#like it’d be one thing if it were a background character’s armor-

[niseamstories]

I took historical sword-fighting lessons to make the fights in my novel more realistic - here’s what I learned.

Edit: Whew, this blew up! Stoked so many of you find this useful. :) Leave me a follow if you like, I’ll try to make more research posts like this (next one will probably be about my meeting with a linguist for a fictional language).

To make the fighting scenes in my low fantasy novel more realistic, I went to see a trainer for historical sword-fighting last week, both to barrage her with questions and to develop realistic choreographies for the fight scenes in the novel. Since I figured some of what she told me might be useful for you too, I put together a small list for you. Big thanks to Gladiatores Munich and Jeanne for making time! (Here are some more pictures if you're interested.)

Caveat: I’m by no means a sword-fighting expert myself, so take these nuggets with a grain of salt – I might have misremembered or misinterpreted some of the things Jeanne told me. If I did, feel free to tell me.

1.) Weapon choices need to make sense

Let’s start with a truism: always ensure your character’s weapons make sense for a.) their profession, b.) their cultural background and c.) the environment they’re going to fight in. A farmer probably couldn’t afford a sword and might use a knife or threshing flail instead, and someone who doesn’t want to be noticed probably wouldn’t be milling about sporting a glaive or another large weapon. Also, soldiers native to a country with wide open plains would be more likely to carry long-range melee weapons such as spears or large swords, than those from a country consisting of mostly jungle or dense forests. The same applies to situations: if your character is going to be fighting in close quarters (even just a normal house), he’d get little value out of a spear or even a longsword, as there’d be no space to swing it effectively.

2.) Boldness often beats skill

In real swordfights, recklessness was often more important than technique. The fighter less afraid of getting injured would often push harder, allowing them to overpower even opponents with better technique.

3.) Even a skilled fighter rarely stands a chance when outnumbered

While a skilled (or lucky) fighter might win a two-versus-one, it’d be extremely unlikely for even a single master swordsman to win against superior numbers, even just three and if they’re below his skill level. The only way to plausibly pull this off would be to split the opponents up, perhaps by luring them into a confined space where you could take them on one by one. The moment you’re surrounded, you’re probably done for – because, unlike in Hollywood, they wouldn’t take turns attacking but come at you all at once.

4.) Dual-wielding was a thing

... at least in some cultures. I often heard people say that people using a weapon in each hand is an invention of fiction. And while my instructor confirmed that she knew of no European schools doing this—if they did, it’s not well-documented—she said it was a thing in other cultures. Example of this include the dual wakizashi in Japan or tomahawk and knife in North America. However, one of the biggest problems with the depiction of dual wielding in novels/movies/games are the “windmill”-type attacks where the fighter swings their weapons independently, hitting in succession rather than simultaneously. Normally you’d always try hitting with both weapons at once, as you’d otherwise lose your advantage.

5.) Longswords were amazing

Longswords might seem boring in comparison to other weapons, but they were incredibly effective, especially in combat situations outside the battlefield. The crossguard allowed for effective blocking of almost any kind of attack (well, maybe not an overhead strike of a Mordaxt, but still), the pommel was also used as a powerful “blunt” weapon of its own that could crack skulls. Though they were somewhat less effective against armored opponents, the long, two-handed hilt allowed for precise thrusts at uncovered body parts that made up for it.

6.)  “Zweihänder” were only used for very specific combat situations

Zweihänder—massive two-handed swords—were only used for specific purposes and usually not in one-on-one combat as is often seen in movies or games. One of these purposes was using their reach to break up enemy formations. In fact, one type of two-handed sword even owed its name to that purpose: Gassenhauer (German, Gasse = alley, Hauer = striker)—the fighters literally used it to strike “alleys” into an enemy formation with wide, powerful swings.

7.) It’s all about distance

While I was subconsciously aware of this, it might be helpful to remember that distance was an incredibly important element in fights. The moment your opponent got past your weapons ideal range, it was common to either switch to a different weapon or just drop your weapon and resort to punching/choking. A good example of this are spears or polearms—very powerful as long as you maintain a certain range between you and your opponent, but the moment they get too close, your weapon is practically useless. That’s also why combatants almost always brought a second weapon into battle to fall back one.

8.) Real fights rarely lasted over a minute

Another truism, but still useful to remember: real fights didn’t last long. Usually, they were over within less than a minute, sometimes only seconds – the moment your opponent landed a hit (or your weapon broke or you were disarmed), you were done for. This is especially true for combatants wearing no or only light armor.

9.) Stop the pirouettes

Unfortunately, the spinning around and pirouetting that makes many fight scenes so enjoyable to watch (or read) is completely asinine. Unless it's a showfight, fighters would never expose their backs to their opponent or even turn their weapon away from them.

10.)  It still looks amazing

If your concern is that making your fight scenes realistic will make them less aesthetic, don’t worry. Apart from the fact that the blocks, swings and thrusts still look impressive when executed correctly, I personally felt that my fights get a lot more gripping and visceral if I respect the rules. To a certain extent, unrealistic and flashy combat is plot armor. If your characters can spin and somersault to their heart’s content and no one ever shoves a spear into their backs as they would have in real life, who survives and who doesn’t noticeably becomes arbitrary. If, on the other hand, even one slip-up can result in a combatant’s death, the stakes become palpable.

That’s about it! I hope this post is as helpful to some of you as the lessons were to me. Again, if anything I wrote here is bollocks, it’s probably my fault and not Jeanne’s.  I'll try to post more stuff like this in the future.

Cheers,

Nicolas

[ripperdaddy]

the viktor vector romance path + ending we deserve

Disclaimer: This is definitely something I came up with in my head. There will be a few instances that are solely made up so it can tie in with the “story.” This is purely fictional; something I wished happened if there was a possible Vik romance 🥰 This is based on my general knowledge of the game & Vik’s life. All gifs + images are from my own personal play through, but wouldn’t be possible without the help of the Appearance Menu Mod, found on Nexus Mods by the creators, MaximiliumM and CtrlAltDaz. And the shirtless Vik mod by the lovely samsnak ♡

It would start after completing the Paid In Full quest where you pay Vik back the eddies you owe him.

