, would prevent the abandonment he viscerally fears.

Gale is so eager to spend the night with Tav first and confess later that the only way of not doing it is not romancing him at all or telling him that Tav is not in the mood. It's not clear in EA if this ends the romance; I think it doesn't since the disapproval is not big (there is no change in the approval status).

Gale wants to be with Tav intimately so badly that he doesn't mind Tav having casual sex with other companions first as long as the "commitment" part would be established with him. This is reinforced by the fact that, if Tav never shared the Weave with Gale, there is no way to sleep with him: Gale is not a character for one-stand nights. He craves for deep connection, for commitment, in whatever fashion he can get it. Mystra taught him not to ask about exclusivity after all, and because of the ephemeral nature of his relationship with her, he craves for something meaningful and more committed.

Mystra was his first love. After her abandonment, he made the mistake of the “orb” that dragged all his energy into studying Netherese magic and possible solutions. I consider it fair to think that maybe Gale never had a relationship beyond the Goddess, and all what he learnt about romantic relationships was through books like the one he mentions or, as a poet, through novels or romantic poetry. He must have an idealisation of love (also proper of a poet) that made him believe that through sex “intimacy” there is a guarantee of acceptance.

His pattern, in my opinion, says that he tends to make mistakes in his emotional state, which is mostly triggered by the “orb” and the potential of “abandonment”. Not so much with Mystra herself. He seems to be nostalgic, but more aware of what loving a God causes (his regret is explicit during the conversation about Karsus). He seems to be quite done with "her romantic love", but that doesn't mean he doesn't want to be forgiven nor he doesn't love her as the essence of Magic itself. More details in the post of "Mystra and her Chosen ones".

Some players see the “Revelation” scene as manipulative. Although that's personal interpretation, if we analyse the kind of information withheld by Gale we found little new: the dangerous nature of the “orb” had been indirectly disclosed in all the previous scenes. Tav being surprised about the “orb” seems strange. And Gale sleeping with Mystra has little relevance: in a game for adults, why are past partners such a big deal? The scene is so confusingly written to make it sound as if Gale is still in love with Mystra, but previous scenes showed he has been working on getting over it. Despite loving Mystra as the embodiment of Magic herself, Gale showed to be very aware that all that love belonged to the past (second dream), to a younger self, and even though he is not certain if he loves her still, he is clear that nothing good comes from relationships between mortals and gods (comments on Karsus). He is very explicit about desiring her forgiveness (second dream). So, there is little withholding information at this point for a Tav who pushed him to speak. Now, Gale's attitude certainly has been tactless. Not the best decision to disclose a past lover with such a degree of fascination just after sharing a night with Tav. But it's understandable since in order to “disclose” the “orb”, Gale needed to provide the context of his young love for the Goddess.

The whole scene of the Revelation seems very, very unpolished, mixing tones and confusing information that was given before and presenting it as if it were a revelation when it's not the case. It jumps from one drama concept to another, and never sticks to one, and Tav's options tend to be extreme: or the player calls this disclosure a “great betrayal”, or makes it seem as if nothing has happened, giving little options of what Tav already knows, or if they want to show a moderate annoyance since most of the information has been disclosed already, but still Gale's timing is annoying. Part of this can also be written on purpose to show what a disaster Gale is when it comes to the potential of “another abandonment” in his life. Hard to tell in EA.

Tav's romantic options react as if Gale confessed to have cheated on them, while what he explains has a different degree of conflict: he confesses he is not sure he still loves Mystra, but his lines in previous scenes show he wants to get over it, without losing his magic/relationship with Mystra, because magic is too important in Gale's life. At times, Tav's options are meant for them to react with jealousy, other times as if this were a big betrayal, or as if Gale's romantic past should have been disclosed before the night, and in the last part of the scene, Larian remembered that the “orb” could be considered a conflict too, so Tav has some occasional options to react to the “orb” as if it were a big revelation (when it's not, because we had 3 scenes, four if we include the death protocol, stating its dangerous nature). So, I personally understand why every person has a completely radical interpretation of the situation: it has been written in a rush, and I see it as very inconsistent in tone and context. This all makes sense when one remembers Kevin VanOrd stream where he explained that Gale was meant to be in the second wave of companions, and not in EA. Gale's writing was rushed and it shows in the last of his scenes and his meeting scene.

Some people may argue that talking about a previous lover right after sharing the first night is, at the least, a very bad taste. However, the player (not Tav) can understand the reason behind it: Gale started the story in order to explain in detail the "why" that has been left up in the air since the stew scene. That "why" can only be explained if Gale discloses Mystra's relationship as the origin of his mistake. So... on one hand, this disclosure right after the shared night is unfortunate for Tav (especially by picking the long version of the explanation in which Gale shares too much unnecessary detail). On the other hand, if he omits this relationship, it's harder to explain the context of why he got the “orb” in his chest.

In general I think this scene has been handled poorly. The whole “conflict” portrayed here implies two aspects: He slept with Mystra, and he has an explosive “orb” in his chest. Neither of them are truly big arguments for the drama degree that this scene seemed to have been written because we already know, to a certain degree, about them.

The “orb” is not truly “such a revelation” at this point. The stew scene alone gave Tav and the player a clear idea that something in Gale could cause a catastrophe without consuming artefacts. After the death protocol that certainty is clearer. So, these “revelations” are more like “extra details” of problems we already know about. Which is what he exactly says when introducing this scene: “Those are but the broad strokes. The time has come to paint you the true picture”.

Having past lovers seems also a strange concept for a “betrayal”. Adults carry pasts. It's true that maybe speaking of a past lover in the same moment he awoke with a recent one is in a pretty bad taste; it's a bit more understandable when you finish the scene: the origin of the “orb” problem was Gale's love for Mystra, so it makes sense to start from her. However, I see the conflict of the conversation switching constantly in three directions: the fact that Gale had a lover that didn’t talk about the previous day, that “Gale is still in love with Mystra”, and that he has an “orb” that Tav “never” knew about it. A very inconsistent conversation.

It's true that Mystra is not a standard lover—she is a goddess—but she is quite known to have these affairs (at least for the player), especially during her past when her direct contact with any human was not banned. It should be more surprising that Mystra seemed to have broken that ban for Gale's case (since she only kept in direct contact with her chosen ones: Ao's decree). And it's also clear the scene tries to show that Gale is still “in love” with her, which is very confusing with what he spoke during the Loss and mainly, during the second dream. Again, I personally feel the scenes of the party and the romance are a mess from a cohesive narrative point of view, and they are the result, alongside Gale's first meeting, of his rushed introduction into EA.

This post was written in June 2021. → For more Gale: Analysis Series Index

#bg3 meta #bg3 gale #gale #gale of waterdeep #bg3

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obeysword · 3 years

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i keep thinking of it and the way the end of the game has teddie giving the closing statement of everyone’s heart being connected and addressing yu’s departure is really... not something that makes sense.

teddie has rare moments of maturity, but his bond with yu has never been as deep as it could be. it would take much more time to mature as it’s one of the more shallow links. and there’s nothing wrong with that! it just means they need more time for it grow and connect on a deeper level. i find this to be due in part of teddie’s childish personality. yu treats teddie as he would a child, because acts like he is a child. he has no concept of the things he says. he only flirts with girls because he just wants attention. the amount atlus does with this theme is pretty grating on the nerves and in pq that was pretty much teddie’s entire character. the japanese sub and dialect highlights he doesn’t know at all the things he’s talking about, and that’s something most english speakers may not pick up right away. ( a lot of this fandom still can’t see beyond the surface of the other characters but that’s an entirely other rant to get into. ) teddie is much more than just what atlus shoves him into, but it’s not often that we get to see how he has insight on certain things. i really believe he doesn’t understand the things he says. like scoring or thinking the strip club were the stripes on a zebra. his mindset is very innocent, someone just a little older than nanako’s childish aspects. i’d say he’s 10-14 on the maturity scale because even his deepest scenes, still hold the weight of a child’s understanding.

i find yu to be very closed off around him as well. there’s moments where teddie looks up to yu for guidance and understanding. but it’s never a heavy conversation like where the themes like nanako in the hospital and wondering if she’ll recover could have been expanded if it were another. i also would never place my trust in TEDDIE of all people to take care of yu while he was sick. his lack of understanding of illnesses, health, people, and he’s someone who only sees the surface of what yu’s character tries to present himself him as: perfect, happy, without carrying a burden or the weight of the trauma threatening to consume him. yu is so sick at new years and his fever didn’t break until the last day. realistically, he should have been hospitalized. realistically, teddie would have killed him because he wouldn’t know what to do. he’s also shown to be impressionable and echoing what others have said without being aware of the meaning of those words. i’d hope this could be something his character works out over time and realizes wrong from right because it’s pretty insensitive. kanji and yosuke have both shown to be effected by what he says and does in the nighttime conversations with yu. no one really corrects him for what he does either.

but if i can reiterate, the ending statement of the game feels so out of place with teddie. i know i express enough my love for yosuke’s character and his deep bond with yu, but that’s exactly WHY it should have been YOSUKE who had the closing statement. someone who has constantly talked about how important the connections he made over the year were for him, how special yu is to give him a year he wouldn’t have had otherwise. yosuke’s been yu’s mouthpiece since his introduction, riding his bike down the road and crashing into a trashcan. teddie is NOT morgana and does not hold the weight with yu that morgana does for akira. they are entirely different characters along with their relationship with the protag. morgana knows what he’s saying when he talks about how much he wants to date ann, adding an even bigger creepier factor to how human morgana is.

teddie just doesn’t fit for that scene when yu’s strongest bond has again, been with yosuke. his heart is connected with yosuke, not just symbolically if you count my hcs. but even the in-game dialog expresses that yosuke’s bond with yu is different. he’s the bond that literally cannot be broken, irreplaceable. and i personally think it’s pretty obvious that yu plays favorites amongst his friend group.

#big shrug #i really like teddie bc i love every character in this game #but this scene just... never sat right with me #▼ HEADCANON △#▼ OOC △

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thewhitefluffyhat · 4 years

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Featherine Augustus Aurora

What is this guide?

<< Previous (Lambdadelta)

Reading List: Highlights

Umineko Episode 6/Dawn “??? Tea Party” [ Video / Text ]

Featherine requests her old miko return to her service once more. (Everything to know about Featherine’s personality in one scene)

Umineko Episode 6/Dawn “The Witch of Theatergoing” scene

Video [Scene starts roughly 6:20 and continues to the end of the video]

Text [Search on “Amakusa ran his finger down my cheek.” Scene continues to end of the page.]

[Spoilers - this references several major twists from the previous two Episodes, though not the truth of the mystery.] Featherine ropes another human into acting as her miko. (A demonstration of the way Featherine/Hachijou blends the mundane and the magical worlds.)

Umineko Episode 8/Twilight “Magical Battle” scene

Video [Scene starts roughly 38:40, stop before 53:35]

Text [Start at top of the page and stop at the screencap of the key.]

[Spoilers - this is one of the battles at the climax of Umineko! It doesn’t involve the core mystery, but it will spoil which characters ultimately side with the protagonists.] A scene for if you’re curious what happens when Featherine gets serious.

Reading List: I want it all

(These are all repeats from the list for Bernkastel.)

”Whose Tea Party?” [ Video / Text ]

Bern gets invited to a tea party. (A simple and silly scenario, but also a window into the differences in how Featherine and Lambda think of Bern.)

”Bernkastel’s Letter” [ Video / Text ]

Bernkastel writes a letter to (maybe) Featherine, explaining what she’s discovered about the rules to Beatrice’s game. (This is a bit of a strange one - to me it feels like some details of Bern’s relationships in this early work were retconned by the time of Umineko Episodes 6-8.)