I feel like realistically, the general player would have to be at least halfway through the story to have collected enough eddies. I would say that a good point in the story where we can begin the romance is that you’ve already established a connection to Alt and have dealt with the VDB’s.

I think it would be a short side quest like River’s. Vik already plays a big part in the story overall on his own, so I don’t think it’s necessary to make his “side quest” too long. His romance would just be an addition to the ending.

And as much as I would love for him to be a bisexual option for both male/female V, if we’re sticking with the game’s standard with limiting partners to only one kind of partner, he would only be romance-able by a female V with a feminine voice.

V: Finally scrounged up enough eddies to pay you back in full.

Vik: Hold on to ‘em just in case - you need ‘em more than me.

V: I’m not taking them all the way to my grave, Vik. Here. And.. thanks again for doing so much work on me ‘thout ever seein’ an enny.

Vik: That’s what friends are for.

Then, there is an additional option for dialogue to trigger the romance path.

V: Friends? I think you’ve been in and out of my body more than anyone else I’ve hooked up with in Night City.

He laughs, with a coy smile. “Well, can’t argue with you there. Why don’t we take some of these eddies and grab a drink. You know, to celebrate. Catch up on old times. Haven’t seen you round here much lately, kid.”

You agree to meet at the El Coyote Cojo tomorrow evening.

You meet around 9 PM and you are welcomed by the sight of Pepe and Vik at the bar.

V: Nice choice of venue.

Vik: Thought you’d like it. Haven't been here since.. well, you know.

V: I miss him, Vik.

Vik: I know, V. Me too.

You immediately take a seat and tinker with a few dialogue options, where you can either have a sweet moment talking about Jackie or some surface questions to ask, like how he’s doing, what kind of drink he likes, etc. But it all winds down to Jackie anyway, where Vik confides in you about his past. Judging by how Vik was so affected by Jackie’s death, and V’s (if you chose the suicide ending), you can tell that he has lost a lot in his life, and keeps his circle very small.

You then achieve an even closer, more personal relationship with him. But, ultimately nothing happens other than the usual, wait 24 hours in game for a text/phone call from Vik to head into the next stage. At least now, you have established the foundation for a future romance.

Halfway through the 24 hour period, you get a text from Vik thanking you for the lovely evening. No reply needed, as he calls you once the 24 hour mark hits and invites you out for another date.

You meet at Tom’s Diner for coffee in the afternoon. It starts off with him apologizing for being emotional the previous night and asks if you’re open to hanging out again and going down to Pacifica to watch a fight with him.

Vik: Hey, V. I just wanted to apologize about last night. I didn’t mean to be such a downer.

V: It’s okay, Vik. We share the same grief.

Vik: I was going to head down to Pacifica and catch a real good match later on today. I was wondering if you’d like to come along, think it’d be great for the both of us, you know, as a distraction.

pssst even Johnny’s rooting for y’all ( ͡° ͜ʖ ͡°)

Johnny: Hmm, interesting.

V: What?

Johnny: Never thought you'd be going out with this guy.

V: Vik's amazing. And I mean--we basically owe it to him since he practically saved our life.

Johnny: Don't tell me you're going out with him out of pity.

V: I'm not.

Johnny: I know, I can feel you get all mushy-gushy. It's almost repulsive. Just wanted to hear you admit it.

V: Eat a dick, Johnny.

You arrive before the GIM and blend into the crowd.

V: Nothin’ like watching guys beat the shit out of each other to get your blood pumpin’, huh?

Vik: This is a real good matchup, V. This kid’s fresh, young talent.

V: You miss it, don’t you?

Before the fight begins, Vik shares a story about his time in the ring and coming in second in the Watson Boxing Grand Prix.

There’s some extra fun options in the dialogue, you can bet some eddies on who’s gonna win, or side with him. The fight ends, and you two head outside.

Since you’re already out in Pacifica, you head over to the boardwalk (where you would ride the roller coaster with Johnny) and he starts telling you about the last days of his boxing career and how he transitioned from the sport to being a ripperdoc.

You both share a sweet moment with each other, reminiscing about old times and talking about V’s future with the relic. This is where I would see Vik confessing how he feels about you, mentioning how grateful he is for Jackie introducing you to him.

The evening ends and Vik asks you to give him some time to try and dig up some footage from his storage and have you come over to watch. You can kiss him then wait another 24 in game hours before the last quest. Halfway through, he texts you and asks you what you’d like for dinner. You can opt for pizza or chinese.

I haven’t seen or read anything about how or where Vik lives. If I overlooked something, please let me know! But for the sake of the story, let’s say he does actually have his own place that’s now introduced in the game. Personally, I think he has a typical bachelor pad, like a really nice apartment. Not too far from his clinic either. He looks like he would just walk to work. Vik definitely has a lot of money, but he’s so humble I doubt he would choose to live lavishly. As mentioned in the beginning, he typically just “sleeps nights” ever since he was over “being a legend” so I’m guessing his lifestyle is very routine. He goes to work, goes home, sleep. Seems unlikely he has a place like the Peralez’s. It would probably be just the same as V’s but decorated to his taste.

The evening comes and you are over at his place. He’s dressed in just a white undershirt, no exo-glove. You get to know more about his family, how he grew up — scanning things around his place. Then he plays some footage of one of his fights for you, while you two have a conversation and share a beer. As you two sit on the couch, you get close, then have an opportunity to kiss him.

then this is where da sex happen hihihi (ノ・ω・)ノ

The next morning you wake up and you two have a heartfelt conversation about where this is going. He already knows your situation, so I would assume he is very accepting and supportive. And with Vik, he seems like the kind of guy who would still want to be in your life and keep the friendship the same way despite no longer being together romantically. So it’s official. He’s your man 🥵 !!11!1!

Like how River gives you the “fuck the police” tank top after sleeping with him, I think Vik would give you his Night City Devils t-shirt that provides you with a significant amount of armor or some kind of cyberware upgrade that makes you invulnerable for a brief moment while using your hands to fight enemies.

Note: I was thinking of Vik giving V his boxing glove necklace, but because it's part of his character's appearance in the game, I don't think we would be able to essentially "take it" from him - unless he gives you a replica as a keepsake. Which I think would also work.

If you successfully romance, during the rooftop scene near the end of Nocturne OP55N1 (despite Vik’s disposition of him telling you to take matters in your own hands and being a little closed off), you still have an option to reach out to him when Johnny advises you to call a loved one.

V: Hey, Vik. I just wanted to say, thanks for hanging with me, until the end.

Vik: Quit talking like it is, V. Just do what you need to do.

V: I mean, think of it. It’s like I’m heading into the last round of this whole thing.

Vik: Well, in that case.. remember—keep your hands up, guarded at all times. It ain’t over just yet.

V: Heh.. I can feel it, just a few more punches.

Vik: Now look at you - the new welterweight champ of Night City.

V: Thanks, coach.

Vik: Last piece of advice from the coach's corner. Just.. be careful, kid. Remember, I’m with you.

Okayyyy, soooo I’m not the biggest fan of how CDPR gave us two of the same endings (Path of Glory). The only difference is that Rogue’s life is spared. I would have assumed that not only would we get to keep Rogue around, things should have played a bit more differently for V if we took the route of going solo against the corpos. So let’s tweak it.

This specific ending; it should be after getting through Don’t Fear The Reaper where you single-handedly manage to rip through Arasaka by yourself. Johnny goes back to Alt & Rogue is still alive. Yes nobody dies!!!

(honestly this ending can apply to any love interest you choose)

Vik and V are now living together in a lavish penthouse, entertaining an upcoming merc to do their work for them (which is now the current POV of the player.) You were recruited by Rogue at the Afterlife, who told you to visit this couple for a real, preem job.

They give you some vague details about the gig and go on for a brief moment about what you will be doing and what you should expect. Vik emphasizes to you that it’s important you get what they need because it’s for his wife, V, as her life depends on it.

As Never Gonna Fade Away is playing in the background, they tell you to break into Arasaka HQ.

Then the game officially ends.

[roswellnmsource]

Lily Cowles Talks Stunt Work on Roswell, New Mexico & the Action-Packed Final Episodes This Season

So, finding out that there's been another alien Roswell really threw the audience for a loop. What were you thinking when you heard that there would be another alien in town?

I mean, I was like, finally. I'm ready for a little new alien blood in the mix, like let's stir it up. We've had our little pod squad, and we have this super tight little dynamic, and it's been pretty insular. They've had to keep everything to themselves, and so I think finding out that there's another person that's like them, another alien. How exciting.

What are the implications? This might change everything. I was really excited about it. I'm like, let's go, plus he's super cute, so.

That's very true. Can you preview what's next for Isobel and everyone as they process this new development?

Yeah, well, I think Isobel is...I think her initial reaction she's excited to bring someone new into the fold. And it's a little more complicated than that. We have a conversation you see with Isobel and Kyle, where he sort of is like, you might want to take this a little slow because this is a man of God.

This is a man whose vocation is faith-based. And to tell him that he's an alien might kind of complicate his life.

So, how much do you really want to ruin someone's life by telling them that they're an alien or change it for the better but I think Isobel is looking forward to kind of bringing someone newer to the fold and wants to share everything and learn from him.

And she's pretty enthusiastic about it. And it's going to have to learn how to handle that with grace and tack, which I think can sometimes be difficult for her. I know she can sometimes be quite straightforward with things.

Beyond that, Isobel is going on a date in this episode, which is so exciting for her. And I think she's going to be faced with having to break down some of the walls that she's built up that she's been working on. So, I'm kind of like personal internal conflict, but also a lot of opportunity.

And I think our writers handle it all so well, and it's going to unfold in a very fun way.

Sure. So, family is very important to not only the fabric of Roswell but to Isobel in particular. Can you tell us a bit about what family means to Isobel?

Yeah. I mean, I think Isobel has always had to lean so much on her brothers. There may have been the small amount of codependency. You might say with the trio because they have this enormous secret, they can't share with anybody else.

I mean, me personally, I have so many friends. I like to go around and talk about all my problems and everything with all my friends, but Isobel doesn't have as many people, or she didn't up until recently that she could talk about these things with, so her family was sort of everything for her.

These two people who understood who she was and saw her for who she truly was.

For the rest of the world, she had to, for many years of her life, kind of wear this mask and do a kind of performance of something that was sort of half-truth. Now, her circle has expanded a bit over the seasons of Roswell, which has been great—adding friends like Maria and Rosa and Kyle, Alex, and of course, Liz.

We've gotten all this new group of people that can support her. But I think the first 25 years of her life were basically just her and her brothers. And so, that loyalty goes really deep, and I think it will always be the trump card for her. I think it will always take precedent over everything else, which can be good, and it can be bad.

Yeah. And that kind of leads me into my next question, which is that Isobel has some of the best dynamics on the show. From Isobel and Michael and their brother, sister bond. And obviously Isobel and Max and this new bond now with Maria. What's your favorite Isobel dynamic?

It's hard to pick one because I love them all so much. I love working with Amber. I love the Isobel and Rosa dynamic so much because it's...there's so many layers in there. There's definitely the 'Oops. I'm sorry that I murdered you with your friends'.

But then also, Isobel kind of guiding her in Rosa's journey learning about her powers, and I think Isobel really took her under her wing. And I think that means a lot to Isobel to be able to be a guide for someone and somebody's mentor. But as time has gone on, the tables have also been turning.

There are lots of times when Rosa has been a mentor to Isobel.

And I love the female dynamics, that is... it's so rich. There's so much in there. Two women who are learning from each other and growing and supportive of each other, and challenging each other to be better. And it comes from this really complicated history that they were able to overcome.

So, to me, that sort of female dynamic is just like, oh, I love to see that.

I love Isobel and Kyle together too. It's really fun. Isobel knows how to shoot. She comes in just with so much energy. And I think there's something that happens. There's some kind of chemistry there, right? There's something, and it all maybe started at Planet Seven.