Umineko Chiru (Episode 6/Dawn, Episode 7/Requiem, Episode 8/Twilight)

Umineko Saku’s Last Note of the Golden Witch involves Featherine somewhat. Blink and you’ll miss it, but she’s in 07th Theater too.

-...And that’s it! On the plus side, it’s easy to read all there is of Featherine, since there’s so little. Unfortunately, as you can see from the Highlights, what does exist is often neck deep in spoiler territory…

Wiki Links

https://07th-expansion.fandom.com/wiki/Featherine_Augustus_Aurora [Some spoilers, though only the same as in the Highlights links above.]

Quick Facts

-As Hanyuu is in Higurashi, Featherine is the closest being to a god in Umineko. However, while gods in Higurashi are related to Shinto concepts (plus parasites and viruses and aliens), Umineko’s godhood is based on the idea of an author being god of their story, summoning universes out of the nothingness of a blank page.

-Featherine’s unusual name is probably a reference to Hanyuu. The kanji for Hanyuu (羽入) are “羽=feather” and “入=in”. And Augustus Aurora = Hanyuu’s “Au au” catchphrase. Hachijou (八城) can also be read “yashiro,” as in Oyashiro-sama.

-Physically, Featherine appears as an elegant adult woman whose exact age is hard to place. She does not have horns, but she does have that suspiciously horn-like memory device floating around her head.

According to that Umineko Episode 8 battle scene linked above, Featherine’s memory device once was damaged, leading to Featherine having a different personality and appearance for a time.

(As it so happens, Hanyuu has a chipped horn and a very different personality from Featherine, what an intriguing coincidence...)

-Long before the events of Umineko, Featherine ascended to the realm of the gods and returned. She also goes through a cycle of sleep/death and rebirth which can last centuries. All aspects that call to mind that ascension Hanyuu mentions in Saikoroshi.

-Outside the Meta-World, Featherine’s double is a mysterious and reclusive author who goes by many names. (Hachijou Tohya is just one of them.)

-Remember how Ooishi and Akasaka write a book called “Higurashi no naku koro ni” in-universe? Umineko does something similar, but explores the idea even further. Hachijou is the supposed in-universe author of some of Umineko’s arcs, and as such, some fans consider Featherine/Hachijou as a stand-in for Ryukishi07 himself.

Personality

-Much as Bern’s personality is similar to “dark Rika” but kicked up to eleven, Featherine’s personality is similar to Hanyuu when Hanyuu acts as a god. She’s calm, serious, and refers to humans as “child of man.”

-Lacking Hanyuu’s shy and childish mannerisms, Featherine comes across as intimidating and rather condescending. Though she’s more polite and reasonable than the average witch. (Which honestly says more about other witches than her, really...)

-Bern and Lambda are very fey-like, tricking and tempting mortals into doing what they want. Featherine, in contrast, doesn’t use tricks or threaten violence because she doesn’t need to. Asking for consent from mortals is a gesture of respect from her - you don’t have the ability to refuse.

-In almost the inverse of Hanyuu, Featherine has no problems getting other characters to perceive her; indeed, she’s subtle but often quite forceful about dragging others into conversations inside her realm.

-Also unlike Hanyuu, Featherine has no particular love of sweets (that’s Lambda), and does seem to enjoy alcohol.

-Featherine, an ancient being, suffers from the “disease” of boredom. Entertaining herself with stories is the only medicine for this ailment, and the relief it provides is only temporary.

-As such, Featherine enjoys stories as deeply and thoroughly as possible. Meaning, she doesn’t just appreciate mysteries and characters as they’re first presented - she also likes to “tear out the guts” to see what makes them tick.

...Not with her own hands of course! That’s Bern’s job.

What, did you think you were done with the Watanagashi imagery when you finished Higurashi?

-At several points in Umineko, Featherine a gets called a monster. While this may be yet another callback to Higurashi, unlike Hanyuu who hates that label, Featherine takes it as a compliment.

-So… is Featherine evil? Many characters, and even Ryukishi07 himself in interviews, call her such. That being said, in Umineko, Featherine can be callous, but she doesn’t revel in sadism the way other witches do. Although, presumably she was much worse in the past...

Abilities

-Featherine is the “Witch of Theatergoing” - she is primarily a spectator to the events of Umineko, rather than a player on the stage. (Just like Hanyuu.)

-Bern’s “Theatergoing Authority” may derive from her. She also has the ability to instantly promote a character to the position of Game Master.

-Featherine is an author and therefore a “Creator,” surpassing the level of even powerful witches like Bern and Lambda. Her powers function as her breaking the fourth wall and literally writing the rest of the script on a page.

-Like Hanyuu, Featherine can stop time. Though unlike Hanyuu, Featherine can act in the frozen time, including that aforementioned reality writing.

-Featherine’s home is the *deep breath* “Great Witch of Theatergoing, Drama, and Spectating's Noble City of Carefully Selected Books” - an impossibly large magical library filled with countless stories, each a universe of their own like a Fragment. (Everyone just calls it the “City of Books.”)

-Featherine’s servants are the main characters of these stories, now in the form of black cats.

-Featherine’s relationships with her mikos are also through the lens of an author. Featherine’s mikos are also known as “Readers” - they narrate the events of a game board to Featherine. As an author is a god, a reader is also able to put their own interpretation on the story they tell.

Featherine and Bernkastel

-As Hanyuu is to Rika, so Featherine is to Bern... more or less. They’re still a god and her miko.

-Unlike Rika and Hanyuu, Bern and Featherine do not share their senses.

-Rika and Bern have both lived beyond a normal human’s lifespan, but they both still consider themselves young in comparison to Hanyuu/Featherine’s ancient existence.

-When Rika would bully Hanyuu, Hanyuu did little but cry and complain. Bern still backtalks and is generally disrespectful of Featherine, but the result is different - Bern’s the one acting defensive and scared while Featherine is merely amused by it.

-Bern is also distrustful yet subservient toward Featherine in a way Rika never was to Hanyuu.

-However, when Bern is in danger, she will demand that Featherine help her, much as how Rika did the same to Hanyuu once in Matsuribayashi.

Featherine and Lambdadelta

-Featherine and Lambda appear to be on amicable, if not especially close terms.

-On Featherine’s side, she primarily seems to know Lambda as Bern’s friend and playmate.

-On Lambda’s side, she knows she’s completely outclassed by Featherine, and is very afraid of crossing her.

-Lambda does know quite a bit about Featherine - including that tidbit about Featherine’s personality change in the past.

Featherine in Higurashi Gou?

Is this Featherine? And what does that mean for the rest of Higurashi Gou?

Well, after reading this guide, what do you think?

Regardless, this is as far as I can guide you with my knowledge of Umineko. If you wish to go further, you’ll have to forge that path yourself, through the ravenous wilderness of unconfirmed theories and dangerous speculation.

Good luck!

PS: If you’d like a rough map of some popular destinations, I also have an old Bingo Card of Umineko-Gou connection theories.

PPS to folks from Reddit: If you liked this guide, I also do episode analysis/theory posts too.

#when they cry #higurashi #higurashi gou #umineko #featherine #furude hanyuu #my ramblings #higurashi guide to witches #I gotta say #even if gou ends up a disappointing mess #if nothing else #it gave me a reason to scream for weeks about these three assholes #something I thought I'd never have since I got into Umineko late #so thank you ryukishi07 #sincerely

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botwstoriesandsuch · 4 years

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im loving the history lesson posts!!! what are you're thoughts on the ruins in Tabantha? based on the memory near the skywatchers and the shrine quests in the region, the stone ruins in tabantha existed about 10,000 years ago and were destroyed or vacated and left to crumble. but the stone structures contrast heavily with the wooden architecture of Rito Village? bUT if i'm remembering correctly the song lyrics go "pride of the rito/pillar to the sky" so the rito stone and tabantha itself has (1)

Ok first off, I AM SO SORRY! I read this ask months ago and I worked on it in my google docs and then I was going pure theory mode and then another person sent in another ask about ruins and I was getting all excited so basically long story short I got so caught up in making a masterlist of all the ruins that I completely forgot about this ask until now... So anon I apologize for the terrible wait but hopefully you’ll still enjoy what I have in planned.

You’ve given me a lot to work with so I’m going to break this up into several posts based on your asks. I’m gonna post them on different days becauseeeee content management, schedules, things.....I’m lazy and also if I posted all my thoughts in one post it would be like a giant book with zero pacing so

[Today] Thoughts on the Ancient Columns and the Ruins of Tabantha

[Some time later idk when I post it I’ll shove the link here] The Effects of the Calamity on the Rito and People of Hyrule

The Relationship between Skywatcher Locations and the Cunning of Calamity Ganon

Buckled in ladies, lads, and gentlefolk? It’s time for a history lesson, Part 1 o’ Trois. So today here is

Ancient Ruins, Architectural Parallels, and the Probable Worship of the Fae

So! Let’s start with the ruins of Tabantha. Specifically, the Ancient Columns.

Anon you’re correct in that these ruins are over 10,000 years old. We can not only gather this from the fact that their condition is the same even 100 years ago, meaning they have to be older than a century (see their crumbled state and similar moss patterns) but also from direct lines from the Creating a Champion (CaC) book itself.

However, I’m inclined to believe (for several reasons that I’m going to get into) that these ruins have nothing to do with the “pillar in the sky” as mentioned in the Rito songs. For one, the pillar of Rito village is of an entirely different architectural style, given that it looks like the natural work of wind erosion. And for another, the existence of the Rito village pillar has to have been much younger, around 100 years old, in order to coincide with the Sheikah Shrine quest, as the Sheikah platform thingy has to correlate with the characteristics of the pillar’s shape. Ergo, ergo, ergo, the “pillar in the sky” isn’t 10,000 years old and has no correlation with the Ancient Columns.

Ok so! Back to the actual ruins themselves and what we can analyze from them.

Circled above is every instance of ruins in the Tabantha region. Although I should specify that I’m talking about the Ancient Hylian ruins, as that is the type that is most notably scattered across this area.

We know that all these ruins are off the same civilization because of their style and material.

[Remember this picture for later^^]

In addition, we can also tell from ruin maps in the CaC book that these ruins are from the same Hylian civilization, as well as the important detail that these ruins were centered around the Goddess.

Citing that other screenshot at the beginning on the Ancient Hylian Culture, these ruins were built around the same time as the Sacred Springs, so I think it’s safe to assume that these ruins had a religious purpose.

But I can take this one step further! Up until now, all this information has been based on interpretations from the botw ruins and official info alone, but if we take into account the real life counterparts/parallels, I can prove the exact purpose to what these ruins are for!

Firstly, these ruins are obviously inspired by architecture in Ancient Greece, and other old Empires (like the Romans and Byzantines) across the Mediterranean.

We also know that the ruins are constructed out of limestone. One, because moss is able to grow on it, so it is unlikely that it is marble. And two, we can see the actual limestone texture when seeing the broken parts of certain columns and walls.

[and kinda quick side note here: but the existence of large limestone rich structures 10,000 years ago gives more credit to the theory that Botw takes place after a large flood, notably the events of Wind Waker. One, because limestone is a material mined near the sea, as seen with the Island of Paros and Naxos for the Ancient Greeks. And Two, this ancient sea was directly mentioned in the description for botw rock salt. And also Three, this explains the weird placement of certain structures, such as the buildings placed on suspended and isolated rocky plateaus like the ones I showed earlier by the Skywatchers. So there’s your mini theory which kinda proves that the Tanagar Canyon was probably an ocean trench at one point and it also still proves my connection of the Ancient Hylian ruins being parallels to the Ancient Greeks and all that because...ocean. Greece, peninsula, hundreds of islands, lots of quarries in Hyrule by the sea. Akkala is by the sea, there’s quarries, also the islands with mining equipment like Tingle Island. You get it by now right?]