But, I think Kyle is someone that Isobel really trusts and leans on, and he's like this solid foundation for her, like a real confidant. But then there's more to it than that.

And there's something that's just, it's hard to put your finger on with them, but whenever I'm working with Michael Trevino, the scenes just...we find these little places that things just kind of pop and these unexpected moments come up and it feels like a really complex dynamic.

And I'm excited to see where that goes.

For sure. I got to talk to Michael, and he said very similarly that you guys had a really great dynamic, and he'd like to see more Kyle and Isobel scenes.

You know, give the world what they want! How bout it, Roswell!

Yes! So, Isobel has gone on quite the journey throughout the course of Roswell, and throughout season three as well, we've seen as she's dealt with Jones. So, can you speak to Isobel's resilience and how we will continue to see her growth?

Yeah, absolutely. Playing Isobel has been such an honor because it's a story that I think is so powerful for so many women. She began as this kind of Barbie doll. She was very performative, had this perfect little mask on. She was kind of closed off to the world but had this way of acting that seemed right.

And I think that's the dynamic that a lot of women can relate to.

It's like wanting to come off as being sort of perfect and having this veneer that seems like everything is good, but you're really disconnected from this deep, authentic truth that might be a lot more complicated and maybe messier, but you know what Isobel had to go through in Season One with Noah, it just rips that all off.

I mean, it wasn't by choice.

It happened to her. She was definitely victimized by the thing, and she had basically no other choice but to grow and adapt. And it gave her an enormous amount of freedom. And so often, suffering is terrible, you wouldn't wish it on anyone, and yet it can also lead to enormous amounts of growth.

And that's what I got to see with Isobel that she had to pick herself back up and connect with those deep parts of herself that she'd kind of been denying her whole life. And become strong. You have to find that strength within herself and not just leaning on the men around her.

She didn't have any female friends, and she was pretty co-dependent with all the men in her life. And Season Two, we saw Isobel discovering herself on her own terms.

And I think it's such an incredible gift that the writers gave to this show to see a female doing that, to find her way on her own terms and sort of have to relearn everything and say, "Well, who am I? What do I want? And how do I get that?"

And now we're just seeing her continuing down that path, she's becoming this warrior, she's becoming this total badass, and I think there's never like an end to it.

It's not like she started out like this, and now it's like the end of the story, 'Hooray! She found herself, and now she's like a badass warrior.' It's in Season Three, I think we're seeing her struggling with what does it mean to be a warrior? What does it mean to try to be a strong female?

How much are we suddenly becoming too self-protective when we begin to build this armor where we're making sure that no one's going to hurt us again? Well, is that armor preventing us from also being vulnerable with other people?

And I think the writers have been so gracious to give this arc to a female character that's been so multifaceted.

So, I'm just so grateful. I can't wait to see where Isobel goes, and she just keeps evolving and changing and shedding her skin and becoming something new, and like I said, it's never like a destination; it's all about the journey. So that's been really fun as an actor to be able to play with.

I have to ask about the stunts in episode eight because the scenes between you and Nathan were fantastic. How was it to shoot those scenes?

Oh my God, it was so much fun. Season Two, I had told Carina, our showrunner at the time, girl put me in some action stuff because I had some martial arts background. And after everything that had happened to Isobel, I was like it'd be great for her to become more empowered in her own physical body too.

So that, we started to kind of build the foundation there, and we're seeing it now paying off, all of this training that Isobel is always talking about. We're finally seeing her in action.

In that episode, in 3x08, directed by Benjamin Bray Hernandez, it was so incredible to actually be able to do this stunt work and with Nathan, who's a great, great stunt guy too.

I mean, I swear in another life, he would like to be a stuntman, Nathan. But the two of us actually got to do most of our own stuff.

I mean all of the pool cue, all of the hand to hand. There were a couple of things that a stunt person came in when we did the backflip over the table. We're like, yeah, that's not to break your neck during that. But besides that, everything was us, and it was so much fun to work with a director who was himself a stuntman.

So, he knew how to really direct.

Every strike needs to be telling a story and the way that he filmed it on the actual film, the lens that he was using. All of this stuff was just, it was like a masterclass in stunt work. So much fun, I was so sore, and while I thought that we were using pool cues, I was like, "I'm sorry, I have never used a pool cue in a fight."

And of course we got on the set, and Nathan from Texas, is there whipping it all around in his hand, spinning the pool cue, homie has been in like 15 pool bar fights, and I'm like, "How do you hold it?"

But I think we're a pretty good match-up, and there's more to come between Nathan and I. I'm so grateful. He's an incredible partner to work with. I feel so safe with him. I did one time jab him with the butt of my pool cue pretty hard in the groin.

So, sorry for that, Nathan. But besides that, it was such a fun experience, and I'd love to do more of that.

That's amazing. Outside of Isobel's storyline this season, has there been another story that you've really enjoyed that's played out in Season Three?

I mean, all of it is so compelling.

I've loved seeing, in this last episode, we saw Alex taking on so many of the demons that I think this beautiful parallel storyline of Alex and Michael, both working through the traumas of their parents, what they've inherited from their parents. Michael learning that he is the son of this evil dictator, but his mother is maybe this amazing hero.

And Alex working through the trauma of what his father was.

And I think that a compelling, compelling story is what we inherit from our parents and what we choose to move forward with or what we want to rebel against.

Do we become our parents, or are we given the opportunity to change them, fix their mistakes? And Kyle is dealing with this too with his father and the Valenti code and all of that.

So, I love that the lineage, the kind of questioning of how lineage proceeds through us and what our obligation is to the family line, I think that's beautiful.

And last question for me, with the finale on the horizon, what can the audience expect from these last batches of episodes?

Oh my gosh. Stuff gets so crazy, Whitney! It pops off. I mean, filming it was some of the most intense work I've ever done. We were like Marines. We were like Navy seals. We bonded so hard over just the sheer physical, emotional, and psychological difficulty that we all have to go through over these next few episodes.