Anyway. Greeks, Romans, polytheistic gods, temples for sacrifices, limestone, yadayadayada. Safe to assume that these Hylian ruins were of a civilization centered around a temple of some sort worshiping a powerful being, or beings, such Hylia. Hurray! Theory seems done.

BUT!

I can take it

A step FURTHER!!!

You see, I was originally gonna leave this post at that. The Ancient Columns are of an Ancient Hylian civilization 10,000 years ago that worshiped some higher powers. “Great!” I think to myself. “Time to get all my screenshots so that my ADHD followers wont die immediately”

But but but! As I was spending an hour or so getting said screenshots, I took this picture right here and came across a revelation so bright you could have placed a light bulb over my head...

A pretty enough capture, got a nice aerial view of the ruins, the suspended island thing in the middle of the path... nice view of Tanagar Canyon and the Ancient Columns, the sunset is all pretty and—Oh hey! The Great Fairy Fountain is there. Heh, that’s nice. You know it’s kinda weird that it’s just plopped right in the middle of all these Ancient ruin and temp—

BAadaBing, badaBoom, ladies, lads, and gentlefolk! I’m here to tell ya that these giant fae ladies were once worshiped by 10,000 year old Hylian civilizations. And not just this fairy mind you, but all four of them.

First piece of evidence? The proximity of 10,000 year old structures to every Great Fairy. Mind you, these are the most rare type of ruin in the game. 90% of the ruins are of settlements destroyed 100 years ago by the Calamity, and then the other 10% is still divide up between the Ancient Sheikah and Zonai. So I find it quite interesting that almost every case these special ruined civilizations are near a Great Fairy. [Uh, spoilers for all the Great Fairy locations btw]

First, of course, you got the Great Fairy in Tabantha.

Then you got the one in Akkala, by the Torrin Wetlands (again, the highlights in yellow are of the canonical 10,000 year old Hylian ruins)

The Lanayru Promenade isn’t even up for debate at this point....I mean it was the parade ground for the ceremony up to the Spring of Wisdom. How much more “Ancient Hylian” can you get then that?

The only kinda iffy one is the Great Fairy in the Gerudo desert, but even THEN this fairy is by two out of the three only instances of 10,000 year old ruins in the entire desert, the third instance being the Zonai labyrinth.

But, sure. Correlation might not equal causation. But I think the picture becomes all the more clear when you take a look at the timeline of events!

Note that no one in Hyrule really knows what the fairies are all about. Sure, you got that one researched in Tabantha that knew about one of them, and some of the elders in Kakariko had a sort of understanding that a fairy was their neighbor. However, their stance was that of wariness and caution, and they very much did not worship or give offerings to them. Dorian, for example explicitly shows suspicion towards the fairy, and thinks they might be dangerous. (Which, to be fair, is valid if you’ve ever read ANYTHING about the fae)

My point is, people don’t know what the Great Fairies are, or what their powers, motives, or *anything* really are. Sure, 100 years might have passed, but it would be pretty hard to forget something as eye catching as the fae. The people of Hyrule can remember century old white horses, cook books, treasure locations, ancient songs, and vague legends, but the majority of them don’t know about the Giant (seriously, it’s right in the name) Fairy Fountains?!

That is, of course, under the assumption that the Great Fairies existence was known 100 years ago. But what if it wasn’t?

You might be inclined to assume that the fairies lost their power because the Calamity prevented them from getting offerings 100 years ago, but in truth, there is no evidence whatsoever saying that their lack of power originated at the rise of Calamity.

It’s entirely likely that they haven’t been sitting around for 100 years, but 10,000, or even more. It explains why no one knows anything about them, and also their proximity to the ruins.

A beautiful spring you say? You power is directly correlated to offerings you say?

Gee if only there was some ancient civilization that existed a long time ago, that has ties to old religious practices, temples, and polytheistic, which has parallels to the Ancient Greeks and Romans who build their civilizations centering around certain gods and offerings to said powers, and also if only these said civilizations were nearby to all of the fae oh WAIT!

Even when Link gives his offerings, the results are only that of the Great Fairy Fountain blooming, not an entire spring. Could an entire spring existed long ago, providing for the hundreds or thousands of people who worshiped the fae? Who’s to say that these old 10,000 year old civilizations gave offerings to the fae not only for the magic and all that, but for the vitality and life that they provide? Who’s to say that those earlier relief arts of warriors on chariots were of people with enhanced armour. Fairies that give you magic defense would be quit helpful for a civilization that liked to battle... the possibilities are endless....

TL;DR, the Ancient Columns, along with the other 10,000 year old Hylian structures, were constructed for religious purposes, centering around the Great Fairies, who accepted their offerings in exchange for the vitality of their springs, as well as their enchantments.

So! That’s that. Can you believe this is just me tackling only one aspect of anon’s ask? I realize that the majority of the ask was about the Rito but...oops! That’s why I split it into parts. [When I post the other posts I’ll update the contents at the top to link to them]

A like and reblog is appreciated! I spent too long on this, including an extra week because tumblr deleted my original draft which was much longer... so if you liked it, let me know! It’d be nice to know that my time didn’t completely go to waste, :P Anyhow thanks for reading all this

#the only thing stopping me from outright making a theory channel is my lack of youtube skills #zeltik how do you dO IT #botw #breath of the wild #legend of zelda botw #loz botw #botw theory #botw ruins

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feferipeixes · 3 years

Text

The Good Lines (1/3)

Trapped in an unfamiliar world, Alcor finds that he doesn’t mind the loneliness. He doesn’t care about finding a way out. He doesn’t even care about Mizar. All he cares about is solving puzzles, and drawing the good lines.

(or: I Think Dipper Should Play The Witness)

Chapter 1: Tutorial (link to chapter 2) (3)

I promised this a year ago and it’s finally happening! No knowledge about The Witness necessary -- this is basically a TAU fic. Thanks @toothpastecanyon for beta reading it!

(See the most updated version on AO3!)

===

One of the first signs that something was wrong was the silence.

Alcor didn't know when it had happened, but at some point he realized he couldn't remember the last time he'd heard a living thing. Sure, he could hear the grass crunch beneath his shoes, and the babble of the river cascading down the mountainside. When the silence got to be too much, he’d listen to those things as closely as he could.

He never heard a cicada screech, though, never heard a squirrel chitter, never heard a wolf howl. One time, he wandered through the forest and was assaulted by the chirping of birds, but when he looked closer he noticed that there were speakers hidden in the trees. That confused him even more, because who decided a forest needed assistance in creating an ambiance? Would the speakers switch from birds to crickets when it got dark out?

The next thing he noticed was that it never got dark out either.

Another strange thing: his magic wasn't working. He walked upon the ground instead of floating above it. He saw the physical shape of things instead of the shape of the ideas they embodied. And his hand didn't alight in flame when he snapped his fingers. He was still a demon -- he could see it in the pitch black reflection of his eyes when he looked in the ocean -- but it seemed less relevant right now. Which was without a doubt extremely odd.

However curious these things were though, he didn't have much of a chance to dwell on them. He was too busy drawing the good lines.

The panels were everywhere on the island. They were all sorts of materials -- some made of metal with a plastic border, some made of glass so he could see the scenery as he drew, and some were just embedded into the concrete he walked on. Many of them were connected with thick wires. They all had a grid of some sort on them, sometimes containing fanciful shapes and dots. All had one or more bulbous circles somewhere on the grid, as well as one or more rounded off ends. Some of them were pretty to look at, but he knew they weren't just for show. They were puzzles.

He couldn't remember when he'd discovered it. Maybe someone had told him (who? He was all alone). Maybe there were instructions on one of the panels (but he'd never seen any text on the island). Or maybe it was just instinct that led him to reach out and touch a panel, right on one of the large circles. It made a little popping noise, letting him know this was okay to do, and to keep going. So he dragged his claw across the grid, and as he did so, he drew a line. It was simple, it was effortless, it was satisfying. He drew the line around intersections in the grid to one of the rounded off bits and lifted his finger. The panel flashed angrily and highlighted some of the symbols on the grid.

Oh no. That was a Bad Line.

Frowning, he tried again; touching the circle, dragging his claw through the grid in a different pattern this time, and letting go at an end. The panel made a squeaky little beep, and the wire leading out of it lit up.

Alcor smiled. That was a Good Line.

---

There was a mountain at one end of the island. Well, it looked like a mountain, and the climate at the top was dramatically different from that at the bottom, but there was no way it was tall enough to really be considered a mountain. It only took a few minutes for Alcor to follow the path to the top, and he wasn’t even using any kind of demonic superspeed.

The summit was covered in weird stuff, but at this point Alcor would’ve been surprised if such a significant-looking location on this weird island wasn’t covered in weird stuff. Still, he wouldn’t have guessed that it would be covered in random statues of humans. There was an old man speaking at a podium, a figure in a trenchcoat using a camera on a tripod, a librarian gesturing angrily, and so on.

There were two statues at the center under three parabolic arches. One was a young man with a strange ladle-shaped mark etched onto his forehead, struggling to carry a large yellow box covered in images of eyes and which had a thick cable coming out of it. The other was a young woman in a sweater, holding the box’s cable taut and seemingly trying to pull the first statue back. All of the statues seemed vaguely familiar -- especially the two in the middle -- but he couldn’t quite put his finger on it. He eventually decided it was just because humans all look the same.

There was another thing he found while observing the statues: a tape recorder, sitting on a rock near the statue with the tripod. It looked positively archaic in design, and only had one button on it. When he pressed the button, the voice that came out was so clear that it was almost as if the words were being transmitted directly into his brain.

“Up there you go around every hour and a half, time after time after time.”

He frowned at the odd device and cocked his head. It was nice to hear a voice for the first time in what seemed like forever, but he had no idea what it was talking about. He pressed the button again to no effect. The voice just kept talking.

“And you realize that in one glance that what you’re seeing is what was the whole history of man for years.”

Whatever. He decided to ignore it and take in the lovely view instead. He could see almost the whole island from up there, from the desert to the quarry to the forest to the swamp. There was something stunning about the diversity of landscape he could see from one spot. And yet, it wasn’t quite the beauty of the sights before him that made him marvel. It was the thought of all of the unsolved puzzles he was yet to find.

“You finally come up across the coast of California and look for those friendly things.”

There only seemed to be one panel at the mountain’s summit, and it was hardly a puzzle -- just a single zigzagging line. Quick as a whistle, he tapped the starting node, dragged his finger up, and released. It made all of the same sounds the other panels did, but it was kind of disappointing. There was no challenge in it, nothing to occupy his mind or give him a sense of accomplishment. It wasn’t a Good Line or a Bad Line, it was just… a line.

Huh.

“And you do it again and again and again. You look forward to that, you anticipate it. And there it is. That whole process begins to shift of what it is you identify with.”

He set off down the mountain again, and headed toward the greenhouse he’d noticed on his way up. Just as he expected, it was full of puzzles. Surrounded by colorful flowers, he stared at a panel and thought, and thought, and thought.

Hours passed. He solved two more.

“You look down there and you can’t imagine how many borders and boundaries you crossed again and again and again. And you don’t even see ‘em. All of history and music and poetry and art and war and death and birth and love, tears, joy, games, all of it is on that little spot out there that you can cover with your thumb.”