It's full of action. It is full of suspense. It's going to be such a roller coaster for the audience, and I cannot wait for them to see it. It's going to be a huge payoff. Our writers did an incredible job, and yeah, I think it's just going to knock people's socks off.

[shihalyfie]

🤔 What would've happened if someone else was the villain with a persona and not Ken? Like, i had this same talk with two different people in different years that the Kaiser was something only Ken made and no one else would've created it, that each character would have their own "original character". So I wonder what would've happened if either of the other five were the villains in the first cour while Ken were one of the new allies for Taichi.

(sorry, more If-scenario/AU questions haha 💦)

Like I said, I love these kinds of questions a lot because it's really fun to be able to do more speculative stuff, so please keep sending them!

I think the thing is that the entire existence of the Kaiser depends heavily on the context of Ichijouji Ken and his background -- the whole thing about having a "persona" in the first place ties heavily into his own hatred of his "true self" (note that he wasn't all that fazed about his identity being revealed as much as he legitimately wanted to replace the idea of "Ken-chan" with the "Digimon Kaiser"), his desire to do a world takeover ties into his lashing out and wanting control due to a perceived lack of it in his life, his ability to override his own empathy being based on his perception that nothing in the Digital World was “real”, and so on and so forth. Beyond the fact that their own respective "personas" wouldn't resemble the Kaiser much, it's difficult to even say whether potential villainous versions of the other Chosen would even pose threats in the same way even if you did similar Dark Seed-esque stuff in there. You might have to brainwash them entirely, but at that point that's just cheating.

Daisuke: It probably just wouldn't even happen! Even putting aside his pure-heartedness making it hard to imagine him getting to this point -- see Armor Evolution to the Unknown making it clear he can't really hide much about himself even if he wanted to, and Kiuchi herself saying that someone who lives like Daisuke probably could never become the Kaiser -- early-series Daisuke is just too wishy-washy and deferential to ever really succeed in trying to dominate anything. He'd probably shrink as soon as his opposition got threatening-looking enough, and any plans would end on the spot. You'd arguably do a better job trying to trick him into becoming someone else's minion than a head villain.

Miyako: Miyako's the kind of person whose excessive selflessness and empathy comes from the idea of how useful she is to others or how much of a burden she puts on them, so it's hard to imagine her turning villainous just because she tends to put all of that hatred on herself instead of lashing out. Much like Daisuke, you'd probably have to convince her to join a villainous side by convincing her that she's doing something to help.

Iori: Maybe if you wait a few years. Iori believes so much in societal propriety that he'll follow what others do as long as they seem respectable and older (note that while he believes in proper principles, he never forces nor expects his elders to completely adhere to them). You'd basically have to dull his sense of humility and curiosity about the world, then convince him to start imposing his will on others...and even if he did adopt a "persona", it'd purely be for the purpose of pragmatically hiding his identity than anything.

Takeru: Maybe the one you should be really scared of because of the fact it might actually be the easiest to make happen -- he's prone to lack of emotional control and is suffering his own form of trauma (I like to point this out a lot, but that infamous scene in 02 episode 19 embodies Takeru and Ken really doing the same thing: venting their trauma in unproductive, violent ways). Thing is, said trauma comes from his experiences in Adventure and his journey in the Digital World three years prior, so the desire to protect everything put him on the opposite side as the Kaiser. Maybe if you wiped his memories but somehow left the trauma? If he did adopt a "persona", it'd probably be somewhere between pragmatically trying to hide his identity and having something akin to a work-life balance; he's not the kind who has personal identity issues the way Ken did.

Hikari: The easiest way I could imagine is if you convinced her that everything is "for the greater good", and she'd basically be like one of those JRPG misguided evil clerics who think they're "saving" everyone. Of course, you'd have to flatten out her empathy for everything around her, which is hard to do, and like Takeru, she was on the adventure three years prior, so you'd have to wipe out her memories of that too. If she really believes in it, she'll stick to her stance, but while she's charismatic, she may not be the best at tactical planning or anything of the sort -- and especially when, in this theoretical situation, her own older brother, who is very good at tactical planning, would be on the other side -- so it's hard to say.

[grailfinders]

Fate and Phantasms #192

Today on Fate and Phantasms we're building the enchanting Caster of Okeanos, which despite her name doesn't actually show up in Okeanos, but rather the fourth pseudosingularity, Salem. She's also one of the last servants in the game (so far) to have her true name hidden, so pretty soon I can stop pointing out how her character build below the cut has true name spoilers. Specifically, this build also includes spoilers for the Salem pseudosingularity, so read at your own peril.

If you'd rather just check out her character sheet, you can find that over here.

Next up: The equal to the Great Sage Equal to Heaven, so just, equal to heaven, I guess.

Circe is a Transmutation Wizard, because she is a witch, and Transmutation is where they stuck polymorph.

Race and Background

Like her protege, Circe is an Elf, but if we want kindasorta falcon wings, that might be tricky. Just kidding, for some reason WotC thought winged elves were a priority, so we got Avariel Elves from an unearthed arcana. This means you only get +2 to a single stat, but we can make that Intelligence thanks to Tasha's for a brain blast. Your subrace gives you 30' of flying speed as long as you don't wear medium or heavy armor (not an issue), as well as the standard elf kit: Darkvision, Fey Ancestry to protect against charms, Trances instead of sleep, and proficiency in Perception thanks to your Keen Senses.

Circe lives on her island alone (if you don't count pigs) so that makes her a Hermit, privy to the secrets of the universe as well as Medicine and replacing the other proficiency (which we'll get back as a class proficiency) with Deception. Tricking men into turning into pigs is kind of a hobby for you.

Ability Scores

Your strongest score should go into Intelligence, that's how you cast spells, and also you're clearly more intelligent than the men who show up on your island. Speaking of, Charisma is next- you're a witch in the middle of a witch hunt that somehow never got caught, and there's also that whole Pig Island thing. Your Dexterity is also pretty good, it's hard enough to cast spells while walking, let alone flying. Also those heels, oh my fucking god how have you not broken an ankle yet. Your Constitution is above average mostly because I'd feel bad putting it any lower. That means your Wisdom is pretty low. You publicly introduce yourself as a witch in the middle of the Salem Witch Trials, and you're pretty flighty in general. Finally, dump Strength. You're a wizard, and you're clearly not that buff.