Alcor bounced between areas on the island when he got stuck, always breezing past the scenery without a second glance because there were more important things to attend to. Across the island and toward the desert. Across the island to climb through a treehouse. Across the island to get lost in a boat. He waited for it to blur together but it never did.

“And you realize with that perspective that you’ve changed. That there’s something new there. That relationship is no longer what it was.”

It was peculiar, if he did let himself think about it. He didn’t want to -- didn’t want to give the voice that kind of victory -- but in between panels he sometimes needed a little break and there were only a limited number of things to put his attention to in this place. So, occasionally, he let himself wonder why he was alone.

This was not an unfamiliar question for him. He could come up with a million reasons for it right off the top of his head. He was immortal, so maybe everyone else in the universe was just dead. He was a monster, so maybe everyone else in the universe was just scared of him. He was a dream demon, so maybe he was just buried so deep in the Mindscape that he couldn’t find his way out.

Somehow, none of those reasons felt like the truth. If they were, he’d probably be sadder.

“And you think about what you’re experiencing and why. Do you deserve this? This fantastic experience? Have you earned this in some way? Are you separated out to be touched by God to have some special experience here that other men cannot have? You know the answer to that is No. There’s nothing that you’ve done that deserves that, that earned that.”

Besides, there wasn’t anything to be sad about, if he really really thought about it over and over again until words lost all meaning. He was Alcor the Dreambender, after all! He was the most powerful entity in the universe. Feared like a demon by the masses, revered like a deity by the foolish. All because he’d had the great fortune to rid the world of a villainous creature of destructive chaos.

He did deserve it. He was special. He spent a day lying face up on a rooftop in the town, thinking these things to himself on loop.

“When you come back, there’s a difference in that world now, there’s a difference in that relationship between you and that planet, and you and all those other forms of life on that planet, because you’ve had that kind of experience.”

Past the town there was a little peninsula with some sort of old building on it. Alcor made his way over, but when he got there he was dismayed to find not a single puzzle in sight. There was, however, a statue of a man kneeling on the floor. Alcor jumped when he saw it out of the corner of his eye, reaching for him with a crazed look on its face, but relaxed when he realized it wasn’t alive.

It was an odd sight, to be sure. Alcor followed its gaze to a glass shelf behind him, on which sat a chalice of some sort. He reached up to grab it -- almost knocking the shelf over as he did -- and cautiously stuck his tongue in.

Whatever was in the cup, he thought as he walked away from the building, it was delicious.

“And all through this I’ve used the word ‘you’ because it’s not me, it’s you. It’s us. It’s we. It’s life. And it’s not just my problem to integrate, it’s not my challenge to integrate, my joy to integrate -- it’s yours, it’s everybody’s.”

There was a long pause, and Alcor thought the recording might finally be over. He took a sip of his drink and smiled. Back to thinking about the current puzzle. It was a tough one -- three different colors of symbols on it -- and he was glad that the voice wasn’t distracting him from it anymore.

And then:

”Please come back, Dipper.”

Alcor did a spit take at the sound of his true name. The panel he was working on made a sizzling noise and deactivated.

“Did that work? Can you hear me?”

He shot to his feet and looked around in all directions. No one. He was still as alone as ever.

“You’re not responding so I don’t know if what you’re doing is just a coincidence.”

“What? Hello?” he yelled.

“Oh, thank the stars, it worked! Dipper you have to get out of here.”

“What are you talking about?” he sputtered. “Who are you?”

There was the sound of a deep breath, inexplicably broadcast from the sky. “I’m your sister, S- I mean, uh. Mizar. I’m Mizar.”

Alcor’s eyes widened. “Mizar?”

“Yeah. I’ve been trying to contact you for so long. I can’t believe it finally worked.”

“I don’t understand. What finally worked?”

“You need to listen to me. This isn’t the real world. You’re in a virtual reality game.”

“I’m what?” Alcor said. He backed up, accidentally leading himself to the edge of the platform he was standing on, but instead of falling off, his back hit a wall. He spun around to see what had happened, but there was nothing there. “Mizar? I’m- I’m so confused.”

Mizar sighed. “I told you. None of this is real. It’s a computer program. Haven’t you noticed that things aren’t quite right?”

“Well, yeah,” Alcor replied. He flapped his wings, but stayed firmly glued to the ground. “My demon powers don’t work. Honestly though that’s fine with me. I’m just having fun drawing the good lines.”

“The what?” Mizar demanded, incredulous.

“The good lines!” Alcor squeaked, and waved at the puzzles behind him. “I don’t know what they’re for or what they do, but I’ve been so busy solving all these puzzles that I’ve barely thought about… why… things are… off…”

He trailed off, and Mizar sniffed.

“That’s the point. They’re there to keep you occupied.”

Alcor frowned. “Why though? Who’d go to so much effort to make all of this for me?”

There was no response.

---

Alcor continued to solve puzzles. He didn’t know why Mizar’s voice had stopped, but he was glad it had -- she was the true distraction, not the puzzles. And yet every once in a while, he’d be staring at a particularly difficult panel with one of those Y-shaped symbols on it that made no sense to him, and his mind would begin to wander.

And when it did, he’d notice another one of those tape recorders nearby. There were a lot of them on the island, and they all had boring quotes from philosophers or whatever on them. But then Mizar’s voice would cut in, with a note of glee like she’d thought he’d never speak to her again. Every time she sounded more and more desperate for him to leave. And every time it made him feel more and more frustrated.

“Okay, so,” Alcor said as Mizar's voice faded in for the 20th or so time, “you said last time you might’ve figured out who made this island.” He didn't look up or take his finger off the panel in front of him.

There was a rustling noise, and then a loud pop. “Sorry, had to plug in my headphones. That’s right, though. I’ve done some more research since then and I’m sure of it now.”

He raised an eyebrow. “And?”

“It was an advanced artificial intelligence,” Mizar replied. “I think you might be familiar with it. It’s called ‘the Alcor Virus’.”

“Oh.” Alcor paused for a moment. “Yeah, I wrote him to mess with fanfic writers. Why do you think he made the island?”

“I don’t think,” Mizar said. “It definitely did. There’s traces of it all over the computer network in this building.”

“There’s traces of him all over every device with a processor in the whole world,” Alcor countered. “He’s a really good virus. I’m very proud of him.”

Mizar groaned. “I also found its executable embedded in the binary for this game. Also a few summoning circles, and a big ASCII art picture of it giving me the middle finger.”

“Okay, maybe you’re right,” he conceded. “Why, though?”

“How should I know?” Mizar said, with more than a note of irritation in her voice. “I’m not a psychologist and I’m definitely not a computer scientist. Also why does it matter ‘why’ it’s doing this? Isn’t it time to get out of there already? I’ve already asked you like a million times!”

“No!” Alcor exclaimed, throwing his hands up. He walked out of the structure he’d been standing in and headed toward an area with some shady trees in which he’d noticed puzzles he hadn’t solved yet. “I like it here. It’s fun for me. And I deserve a vacation from all the people who bother me all the time. Why would I leave?”

“Because you can’t just run away from your problems!” Mizar shot back. “You think this is healthy? Literally living in a virtual reality world so you don’t have to talk to anyone anymore? How do you think I feel?”

“How do you feel?” he asked.

“Horrible! I thought you cared about me, Dipper, but all you care about are those stupid puzzles! Stars, sometimes you act like such a demon!”

Alcor frowned. “You know that I -”

“Yes, I get it, you ARE a demon and you can’t help it that you’re a selfish piece of shit. I GET it. Is this how it’s really going to end? You’re just going to turn me down after I’ve spent all this time trying to get you out?”

Alcor’s ears turned red as he felt Mizar’s furious, extraplanar glare land on him. “It really means that much to you that I leave?”

He heard Mizar smack herself in the face. “Yes, yes, a hundred times yes! It kills me that you’re not in my life anymore! You probably thought I could get along just fine without you and no one would be affected by you staying forever on your fantasy puzzle island vacation, huh? Why do you think I keep asking you? I’m starting to get sick of it!”

Alcor felt every muscle in his body tense up at that. He squeezed his eyes shut as Mizar continued to shout, tried to fend off the words violently striking at his ego, and only opened them again when she cut off mid-word. The light on the tape recorder had turned off.

He tried to let himself relax again but he couldn’t. It felt like his chest had become a black hole and it was taking all he had not to shrink up into a tiny little dot and vanish. He hated being yelled at. Hated it.

Maybe Mizar was right, though. Maybe he was just being a selfish jerk. He'd done it before. Countless times, to countless Mizars, his self-serving actions had caused harm to mortals and it was always his fault because he couldn't put himself in their shoes. Maybe he was a monster after all. It was just like a monster to have wants and needs that inevitably end up hurting people.

Alcor exhaled, long and heavy, and pressed the button on the tape again. When the pre-recorded message ended and Mizar’s shouts returned, he interrupted her.

“Okay. I’ll go.”

#gravity falls #transcendence au #the witness #dipper pines #alcor the dreambender #mizar #reincarnation #fic #my stuff #long post #the good lines

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robotslenderman · 4 years

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Ok, so I've played VTMNR a few times now, and I've noticed something which I think is interesting. Near the end of the book, if you've romanced Lettow and choose to fight the SI with him, you'll have the opportunity to kiss him in the hallway. If you decide to kiss him again, or just return to the room with him, there will be one retainer left. Depending on your relationship with Lettow, he'll act differently here. If your Lettow/Camarilla relationship is moderate (3 dots), he'll become cool and composed in front of the retainer. Additionally, he'll touch your wrist in a lingering way, which you realize he's doing in order to check your watch. If your Camarilla relationship is high (5 dots), the part about about him being "cool and collected, even in the presence of a single retainer he is the Eagle Prince" is not mentioned, and Lettow will touch your face instead. In my opinion, the nature of the relationship is more unclear in the 3dot interaction. Personally, I find that it feels more manipulative (though I'm probably not clever enough to explain why). With 5 dots, I follow him to Egypt everytime, but with 3 dots I still follow him. I'm just much more wary about how "happy" their relationship will be. Will he sacrifice my character to the Sabbat if needed? Who knows! Although, really, who's to say you're not being played by him the entire story, even with a full relationship meter.

Another variation I've noticed is during the confrontation with Donati when Lettow flutters up the steps, he will A) see you and force himself to stand, B) stand (because he's an elder), or C) rise to his hands and knees, but is too weak to get up more. I'm not sure what the trigger is for whichever action he takes (or if there are more variants of this), but my more moderate relationship characters got either scenario A or B, while my high relationship character got scenario C. When I played through it, I personally liked scenario C the best because to me, it feels like he trusts the main character enough that he's willing to afford a moment of weakness around them. Afterall, he's still able to attack Donati no matter if you get A, B, or C, so he's clearly not that close to the brink of death.