Class Levels

Circe is a wizard, meaning she starts off with proficiency in Intelligence and Wisdom saves, as well as Arcana and Religion. When you worship the goddess of magic, there isn't much of a difference, tbh. Speaking of magic, you can cast and prepare Spells using your Intelligence. Your spell slots normally only recharge on long rests, but once per long rest you can get a couple slots back on a short rest thanks to your Arcane Recovery, giving you back slots of a total level equal to half your wizard level rounded up. So when you hit level three, you can get back one 2nd level slot, or two 1st level slots. The thing about wizard is, they get a lot of spells. Six now, and two each level, plus whatever they can scavenge from other wizards. Since Circe's whole power set is "good at magic", there really isn't a set of spells that fit- any spell you could cast would be applicable. So rather than try to boil it down myself, we're just giving a rough guide here. There's a whole ass list on the character sheet, and we'll bring up the super important ones here, but really there's three qualifications: if a spell fits into one of these categories, Circe would probably have it. 1. Is it useful? The most open-ended, but just fill in spaces left by the other 2 with spells you want. I'm not a goddamn baby sitter, pick spells you like. 2. Can it turn one thing into another? Men to pigs, You into Medea, whatever kykeon is made out of into kykeon, this one's pretty easy to spot. 3. Can it help someone sail a ship? A bit specific, but helping the sailors she doesn't turn into pigs is also Circe's thing. Skill empowerment, weather control, that kind of thing. With all that out of the way, the big spells you'll probably want at first level are Mage Armor for not dying, Magic Missile for caster balls, and Sleep to knock out the sailors while you go around turning them to pigs. True Polymorph takes an hour per sailor and you need to recharge with a long rest, so this’ll take a while.

At second level, you become a Transmutation Savant, giving you all sorts of bonuses, like how copying transmutation spells into your book is cheaper and faster now. You can also make Minor Alchemy, turning 1 cubic foot of wood, stone, iron, copper, or silver, into another material on that list over the course of 10 minutes. You're not strong enough to shatter wooden chains either, but hopefully someone on your team is. This transformation lasts up to an hour or until you lose concentration, then it turns back to its regular form.

Third level wizards get Cantrip Formulas, letting you swap out one cantrip you know with a cantrip you don't know at the end of a long rest. You also get second level spells, like Alter Self to turn into Medea (among other benefits), and Gust of Wind to help out with sailing.

Use your first Ability Score Improvement to get a Keen Mind- always knowing which way you're facing and the angle the sun should be at are both really useful on the open sea. It also rounds up your Intelligence for stronger spells, and you can make your DM's life hell by remembering things up to a month after they happened.

Fifth level wizards get third level spells. Feign Death will help fake Mata Hari’s hanging later on, and Bestow Curse is super useful, since it can give a creature disadvantage on one kind of save. Like, say, wisdom saves. I wonder if there's a spell you like that requires a wisdom save coming up?

Sixth level transmutation wizards can create a Transmuter's Stone, a tiny object that gives its holder one of several benefits. When you make the stone, and if you're holding it while casting a transmutation spell, you can choose its beneft from the following: Darkvision, increased speed, proficiency in constitution saves, or resistance to one of acid, cold, fire, lightning, or thunder. You can only make one at a time after 8 hours of work, so don't try to stack them.

Seventh level wizards get fourth level spells, and you could get polymorph now if you really want, but you can also get that spell later for free, so if you're patient, you can get another spell now. If you do go for polymorph, it forces a wisdom save on a creature, and if they fail the save or they're willing, you can turn one creature into a beast with a CR equal to or less than the target's CR or level. All of the creature's stats are replaced by the new creature's, outside of alignment and personality. If it drops to 0 HP in this form, and hour passes, or you drop concentration, they turn back to normal. You can also cast other fourth level spells, like Control Water for sailing, Fabricate to turn... barley, just looked it up, into kykeon. Or any raw materials into a finished product that is Large or smaller.

At eighth level, you get another ASI that'll let you max out your Intelligence for super strong spells. That, plus your curses, will make your polymorph super hard to resist. When you get it.

Ninth level wizards get fifth level spells, like Control Winds and Skill Empowerment, as well as Scrying.

A tenth level transmuter is a Shapechanger, giving you the polymorph spell for free. You can also cast it on yourself once per short rest for free, but only if you turn into something CR 1 or lower. Sadly Medea isn't a beast or CR 1, but it doesn't hurt to practice. Also, yeah! You can now turn pretty much anyone into a Pig (CR 0, so there’s no excuse) or if you want to weaponize it, a Giant Boar (CR 2). Just promise to turn them back if they do your bidding. Still only lasts an hour, but they don’t have to know that.

Eleventh level wizards get sixth level spells. There really isn’t anything specifically Circe-like I want at this level, so just grab whatever your heart wants. There will be time for specifics later.

At twelfth level you get another ASI, and since your intelligence is maxed out we can diversify. Grab the War Caster feat for advantage on concentration saves (very good for pigmaking), the ability to cast spells with your hands full (not applicable), and best of all, you can cast spells as opportunity attacks if that spell as an action casting time and targets a creature. Oh hey, guess what spell fits that description?

Thirteenth level casters get seventh level spells! Again, not necessarily anything you need from here, but Plane Shift is always cool. Maybe you can stumble onto the pig dimension or something.

Your last goody from the transmutation specialty is to become a Master Transmuter, burning your transmuter stone in one go for a burst of magical power. Afterwards, you can’t make a new one until you take a long rest. You can use this for a Major Transformation, permanently changing a medium or smaller nonmagical object into another of similar size & mass (you also can’t cheese value out of this) over the course of 10 minutes. Alternatively, you make a Panacea, removing all curses, diseases, and poisons from a single creature, while also healing it back to full health. That’s some good eating. Going even further, you can Restore Life to cast Raise Dead without a spell slot. Death is a pretty hard line in the Nasuverse, but if anyone could do it it’d probably be Circe. Finally, you can Restore Youth to reduce a creature’s age by 3d10 years without extending their lifespan. You’ve clearly used that on yourself a couple times, but I can’t blame you.