While I love Lettow and his romance, I'm pretty confused by it all. First of all, I don't really understand his character or ambitions too well. Despite how friendly and trusting he seems in the the first chapter (showing you Jasper's death? Why?), he's suspicious of the courier from the start (if you spy on Carlos in the parking garage, he'll reveal that Lettow thinks you might be an SI agent). And I don't think that suspicion ever goes away, it just evolves. He dismisses the idea that you're SI, but then he thinks you're allied with *potential diablerist* Julian (even if you aren't) then quickly seems to realize it's you (maybe by sensing her in your blood?). He continues to suspect you, until he seems to REALIZE realize that you diablerized Aila. Before the final confrontation between you, Julian, and Lettow, there's a moment where Lettow is reading his book and asks you in a tired, soft voice "I need to know why you--". He never gets to finish that thought, but I'm pretty sure he's asking why you killed her. However, after the warehouse meeting, Lettow decides to spare both you and Julian?? Because he's tired and lonely?? I dont get it, what's his agenda? Why spare them? From what I know, the traditions say that killing/diablerizing a fellow vampire is punishable by death, so isn't Lettow actively going against the Camarilla? I can kinda understand if he doesn't want to kill the player character, since he thinks Aila is in our veins, and he's potentially formed some sort of attachment to us (though I think at this point, Julian's formula has completely eradicated any traces of Aila from our blood, so surely Lettow can detect that?). However, I can't really understand why he spares Julian. Maybe he does it because the author wants to highlight that Lettow is a rare breed of kindred, one that's truly benevolent with a high humanity, but that's the only reason I can think of. Really, I'm just not sure what type of person Lettow is, or what his game is. Julian is clearly depicted as being pretty manipulative and as having these huge ambitions that he needs the courier to help him achieve, but I don't think that's true for Lettow. Asides from running packages, he doesn't really benefit from them (asides from the whole "maybe Aila's reincarnated" thing). So maybe he's manipulating the player at this super high level, but you know, maybe he's just actually a great, merciful person (except he did actually kill a ventrue in his court for having conspired to diablerize Invidia Caul. So what's up with that?)

Anyway, thanks for taking the time to read this monster of an ask, and please let me know what you think!

THANK YOU ANON FOR THIS BEAUTIFUL ASK.

TL;DR at the bottom!

If your Lettow/Camarilla relationship is moderate (3 dots), he'll become cool and composed in front of the retainer. Additionally, he'll touch your wrist in a lingering way, which you realize he's doing in order to check your watch. If your Camarilla relationship is high (5 dots), the part about about him being "cool and collected, even in the presence of a single retainer he is the Eagle Prince" is not mentioned, and Lettow will touch your face instead. In my opinion, the nature of the relationship is more unclear in the 3dot interaction.

Honestly, personally? I just write this off as him not trusting you nearly as well. "Lingering" suggests he *wants* to touch you, but the biggest giveaway is that he doesn't seem to have the need to check your watch at all in the five dot one (if I’m understanding you correctly). That tells me that with five dots, he just openly wants to touch you and isn't afraid to show it (aww), but with three dots he's a little more reluctant and is just *pretending* to check your watch.

He's got walls up in three dots he doesn't in five.

That's my exact same impression too -- there's trust with five dots that doesn't exist with three.

Despite how friendly and trusting he seems in the the first chapter (showing you Jasper's death? Why?), he's suspicious of the courier from the start (if you spy on Carlos in the parking garage, he'll reveal that Lettow thinks you might be an SI agent).

Okay I actually do have thoughts on this.This gets a little bit beside the point of your ask, so bear with me.

Regarding Jasper -- all I can say is, "Why NOT show you Jasper's death"? He doesn't have any reason NOT to show you. It doesn't make him vulnerable for you to know that Jasper is dead, or how he died. It doesn’t give the Courier any kind of edge against him. So Lettow has nothing to lose and everything to gain (your trust) by making you think you’re important enough that you get to watch the video.

Regarding Lettow thinking you're an SI agent -- I know this isn't the point of your ask but I do have thoughts on that, so please humour me for a moment before I go back to your point --

There's something very subtle in VTMNR that is never shown outright. It's very, very subtle but if you think about it, there's a really big reason why Lettow could think you're an SI agent despite being a vampire.

Think about it. Lettow himself points out that he's the only Prince that is as paranoid as he is about the SI, and yet Tucson is swarming with their agents. All the other Princes are emailing and texting and they're not dealing with the SI to nearly the degree Lettow has.

So what's the difference between Lettow and those Princes?

Lettow has an Autarkis in his Domain who's constantly blowing the Masquerade, that's why!

Who keeps calling you and speaking openly about being Kindred?

Julian.

Who keeps pinging the SI in his phone calls, forcing you to switch phones over and over?

Julian.

Who keeps loudly saying things like "WE CAN'T LET ANYONE KNOW WE'RE VAMPIRES" potentially in earshot of the SI, who you KNOW are watching you?

Julian.

Julian flaunts the Masquerade CONSTANTLY. And in doing so, he makes Lettow a target, because Lettow’s the guy in charge of the area!

So what has this got to do with Lettow thinking you're an agent of the SI? I have to admit, I can't quite connect the dots here, but I think it goes back to Julian once again. Julian's operating under his nose. Julian doesn't give a fuck about the Masquerade. Julian has links to you. I wouldn't be surprised if those factors, combined perhaps with stuff happening behind the scenes that the Courier never sees, is why Lettow at first believes you're an agent of the SI.

Basically -- Lettow sees Julian pulling shit, and at first thinks it’s because he’s part of the SI. Lettow sees you have connections to Julian (or perhaps the other way around) and thinks that because of that you have connections to the SI as well.

Later, Lettow does admit the idea is ridiculous, because he sarcastically tells Dove (paraphrased) “why yes, I’m sure that this vampire isn’t helping the vampire hunters.”

(I also believe that Julian is the one that actually SENT the video of Jasper's death to Lettow. I honestly can't think of any other explanation as to who it can be from. Obfuscate doesn't work with electronic devices, indicating the video has been doctored to hide Julian, and who would do that except Julian himself, especially since he tells us that he has video editing skills? Julian knew that Jasper was recording, but didn't wipe the video or take the camera to erase evidence of his crime. So who else but Julian sent that video?)

Anyway, moving on --

Before the final confrontation between you, Julian, and Lettow, there's a moment where Lettow is reading his book and asks you in a tired, soft voice "I need to know why you--". He never gets to finish that thought, but I'm pretty sure he's asking why you killed her. However, after the warehouse meeting, Lettow decides to spare both you and Julian?? Because he's tired and lonely?? I dont get it, what's his agenda? Why spare them?

My impression is that it was just that -- because he was tired and lonely.

At first he lets you live because his couriers are dropping like flies and he needs every one he can get. And as the story goes on, he gets tireder and tireder until he seems on the brink of succumbing to torpor himself. (Bitch is 200 years old and whining about how old he is even though he had an 800YO girlfriend!) At the end of the story, he's exhausted.

And he's also quite clearly severely depressed. And apathy is a strong symptom of depression.

So yeah. I think he spares both the courier and Julian simply because he's too tired and depressed to give a flying fuck any more. Aila's gone, killing the courier won't bring her back. What's the point in killing them? What's the point in killing Julian, when he demonstrates several times he thinks Julian is no threat? (He's wrong, but he clearly underestimates Julian -- he tells Julian that the Masquerade will survive Julian, and he tells Dove that Julian is "just an Anarch.")

I also think his feelings regarding Aila herself are complicated -- it must HURT to survive someone who died via what's essentially suicide. He knows Aila was suicidal. He must have complicated feelings regarding that -- feelings like he wasn't enough, feelings like maybe she didn't love him as much as he loved her.

So yeah. I think he was too tired and lonely and too devastated to care about enacting justice against either of them. I think he just wanted to put it behind him. Run away to the Middle East, let it go, put it behind him, never think about it again.

As for Lettow’s agenda itself?

I’m not going to say he can’t be manipulative. But I do believe he isn’t as manipulative as the other Princes, and that he sincerely does want to do better than they do.

The biggest evidence in support of this, if nothing else, is that Lettow is Gangrel. Gangrel, as a rule, don’t do political bullshit. They tend not to participate in the Jyhad. They tend to be loners, and they often don’t raise their own childer -- so they (often) lack a mentor/mentee relationship that other clans have, meaning that nobody was there to mentor them in ways to survive, let alone thrive, in political bullshit.

So that means Lettow would be drastically inexperienced in manipulation and bullshit outside of what he’d have seen as a mortal aristocrat, and would also probably be way less tolerant of political bullshit than other Kindred. He doesn’t have Dominate to help him. He doesn’t have Presence to help him. Just a magic bird, his own shapeshifting skills and what his friends can give him.

Remember that Lettow became Prince because there was literally nobody else available. He said so himself that he basically stepped into the job because there was nobody else -- he was the one that killed the old Prince (and in a rather extra way, no less) and there were no other Elders in the area.

Plus, by this stage, Aila was dead and he wanted to hunt down her murderers. Or, if I have my timelines incorrect, she was in torpor and therefore vulnerable and in need of protection.

What better way to do that than with the resources a Prince had at his disposal?

I don’t think it’s a complete coincidence that he stopped being a Prince on the same night that he finally confronted her killer.

TL;DR --

Lettow doesn't trust the Courier as much if their relationship with the Camarilla isn't great.

Lettow underestimates Julian, and doesn't think he's a threat at all, even though it's almost certainly Julian that drew the SI to Tucson like flies to honey.

By the end of the story, Lettow is deeply depressed, apathetic, and on the border of succumbing to torpor and ennui himself because of that, and so literally doesn't care enough any more about bringing Julian and the Courier to justice.

Unlike other Princes, Lettow is from a clan that typically is separate from all this political bullshit, has no social Disciplines, and had a motive to be Prince in that his lover was dead and he wanted to find her killer with any resources he could get to be at his disposal. So I truly believe that while he may feel the need to be manipulative from time to time, he truly did want just what was best for the Kindred around him.

#VTM #VTMNR #Lettow Kaminsky #meta #Aila the Banu Haqim #Anonymous

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rachelbethhines · 4 years

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Tangled Salt Marathon - Keeper of the Spire

You wouldn’t know it upon first watch, but today’s story is one of the few non-filler episodes of season two.

Summary: In order to acquire the third scroll piece, Rapunzel, Eugene, Cassandra and Lance travel to the home of the Keeper of the Spire and meet Calliope who informs them the third piece is kept inside the Spire’s vault at the top of the mountain. The group begins the long journey to the Spire's vault the following day and become increasingly annoyed by Calliope’s rude, arrogant and inconsiderate behavior. Despite Calliope's treatment, Rapunzel insists they still need her help all while they being dangerously pursued by the vault's protector, the Kurlock. The group eventually reach the Spire's vault, but again encounter the Kurlock and discover Calliope is not the real Keeper of the Spire.

Once Again, ‘Destiny’ Isn’t a Goal

If you want to build up some sort of mystery with the scroll pieces and what awaits Rapunzel at the end of her quest, then that’s fine. But at some point you have to actually explain what her destiny actually is, how the scroll connects to it, and most importantly, why she needs to fulfill it.

We’re never given a reason for why Rapunzel needs to reconnect to the moonstone, nor why she couldn’t have just stayed home and did nothing. The scroll itself doesn’t tell her anything and what it leads up to has nothing to do with ‘destiny’ and ultimately comes to nothing in the grand scheme of things.

Indeed, much like the quest itself, things would have been better for everyone had she not found the scroll at all.

Meet the Best Written Character In the Show

No, I’m not exaggerating. Calliope is the only recurring character in the series not to get royally screwed over by last minute rewrites and poor pacing. In fact her arc may have actually been improved by the dumb creative decisions of season three.

Which is a problem because she’s not a main character. Her story and arc shouldn’t be more well rounded than Rapunzel’s. It’s also clear, given how the writers try to pitt her as annoying thorn in the heroes sides that is only tolerated because she’s useful, that they weren’t expecting the general audience to identify with her, and so her subsequent portrayal as the most developed character in the show is fully accidental.

We Finally Get Some Indication of Cassandra’s Age

Well first off, we probably shouldn’t be getting such information about our deuteragonist this late in the game, but also, putting Cass in her early 20s recontextualizes her arc the same way Varian being 14 recontextualizes his conflict, but in the opposite direction. A 24 year old is more accountable for their actions than a 14 year old. Always will be.

And before people try to get all pedantic on me; yes she’s only 23 here, and Varian is currently 15. What I meant is those are their ages at the start of their villain arcs, because the linear progression of time is a thing.