Fifteenth level wizards get eighth level spells, and for once there is something I want to get. You might not use Scylla in-game, but hey, giant sea monsters are cool, so use either Summon Greater Demon, Dominate Monster, or Illusory Dragon to get one, depending on your preferred method.

You get yet another ASI, so bump up your Constitution for better concentration and more health- remember, health gets added retroactively, so that’s 16 extra this level, not one.

At seventeenth level you finally get ninth level spells, giving you access to Mass Polymorph for a proper pig banquet. This one is limited to only half the targets’ levels, but a pig is still CR 0, so it shouldn’t be a big issue. However, if you’re feeling really cruel, you can use True Polymorph for a more... permanent solution. If you keep concentration up for a full hour, the change lasts until it is dispelled. You can also turn objects into creatures, or creatures into objects, but none of those are particularly in character.

Eighteenth level wizards get Spell Mastery, giving you a 1st & 2nd level spell that you can cast for absolutely free, no restrictions. You can always change it later, but I highly suggest Magic Missile so you always have some damage on standby, and Alter Self for the versatility of it.

Your penultimate level grants you your ultimate ASI, so bump up your Charisma for an easier time tricking sailors. It doesn’t do much for the build, but at this point it doesn’t need to.

Your final level of the build gives you two Signature Spells, 3rd level spells that you can cast once per short rest without spending a spell slot. Sadly polymorph is a fourth level spell so it isn’t in the running, but Bestow Curse and Tidal Wave are good runners up. I never said you had to be nice to sailors, just help them out occasionally.

Pros and Cons

Pros

Polymorph is one of the easiest ways to utterly shut down an enemy if it hits, at the very least buying you an hour to run away and regroup. It’s also very funny.

The Transmuter’s Stone is a very powerful support tool, protecting you and giving you healing options wizards don’t normally get. You also come loaded with tools like Skill Empowerment, which is just flexible enough to be useful even when you’re not on a ship.

You get concentration free flight, which is incredibly useful for a spellcaster. Being able to completely avoid an enemy’s front line and turn their back line into pigs is very useful.

Cons

The reason your flight being concentration free is such a big deal is because a lot of your spells use concentration. Honestly, your saves aren’t that bad (esp. with war caster) but it still limits your options, especially when your signature move requires concentration.

While your stone is powerful, it has a huge recharge time to contend with, requiring a long rest followed by an extra 8 hours of work, and the entire time between now and then you might as well not have a subclass. It’s a pretty harsh penalty for actually using your class feature.

It takes a while for this build to go from level one to casting polymorph, so if you want a build you can jump right into and feel like the character, this build definitely isn’t what you’re looking for.

[dreamsmp-au-ideas]

Oops, I made a plot…

Anyways. Epithet Erased

I love the idea that the Egg was created by someone with the Epithet of Consume. Now an interesting idea I had is that the owner of Consume originally had possession of the Arsene Amulet after Copycat died. The owner of Consume created the Egg and then started using the Amulet to feed Epithets to the Egg. In return, the Egg was able to use these Epithets and temporarily bestow their powers onto those who followed it, hence the whole bloodline wanting to protect it kinda thing. When the original owner of Consume started to reach the end of their lifespan they fed themselves to the Egg in hopes that it would eventually be fed something like Immortal or Rebirth and it could bring back its former master. This is why it’s an Egg, eventually it’s going to hatch into the original owner of Consume if it’s fed the right Epithet

The reason those following the Egg want the amulet is because they want to get back to work again. Everyone else is varying degrees of aware in terms of the Egg group’s plan. The Egg Group also has a process that new members of the Egg Cult go through where they offer up their Epithet to the Egg by being “Consumed” by it and held inside the Egg for a couple days. At which point the Egg leeches out their Epithet as an extra way to force its followers to be loyal. Sure you can still use your powers, and a ton of other Epithets as well, as long as you’re linked up with the Egg. But the moment you become disloyal and break off your Epithet is gone. It belongs to the Egg, you were only renting it.

Of course this takes a lot of time so it hasn’t happened to anyone in the DSMP by the time the actual plot starts except for Skeppy who’s the bartering chip that the Egg uses to make Bad be loyal to it. Bad doesn’t belong to the bloodline that’s been taking care of the Egg, he’s just a victim of circumstance. Techno is part of the family, but he’s a member of an offshoot branch that distanced itself from the Egg. He’s Billiam’s great (however many greats) nephew, but that isn’t a strong enough link, he’s the actual great (however many greats) grandson of the Sheriff which is why the Egg has less of a hold over him than it would a typical member of the bloodline.

Mundies are actually the best people for the job when it comes to fighting the Egg since its mind control powers only work on those who have an Epithet or offered up their Epithet to the Egg. Those who lost their Epithet specifically to the amulet against their wills are also immune. The Egg has the same powers seen in canon because one of the first Epithets it ever ate was Control.

There is a trade off to the Egg taking powers however, since the Epithets can’t “mature” while inside the Egg. Meaning they stay at the same proficiency level their former owner possessed making it advantageous for the Egg to allow Epithets to “mature”. The Egg might even offer an Epithet to a Mundie to let them mature it before harvesting it at a later date. It’s worth noting also there is a difference between getting trapped on top of the Egg and getting trapped inside the Egg like Skeppy, only the latter will get your Epithet snatched while Tubbo and Ranboo who are victims of the former just get their heads scrambled.

Team Pro Omelet eventually learns of the Egg’s abilities and plans and at that point it’s a race against the clock to ensure they 1. Don’t get the Amulet and 2. Aren’t able to shove anyone powerful inside the egg (cough cough Tubbo/Ranboo cough cough). While we could have Tubbo angst with his powers getting yoinked, I don’t think it would mean as much as the angst that would come from him just being normally controlled by the Egg and having his Epithet taken against his will would partially break him out of its control. He might not actually care as much about his Epithet, but him hurting Tommy by accident while being controlled? That would break him, mentally and emotionally.