This Joke Actually Highlights One of the Bigger Problems of Season Two

I laughed when I first heard this joke, but that’s cause I was under the assumption that they would go on to develop a friendship between Cass and Lance as the season went on. But they don’t.

Cass never has any focus episodes that aren’t about her failing relationship with Rapunzel. She never interacts with the other four people that she’s traveling with outside of group scenes like this. Not even with Eugene, who we spent the whole previous season establishing a bond with.

This undermines Cassandra’s arc in several ways. She less well rounded and developed without other people in her life besides Rapunzel; it ignores her place in the show as the older and wiser friend if she’s so majorly co-dependent upon only person. It also ignores what was set up in season one in order to push a certain narrative later that clashes with what we the audience already know.

Plus there’s the added effect of other characters getting poor representation within the story.

So Why Didn’t the Others Come Along Again?

I understand not being able to take the caravan upto the top of the mountain, but the road was wide enough to get it up this far. Also it didn’t take you all day to get here so you could just walk back to camp.

But let's get to the real reason why the caravan was left behind. The writers wanted and excuse to get rid of Hookfoot and Shorty. Because they didn’t want to write them into the story. Because they have nothing to do with the overall plot and together they’re one too many characters to keep up with and give stuff to do to. Which begs the question of why they were ever included into the season at all.

Also why leave Adria behind? She was the one who sent them up here. She’s the one who has a vested interest in getting Rapunzel to the end of her journey. She’s the only one driving the plot at the moment, so why not have her present to do just that?

Rapunzel is a Hypocrite

There’s not a single description that Rapunzel says here that couldn’t be applied to herself.

Which would be funny if the writers ever actually acknowledged this within the series.

Having parallels simply exist on their own and not actually inform the story is bad writing. Same with character flaws; acknowledge them, use them to advance both the plot and the characters, and build off of them to establish character dynamics. This is in part why Calliope is the better written character between the two of them.

Behold, the One and Only Time Lance and Rapunzel Hold a Conversation with One Another!

Speaking of characters not getting enough focus.... It’s just a set up for a recurring gag in the episode, but this is indeed the only point in the series where Lance and Rapunzel talk, about anything.

It’s not just Cass who is prevented from establishing relationships, it’s literally everyone. All of Rapunzel’s focus episodes alternate between Cassandra, Eugene, or a random side character. Cassandra only gets focus when with Rapunzel. Eugene only gets development with either Rapunzel or on his own. Lance is only ever shown interacting with Eugene or Adria, outside of some highly specific one off instances like here. Hookfoot is left out in the cold save for three episodes and two of them double as New Dream folder.

We’ve managed to pair the cast down to only six, as opposed to a whole kingdom’s worth of characters, and yet they have less development here than they did in season one. The group does not feel like a group, and that is a problem.

How is This Meant to be Encouraging?

Ok, I get what the writers were going for here. Calliope has low self esteem. she feels useless because she’s lost her only support group, her mentor. So Rapunzel is ‘inspiring’ her to fulfill her dream of becoming the new keeper of the spire.

However, this is an incredibly bad take.

Calliope lacks self esteem because she’s lonely. Her dream of becoming the keeper is directly tied to her father figure, who up till now was the only person who gave a damn about her. She only wants to impress Rapunzel because she wants a friend and she believes that she needs to be useful in order to get that. And here is Rapunzel and the narrative reinforcing that belief under the guise of ‘achieving a dream’.

No fuck that!

You don’t need to have a ‘purpose’ to have friends.You shouldn’t have to prove yourself useful just be respected and included. Also, Rapunzel doesn’t even befriend her. She just uses Calliope to get what she wants and then avoids her for the rest of the show; only checking up on her out of obligation in season three.

So not only are we denied another female friendship in a show bereft of female relationships, but we also have a character who can be easily read as autistic by the audience needing to prove she’s useful to society in order to be accepted.

Ugh!

And yeah, I said autistic. We have a character who fails to pick up on social cues, hyperfixates upon her special interests, is rejected by society for trying to share these special interests, and she even pulls out her magic linked rings to fiddle with when stressed, which can be coded as a stim. I’m not saying that this was the writers’ intent, but nevertheless these are traits that people on the autism spectrum tend to identify with.

So how insulting is it to watch this episode and see someone you could relate to being constantly put down by the heroes behind their back and then never apologize for it, even when said character admits their own fault?

So Are We Ever Going to Get Any Background on this Spire?

So the spire is one of the few places that is plot important in the show. Yet we never find out why it exists, who built it, how it came to hold such important plot devices, nor the story behind the keepers who guard it. It’s just there, and that’s infuriating because it’s both a lack of much needed worldbuilding and lore.

Still A Better Dad than Frederic

Leaving for months on end without telling you loved ones why and where you’re going is a shitty thing to do. Doubly so if its just to teach your kids ‘a lesson’. However, The Keeper still winds up being a better parental figure than most of the other dads (besides Cap, who is awesome) in the series. That’s how low the bar has been dropped by Chris and his weird ideas on parenting.

So What Was the Lesson Here?

Ok first off, Calliope didn’t need to be reminded of anything. The Keeper says as much. She was always persistent. The only lesson that she does learn is not to lie but apparently that’s not what we’re supposed to take from this episode.

But what are we supposed to take away? Because Rapunzel doesn’t learn anything either. There’s no admittance of wrongdoing on her part and she does not change her outlook or behavior from this encounter.

Calliope at least learns to become more self assured after this episode and remains honest and true to herself once the episode is done with. Rapunzel however is the same. You can’t claim that this is ‘Rapunzel’s story’ (Chris’s words not mine) if it’s only random side characters who are allowed to grow. Which is yet another reason why the main cast of characters don't get the development and interaction that they should.

That’s also why Calliope is better written than the main character and she shouldn’t be. It’s a bewilderingly oversight of basic writing.

Conclusion

I don’t mind this episode. As I said in the beginning, it is one of the few non-filler episodes in season two. However, there’s a lot of problems with it to the point where I can’t actually call it good, just mediocre.

#tangled #anti-tangled #anti-rapunzel #tangled the series #rapunzel's tangled adventure

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mgkconfessions · 4 years

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AMAs 2020 1/2

The entire night summed up in one word: anticlimax! ^^ I had more expectations from our twin flame couple after all their cheesy paparazzi videos and Megan’s poetic talk about their once in a lifetime love story and deep spiritual connection and this was the best that they could do. Spoiler: It didn’t get more romantic than this!

You can really see the love and sparks between them and how happy and excited they were to be there with each other! ^^

Their outfits

Kells’ outfit: I like the colour, the material, the cut from the top and especially his hair. He took another risk with his outfit and did something different :). However I don’t like that they mixed the top with a hoodie pocket in the front and I don’t like the shoes with the trousers. I would have liked them more with a dark boot that was more loose around his legs.

Megan’s outfit: I like the green colour a lot, I think it’s suits her very well! The only two things that bother me are the long thing in the front that is hanging down and the strap from her shoes around her ankles, because I don’t like it together with the rest of her outfit. Her outfit wasn’t ugly, but it wasn’t anything exciting or special either. I find it rather forgettable. Also she forgot to tan her belly!

Since they attended the award show as a couple they should have made sure that they would look somewhat coherent with their outfits in the pictures and not clash so much to create a true power couple moment, which I assume was the goal of their red carpet moment. Kells’ outfit isn’t amazing, but he tried to stand out and not look boring and I would have liked to see a woman by his side who felt the same way about fashion and match his ideas about how to use it to step up the game. I think for Kells it’s very important to make fashion statements on red carpets and at events at the moment, but I don’t think that Megan is on the same wavelength, so instead of couple goals, they just looked like they were going to two different events and someone just randomly put them together for a picture. It would have been very easy for Megan to match Kells more, for example she could have used a silver purse or matched the style of his outfit better and I’m only focusing on Megan matching Kells here, because I believe that Kells very likely got the job to perform before Megan was even asked to be a presenter or in other words, I believe that Megan was only a presenter, because Kells was performing.

When they previously released a list of 10 presenters, Megan wasn’t among them and usually they would have used the best names that would get the most people to watch the show and Megan surely would have been one of them. In addition I believe it was in the SPIN interview, where they described how he got the phone call that he would be performing at the AMAs and how Megan grabbed her phone after he got the news. Who did Megan immediately need to text to share Kells’ good news with? Her mum? Or her team to get her somehow on the show now too, so she can continue to leech on to Kells’ success and make herself part of it, because lately any interviews and photo shoots that Megan was part of were actually Kells’ and not hers and that’s a fact you can’t argue with!

The posing

I don’t think that the red carpet moment was their only goal with the PR, however this was surely supposed to be a highlight of their relationship, because they used it to become red carpet official, Megan showed her tattoo dedicated to Kells for the first time and she even had the honor to announce her own boyfriend’s performance. All points that were supposed to set them up for a perfect couple goals evening and to make people fall in love with them. However they managed to fail that goal in every aspect! And I honestly was surprised at how badly they delivered! I was really not expecting that :D! They had one job to sell everyone on their relationship and couldn’t even do that although both of them work as actors and therefore acting should come more natural to them and we know that they can play the in love couple from all the paparazzi pictures and videos, where they also look awkward and staged, but I can see why people buy their show. At the AMAs I can’t understand anyone who saw them as a happy couple in love, not even if I tried it!

Two stones would have had more chemistry than Kells and Megan! What was that? Lmao! ^^ Megan is only trying to look sultry and sexy and is hyper focused on the camera while forgetting that there’s a guy right next to her who she’s allegedly madly in love with. She looks like she didn’t come to take pictures together with Kells, actually she looks like his presence annoys her and she would prefer to just have him stand there, not touch her and get in her way so she can do what she came for, seducing the camera and look hot for her ultimate media coverage. I agree with everyone who said that she looked rather mad tho. I don’t think that Megan is a team player, not in her relationship and not when it comes to attention. She was only thinking about how good she will look instead of how good they could look together as a couple if they focused more on being there together instead of themselves. I take Kells looking to the side and down as a sign of trying to offer a more natural couple pose, where they would have been interacting more with each other while showing his hair cut from a better angle too, but Megan was on her ego trip or pissed at Kells and didn’t look like she wanted to be part of what he wanted to do. I don’t see any specific emotion in Kells either when he looked down. He could have looked at a white wall and have the same expression. If people think that’s love in his eyes, their standards for love are seriously low! The videos for their pictures are my personal highlights tho, because anything that already looked embarrassing and awkward in the pictures is only amplified in the videos and shows even more how ridiculously they behave and I can take them even less seriously as a couple who isn’t selling their relationship for their career and personal reasons! ^^ At first you’d think that Kells posing with Megan was like he usually poses, because in a way it is, but when you see the pictures of him alone and with Travis he came a lot more out of his shell, stuck his tongue out and even made an exaggerated smile face. I think it shows that with Travis he feels more comfortable to be himself and act silly even at a public event while with Megan it was strictly all about business and keeping it cool and hot. I assume that they talked about how they would pose for the cameras and maybe Megan decided that awkwardly standing next to each other would be enough to sell their love while not taking too much attention away from herself and maybe they had an argument beforehand which would explain the bad mood and long faces too. It would have been better if they hadn’t focused so much on looking hot and instead enjoyed being there with each other and then maybe they would have got better pictures too where you could have seen that they at least like each other, because in those pictures they don’t even look like they want to have anything to do with each other! Someone on DailyMail commented that you can tell that they practiced their poses in front of a mirror and they literally did, because majority of their official couple pictures are mirror selfies where they stand next to each other like buddies and it won’t get any less awkward the more they pose like that! :D But the picture where both of them have their mouths open is hilarious! It’s probably one of the worst pictures I’ve seen of them. They look like wax figures! ^^

Their body language as a couple with such an intense love that Megan can only express it with toxic poetry is horrible although this was supposed to be their big couple goals moment! There’s no chemistry between them, I can feel the coldness and bad atmosphere around them by only looking at the pictures. I thought that we would see more of their super intense and special love and connection as twin flames, but there’s nothing between them. They look like two random people who were asked to take a picture together and afterwards went their separate ways. They aren’t interacting with each other, they are stiffly standing straight to the camera with their bodies. Both of their feet are also pointed towards the camera, which means that there’s no interest in each other in that moment and Megan even crossed her legs, which isn’t a good sign either. Like I mentioned, Kells looked at Megan one time, but she didn’t look back and he went back into his initial pose. And only then Megan tilted her head into his direction for a couple of seconds without ever looking away from the camera tho. It’s so awkward to see them pose in the video that it’s funny again ^^! Megan actually posed with Brian and Shia on red carpets a lot more naturally and in love than with Kells and so did Kells with other women too, who he was dating or had a thing with like Remy LaCroix or Halsey. But with each other, Kells and Megan failed this red carpet moment although they are self claimed twin flames like this is the ultimate relationship and they are with their ultimate partner and still they look like wax figures on their special day! In case anyone wants to claim that I’m only saying this because I don’t like them together there’s even an article about their body language at the AMAs from a body language expert who said the same things and even more. If you think there’s any love in these pictures, you’re lying to yourself! Thanks to the anon for finding the article! :)

“This is not what I'd expect from a couple who's gushing over each other," says Traci Brown, body language expert and author of Persuasion Point: Body Language and Speech for Influence after examining their pictures. Brown describes their body language as "almost emotionless."

Click here for the link to read the full article: Megan Fox & Machine Gun Kelly's AMAs Red Carpet Body Language Is Surprising

The announcement

We could argue now that it was just in that moment that Megan seemed more mad than in love with Kells when they took the official pictures, but when she presented him, she acted the same way. No emotions, not even a little bit of faked excitement although she was talking about all of us being under his spell for many years lol. ^^ It makes me wonder if she was only allowed to accompany Kells if she also announced his performance or her team thought that this would be a great idea, but she didn’t want to do it, she only wanted to come, look sexy at the camera, get her attention and articles and leave the work as per usual to Kells. But even on her own fan pages people noticed how emotionless she was and how weird that was, because if you are allowed to announce your own boyfriend, who was giving his AMAs’ debut, you’d think that you’d be more proud and excited about it and try to give your best and not what Megan did on that stage! There’s a behind the scenes picture where she is smiling on stage, the only time that she was caught smiling by the way, but when she was filmed, she was as emotionless as she was in the pictures that she took with Kells and those were the moments that mattered.

#amas 2020 #Part 1

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aspoonofsugar · 5 years

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What do you think of Q?

Hello anon!

I think Q is a character with the potential of being very rich symbolically and I hope they come back soon.

It is clear from their appearance that they are a character who represents duality:

Their hair are half-white and half-black and after seeing them for the first time Dazai is unable to define their gender. This duality emerges also by their profile where it is stated that Yumeno both loves and hates themselves.

Especially this last contradiction says something about Yumeno’s interiority and this something is made clear in the story itself:

Q might act sadistically, but deep down it is obvious that they are just reacting to a world which has been tormenting and dehumanizing them because of their diversity. This dehumanization appears also in the way other characters refer to them. As a matter of fact the other mafia members prefer to use the letter Q to call them, despite them having a proper name. What is more, the way basically every adult has reacted to Q so far clearly shows that Q really represents for the other characters what they repress.

This is made clear by their ability as well:

Their power is called by Dazai mind-control, but what it does is actually to let every person face the things they refuse to accept about themselves. This is perfectly shown when Atsushi is cursed.

The whole scene is pretty well made and explicative, so I hope you don’t mind if I take the chance to comment it a little.

First of all, Q opens their attack by chanting a song which is used in a game:

According to the translator’s notes, the game has a group of people surrounding a person who has their eyes closed. They are the oni and while they can’t see the others start moving in a circle chanting the song. When the song is over, the oni has to guess who is the person behind them.

The description of the game is meaningful for the battle on multiple levels. On one hand the song talking about the person behind Atsushi seems to underline the fact that Haruno is brainwashed, so it is as if Yumeno is telling Atsushi to watch his back. On the other hand Atsushi is immediately put in the position of the Oni who is blind. In other words, it is clear that the song foreshadows that Atsushi is really the one who can’t see properly and can’t recognize neither himself nor his surroundings:

At the same time, Oni means demon in Japanese (if I am not wrong) and this could be a reference to Atsushi’s violent side. We can also say that the whole scene shows Atsushi’s way to cope with his own violence. As a matter of fact Atsushi justifies it only if necessary to protect others. This is why Yumeno’s illusion tricking him into attacking his two colleagues is especially fitting to show the limits of such a mindset.

On one hand Atsushi frames himself as heroic because he is trying to protect others. On the other hand we are clearly shown how this is hypocritical to an extent:

Even if Haruno and Naomi were brainwashed Atsushi would have still used violence and even his ability against two people with no combat experience and far weaker than him. At the same time, the fact that he hurt them doesn’t change the fact that he was animated by the best intentions and that it was not his fault that he was brainwashed. However, he is fast to justify his violence when he thinks that the others are the ones manipulated, but he immediately blames himself when he turns out to have been the target. This highlights Atsushi’s complicated relationship with strength and weakness and his need to feel in the right.

Atsushi falls in the illusion’s trap because of his bias in perceiving both himself and others and this is what he must overcome with time.

So this example makes clear that Q is so hated because they represent what people want to forget about. This is probably true for Dazai as well, despite the fact that Q’s ability doesn’t work on him:

We don’t have many details, but it is easy to infer that Dazai used to be close to Q probably because he was the only person who could go near them without fearing Dogra Magra. However, something happened and Q ended up misusing their power, so Dazai “sealed them away”. It is not a secret that a part of Dazai’s arc will be about facing his past in the mafia and Q represents a part of this past Dazai would very much like to leave behind.

Generally speaking, Yumeno is the child nobody wants to save because it is too troublesome. Dazai left them behind, the mafia imprisoned them and weaponized them and nobody seems to care. Because of this, it is fitting that it is Yumeno’s ability the one which risks to destroy the city:

What Steinbeck says here perfectly shows the problem. He is in front of a child who is crying and screaming and who is asking why they have to suffer and all Steinbeck has to offer as a reply is that it is because it has been decided this way. This is a very fatalistic outlook which fits with this character who says to hate capitalism, but accepts to work for a capitalist and takes on the renmants of said capitalist’s organization. Steinbeck might dislike some parts of society, but rather than trying to change them he has accepted them as unavoidable and has tried to modify his social standing to be on the side of those who use others rather than on the one of those who get used.

In short, it is because of the way society works that Q has been suffering and so it makes perfect sense that society risks to be destroyed by them. All the people who unknowingly get cursed by them are people who have hurt them without realizing it. This is perfect to metaphorically show that it is the citizens not caring which lets mechanisms damaging the weak survive. Q almost destroys the city because the city has almost destroyed them with its indifference.

This is why it is interesting and potentially meaningful the fact that Yumeno is finally saved by an alliance born between two enemy organizations and by two people who seem to have been connected with them in some way:

However, even if they are saved, they are not really safe because the two people who should take care of them are still stuck in their own limitations:

Chuuya is still too blinded by his emotions to recognize in Q a person who needs help and Dazai still leaves them behind. In other words, these two adults are still too wrapped up in their respective extreme perspectives and do not really manage to integrate them. On one hand Chuuya is animated by deep emotions, but he is limited by the fact that he applies them only to his little group of loved ones. On the other hand Dazai has a better rational understanding of the fact that people of different groups are still people, but he has trouble expressing healthy feelings towards them and so he goes back to logical solutions which make sense, but are also pretty cold.

In short, Q is a person who is not given the help they need and this is why they are who they are. As a matter of fact it is obvious that Q’s ability which targets people after they have been hurt is meant to be read as a defense mechanism. Q will hurt the people who make them suffer and not others. However, Q uses their ability in an overly-sensitive way and doesn’t discriminate among their targets. Yumeno puts themselves in a situation where they will always be wounded, no matter what others do. Q is so scared and diffident towards people that they have chosen to consider every person an enemy. This is something which ends up hurting them more than what it helps them. This is made obvious both symbolically and plot-wise.

1) The symbolic representation of Yumeno’s complicated situation is highlighted by their doll. The doll appears as a monstruous version of Q themselves since they wear similar clothes. This means that the doll being broken to unleash the curse represents Q themselves being hurt by this whole vicious cycle which keeps damaging them.

2) Yumeno ends up in a dire situation because of their own actions. As a matter of fact they provoke Lovecraft and end up paying the price for this. This is important because of several reasons.

First of all, both Yumeno and Lovecraft are representative of the horror genre and they are both associated with the montrousity, but in different ways. Yumeno’s monstrousity is linked to the mind and to one’s interioriy, while Lovecraft is monstrous because he is not properly human and so he is far stronger than humans and somehow difficult to properly understand.

Because of this, Yumeno’s meeting with Lovecraft shows how the former can’t expect to face the world alone helped only by their power because Dogra Magra has limits and there are forces against which it won’t work.

At the same time, Yumeno is also punished because of their insensitivity towards others. They have fun torturing people with the things they are mostly tormented by, but Lovecraft shows them that a person’s darkest side can be dangerous not only for the person themselves, but for Yumeno too. Because of that, Yumeno should show empathy towards people’s struggle and not approach them in a light-hearted way.

In conclusion, it is true that people must learn to face their fears and short-comings, but Yumeno too should learn not to toy with these things because it could be dangerous and it won’t let them develop healthy relationships and they need them.

I hope this answer your question!

Thank you for the ask!

#yumeno kyusaku #bsd #bsd meta #bsd q #bungou stray dogs #asksfullofsugar #anonymous

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calzona-ga · 4 years

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SPOILER ALERT: The story includes details about the season-finale episode of ABC’s Grey’s Anatomy. While it wasn’t the planned ending, tonight’s Season 16 finale of ABC’s Grey’s Anatomy, written by Mark Driscoll and Tameson Duffy and directed by Deborah Pratt, was fitting. Indeed, this season was cut short due to the halting of production in response to the COVID-19 pandemic.

You can’t be the longest-running medical drama on television without overcoming some challenges, and Grey’s already has proved its ability to pivot when the unexpected happens. The production shutdown was is the second major curveball for the show this season after original cast member Justin Chambers’ abrupt exit. No word on whether the four unproduced episodes from Season 16 will roll over to the next season. But this episode, titled “Put on a Happy Face,” had enough to tide us over until Season 17.

Let’s start on a positive highlight. After Richard (James Pickens Jr.) experienced hallucinations as well as a very intense and very public breakdown, fans feared that they might be losing another veteran Grey/Sloane surgeon. Determined not to accept his Alzheimer’s diagnosis, Meredith Grey (Ellen Pompeo) and Andrew DeLuca (Giacomo Gianniotti) worked around the clock to pinpoint the problem, with DeLuca coming through with a game-changing discovery: His dementia was a result of cobalt poisoning from a hip replacement surgery.

Not a hard fix. Dr. Link (Chris Carmack) was brought in to remove the cobalt, and it appears that Webber is on the road to recovery with his health. However, his marriage to Catherine is not out of the danger zone. Turns out the hallucinations had nothing to do with his marital discord. “Did you stand by me while I was being fired? You buy my hospital to humiliate me, or is that my mind playing tricks, too,” Webber contends before sternly kicking Catherine out of the room.

Meanwhile, DeLuca, who has been exhibiting erratic behavior and angry outbursts all season, isn’t able to bask in his incredible catch. Instead, has a breakdown of his own — signaling that it might be time to address his bipolar disorder-like symptoms, which are similar to his father’s.

DeLuca and Grey have become quite the medical duo this season but still couldn’t figure out how to make their romantic relationship work. It’s unclear where that will land next season as a new contender entered midseason — and he goes by the name of Dr. Cormac Hayes (Richard Flood). The two seem to have a connection, though it appears to be on a friendly level at this point (Hayes was a present sent to Meredith by “her person” Cristina Yang). Could this be the next Grey’s love triangle?

Elsewhere, Amelia Shepherd (Caterina Scorsone) finally had her baby! And she opted not to have an epidural because she’s an addict, and the epidural has fentanyl in it. While baby daddy Link wasn’t able to be present during the birth (he was performing the surgery on Webber), she had fellow “pregnancy club” sister Miranda Bailey (Chandra Wilson) by her side. The two share a tender moment when Bailey hops on the bed to support Amelia as she is giving birth, calling back to the time when late George O’Malley (T. R. Knight) did the same for Bailey during her labor back in Season 2.

Alas, not everyone got a happy ending. Owen Hunt (Kevin McKidd) and Teddy Altman (Kim Raver) were set to walk down the aisle, but Teddy needed her one last go-round with Tom Koracick (Greg Germann). Unbeknownst to her, she somehow recorded it and sent it to Owen, who had to endure the embarrassment of hearing it while in the OR surrounded by his colleagues. The wedding eventually is postponed, with Owen giving the excuse that he was pulled into surgery last-minute. In typical Grey’s fashion, there is never a wedding without drama.

Deadline spoke with Grey’s Anatomy showrunner Krista Vernoff, who unpacked the final episode, hinted at what’s to come next season and revealed what storylines she wished they were able to air this season. She also weighed in on the fan reactions to Alex Karev’s controversial exit.

DEADLINE: The Season 16 ender wasn’t what was expected, but like you said in your tweet, it was very satisfying, and a fitting Grey’s ending. How do you plan on carrying over the storyline to next season, or is there a plan to carry over the storyline from the last four episodes to next season? KRISTA VERNOFF: I have not formulated that plan yet. In about four weeks, I’m going to get in a room with the writers, and we’re going to talk about all of it. I know that a lot us are having brainstorms since we have so much time at home. A lot of us are texting each other, and going, “Oh, what if we did this? What if we do that?” So I have a feeling that their stories are going to change some, from what we had planned, and that we’ll repurpose some of what we had written and use it in the early episodes of Season 17.

DEADLINE: The production shut down was the second major curveball for the show, after Justin Chambers’ exit. What were your thoughts on the reaction to his exit?VERNOFF: Well, you know, I haven’t been commenting on this much, but I just did an Instagram Live where I said that, so, I’ll say it to you too. I believe that there would’ve been at least as big an outcry if we had killed that character off-camera, and those were our choices. It was kill the character off-camera, or come up with some believable way that he gets his happily ever after, and some of the fans have posited, ‘well he could have just been off-screen in Seattle like April Kepner, but then you’ve got an actress on the show who doesn’t get to do any of the fun, sexy, playful thrill that we’re known for, then you penalize the actors who are staying on the show by limiting what you could do creatively with them. So I was really proud of that episode. I think Elisabeth Finch did an extraordinary job with a nearly impossible task.

That episode made me cry. It made me laugh. I felt really deeply. I felt satisfaction, and I will say that I have received a great many comments from fans who felt the same way, but the angry people are always the loudest ones.

I wasn’t surprised by the fan reaction, but I know it would’ve been equally angry if I had killed him — so it was like, these are your choices, and I felt really happy with what we chose.

DEADLINE: The fact that you didn’t kill the character off also leaves the door open that we might see them in the future. So is there any chance of [Justin Chambers] or Katherine Heigl, ever coming back? VERNOFF: When I left the show in Season 7, people asked me if there was any chance of me ever coming back, and I was smart enough to say, “Never say never.” Here I am, so who knows?

DEADLINE: Jo was able to accept Alex’s decision in a short amount of time and come to terms with everything. Did that have anything to do with her character’s stint in the psychiatric hospital, at the beginning of the season? VERNOFF: Yes. Jo had had such a dramatic, emotional, painful arc, the second half of Season 15. None of the writers, frankly, none of us wanted to see her go back down into a hole. One of the things about the way the character was written off is that she had a lot of time to wonder, and to fear the worst, and I have found in life that when you have a lot of time to wonder and fear the worst, then when you get an answer, even if it’s terrible news, it feels better than not knowing. And it helps you move on, more quickly.

DEADLINE: I want to just touch on Richard’s illness. Is it safe to say that he’s out of the danger zone? Also, did his illness contribute to anything that had to do with his relationship with Catherine? And what can we expect from that couple in the future?We’ll start with the illness — is he in the safe zone now that they’ve caught it early and treated it? VERNOFF: Yes, and I thought that that was one of the most amazing things about this diagnosis was that the cobalt poisoning thing is real and it really can cause all of those symptoms. It can cause dementia-like symptoms. It can cause Parkinson’s-like symptoms — tremors, hallucinations — and the amazing thing about it is that once you diagnose it, and you get the leaky hip out of your body, you can recover, totally. That felt, just as the storyteller, an amazing thing because it let us give Jim Pickens this really rich, rich material, without us having to permanently disable his character. I think that that was an amazing ride for the fans, because the outcry of we’re showing symptoms that don’t feel like they have cures.

There’s not really a cure for Parkinson’s. There’s not a cure for Alzheimer’s. So I know everyone was in a panic, and so, we got to tell this really satisfying story, and we got to let people know that sometimes, there’s another diagnosis for those symptoms, which we found fascinating, as a group of writers who write medicine, that it’s so rare to see something this satisfying.

DEADLINE: Did the symptoms from the cobalt poisoning have anything to do with his attitude toward Catherine? What’s in store for them? Can we still hold out hope for that couple? VERNOFF: I think you can always hold out hope for any couple on Grey’s Anatomy. You never know where it’s going, and I think that the way we designed this was that the fracture, the real fracture in Catherine and Richard’s relationship predated the cobalt poisoning.

So the way we imagined it was that, with the depression, everyone thought it was related to his divorce, and it was actually a symptom of cobalt poisoning. And then the tremors were a symptom of cobalt poisoning, and then the hallucinations, so that when he forgave her, he forgave her in a hallucination. And when he was well, he remembered the actual events from his life, for which he has not yet forgiven her. The reason that I hold out most for that couple is that Catherine rediscovered her deep and profound love for Richard when she almost lost him. I think that that may enable her to apologize in the way that Richard will need to hear.

DEADLINE: Speaking of forgiveness, in true Grey’s fashion, there’s never a wedding without any drama, as we saw with Teddy and Owen. We’ve seen their relationship woes throughout the series, and this season felt like they were going to finally get it together and find each other and have their happy ending. Why haven’t they quite found that happy ending, and can Owen forgive Teddy? VERNOFF: I think that those are questions that we will have to explore in Season 17. I will say that of all the storylines that were left hanging, that is the one that I was the most disappointed about. Actually, there were two: I’m disappointed that I cannot give Teddy — we had an episode coming up where we were able to better articulate and better understand what’s prompting Teddy’s behavior, and we don’t get to air it. Who knows, maybe it’s going to change between now and when we’ll actually shoot it for Season 17, but I feel for Kim Raver. The amount of standing is high, and we’ve left her in a strange place. It’s compelling, and why? Your question is big. Why? Why would she sabotage — why, when she was finally getting her happy ending, did she sabotage it? I think it’s the super-rich area personally.

And then the other story that I was really disappointed that we couldn’t complete — and I will tell you that I haven’t told this to anyone else, but we did a story where there as a victim of human trafficking, like two episodes ago, and DeLuca we got recognized it but he was in such a mentally compromised, manic state that nobody listened to him and the girl left. We had an episode where she comes back, and I am really sad that we can’t air that episode this season because it felt important to offer that kind of hope to people who are living that experience. I may still complete that story next season.

DEADLINE: I want to touch on DeLuca, who has gone through this really rocky journey with Meredith this season. Although they haven’t really been able to figure out their personal relationship, they’ve proven to be a great medical team. What can you tease about this couple? Last season, we talked about Meredith being ready for love. What can we tease about this couple in the future? Is somebody else going to throw a wrench in everything? Somebody by the name of Hayes? VERNOFF: There is hope for Meredith and DeLuca, and I think that there is hope for Meredith and Hayes. I will be fascinated to see how that storytelling emerges in season 17 because this story played in a way that I didn’t picture. You know, you write a thing, and then the actors play it, and then it gets all put together, and then you know what the story is. You don’t know how it’s going to play when you write it. It’s been amazing for me to watch this story this season. I feel like Giacomo has been so compelling, and DeLuca has risen so much, and simultaneously, Hayes has been really compelling and feels very much like Meredith’s equal. At this point, I’, not even sure which couple I’m rooting for, and that’s always an exciting thing.

DEADLINE: Yeah. We love our love triangles on Grey’s. VERNOFF: Yeah. Yeah.

DEADLINE: One couple might have found their happy ending, it seems, is Amelia and Link. The birth of the baby was such a nice ending to a season full of ups and downs. Was that one thing you were excited about? To see Amelia who had her complications with her first pregnancy, and this one turned out fine. VERNOFF: Yeah. I love that story and I am so grateful that … we got to air it this season. It would’ve been really a bummer if we hadn’t made it there, this season. So, that was just luck and I’m grateful that it was in that episode. I love that scene where Bailey gets in the bed with Amelia, and we call back to when George got in the bed with Bailey and it’s just so beautiful. It was pitched by Meg Mooney, who’s been with the show for 15 years. It made me cry when she pitched it, and it makes me cry every time I watch it. I, like everyone else, at this point really am loving Link and Amelia, and I was so happy. That ending for them felt so hard won this season.

DEADLINE: Is the next season being envisioned as the final season since it’s the second of the two-year pickup, or are you guys having conversations about potentially more seasons? VERNOFF: You know, what I always say to this question, is my answer again today, and that is: I will not start planning the end of Grey’s Anatomy until Shonda [Rhimes] and Ellen and ABC all sit down together, tell me that this really the end this time. The truth is those conversations might be being had if we weren’t dealing with a global pandemic, but everyone’s gone home, and I suspect we’ll start talking about that in a month, or two.

DEADLINE: Speaking of this global pandemic, obviously Grey’s is known for taking things that are happening in the world, and incorporating it into the series. Are there any plans to reflect on this current pandemic on the show for next season? VERNOFF: I haven’t had a minute yet to sit with the writers and talk about it. So, we’re all at home, and we’re on hiatus, but in about four weeks, we’ll gather, and we’ll talk about it. I have a hard time imagining that we don’t have to acknowledge this massive thing that we’ve all gone through, in our fictional world, too, but I have no idea how. I don’t know what it’s going to look like.

DEADLINE: Station 19 — we still have more episodes coming with that series. Are we going to see any of the Grey’s characters in the final couple of episodes? VERNOFF: Yes. Happily, yes, you are. The Grey’s characters are all over the last two episodes of Station 19. So, that is a really nice treat for the fans, too. Many of our Grey’s characters are in Episodes 15 or 16 on Station 19.

#grey's anatomy #krista vernoff #deadline #scoop

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