While I was thinking about the plot, I mentioned with my last post I think that Tommy’s Epithet should have been taken or lost. We’ve had a connection made between Tommy loosing his power to Ranboo causing him to forget which I really like, but what if, and hear me out, he loses it to the Amulet? The last caretaker yoinks it with the intention of giving it to the get, probably at some point a good ways before the plot starts. However, because the former caretaker loses the Amulet before depositing it, Tommy’s Epithet stays pretty much trapped inside the Amulet. Partially because I really like the idea of Antihero Dream having to 180 why he wants to Amulet when Tommy eventually admits what happened. It adds a nice dynamic of character wants.

Originally I purposed Hero as Tommy’s Epithet which is good, but I think I can outdo myself. Meaning I have two other options.

Earlier I mentioned the Egg really really wanting someone with Immortal/Rebirth. Well, it’s a running gag that I keep making Tommy a phoenix in every AU I touch because he never damn well dies. So you could give one of those two words, or heck, even the word Phoenix itself to Tommy and it’d not only be a really good Epithet but it’d be an Epithet currently inside the Amulet, giving even more of a dire air to the story as a whole. If the Egg Squad is able to get that Epithet inside of the Egg, you bet it’s gonna hatch and the results will not be pretty. It also plays well with the fact that Tommy just never seems to die. Even when he doesn’t have his Epithet it’s such an engrained character detail that people comment on it whenever he joins an SMP.

I think it could be an interesting dynamic and it gives Tommy an array of interesting powers from wings to fire to being able to bring himself back to life. Additionally, we can give Immortal or Rebirth to Foolish since he’s a sentient Totem of Undying in canon and it would work well.

Alternatively, and this is admittedly the idea I personally favor, we pull a parallel between Tommy and Tubbo by giving him a seemingly stupid Epithet that’s deceptively strong. And trust me, I spent a lot of time thinking about what this Epithet might be and how it could be misinterpreted. The idea I ultimately settled on was Archetype. Now, this idea is near and dear to my heart because it fits Tommy as much as everything I’ve posted prior and arguably even more so than Hero. Tommy throughout the entire canon DSMP has had role after role forced on him. Being called the Hero or the Villain when really he just wants to be Tommy. I like the poetic irony of his Epithet literally being Archetype when everyone around him seems so desperate to assign him one. Plus, it’s one of those things that requires not just creativity but a certain level of classical or psychological background information to use properly, leading most people to being unable to use it (Egg included if it actually managed to get the Amulet.) So people just kind of brush it off and it lends itself well to the whole do you wanna be a hero thing since Hero is an Archetype.

For this power we’d basically be able to pull some really strong parallels between Tommy and Tubbo. Both have Epithets that are strongest when they temporarily become a different Epithet. Maybe Tommy can not only use Archetype, but he can temporarily transform it into literally any societally recognized Archetype and use that as if it was his Epithet. So he could still technically use the same powers one could come up with for Hero, it would just be while he’s using an Archetype Swap ability. Not only that but he’d be able to change other people’s personalities or Archetypes. He could even imbue others with traits of a new Archetype (i.e. giving a Mundie the powers associated with a Hero Archetype, aka literal actual honest to god plot armor) to act as support, but you wouldn’t think to do that typically. You’d just assume that Archetype is a one trick kind of pony at best. But maybe if we wanna go Tommy and Tubbo childhood friends route as kids they specifically spent hours practicing alone when they figured out their Epithets. Specifically coming up with overpower combo moves, thinking up powers that interacted well with one another to make themselves an actually terrifying menace to society.

Tommy and Tubbo childhood friends also is near and dear to my heart because everyone remembers the scene where Tommy told Tubbo that he’d been the hero and Tommy was the one who was the side kick. Having Tommy’s Epithet be Archetype and the majority of his childhood used to find ways to support Tubbo’s Epithet using his own adds another layer to this. Tommy literally made Tubbo the hero, gave him the powers and assigned him the Archetype. It’s just that they’re the only ones who know that. Plus plus we get a really good queen and knight dynamic between the two when they’re going all out which I just die for.

Also if SBI is canon, it makes sense why Tommy would have learned the word Archetype as a child, he’s related to Techno, what else would you expect? Part of Tommy being stupidly good at his power is probably from Techno reading him mythology as a child and linking up characters to their Archetypes, giving Tommy even more stupidly overpowered ideas for how to use his Epithet. Unfortunately it got yoinked at some point, either because someone saw how powerful it was or maybe Tommy just got unlucky. I think out of the ideas I’ve listed Archetype is my favorite if we go the yoinked route. It also works well with Techno and Dream since, again, Tommy could play a support role to make these already terrifying Mundies even more terrifying. Plus it would be like Tommy to keep having an Epithet secret because Techno is a Mundie and then later accidentally getting it stolen or we can go double angst and have Tommy both forget he has an Epithet and get it stolen.

Obviously Archetype being the Epithet and the plot would still work with Tommy just forgetting what his Epithet was, but also I really personally just like the aching pain of Tommy being forced to describe what it’s like having your Epithet stolen. How much the gap doesn’t hurt physically but emotionally and mentally almost daily, a phantom pain that never goes away. Sweet angst my beloved.

----------------------------

Tubbo🤝Tommy

Having stupidly overpowered Epithets

Anyways. Holy shit. This is brilliant. The plot is brilliant and oh god. This could open up so much now. The Arsene Amulet is still relevant in a way.

Oh man, the Egg just consuming Epithets as well? Man. That’s great.

[felassan]

Dragon Age Library Edition Volume 1 annotations & additional pages/art compilation

Dragon Age Library Edition Volume 1 is a hardcover collection of some pre-existing Dragon Age comics that was released in 2014. It comprises of all issues of The Silent Grove, Those Who Speak and Until We Sleep. In places, it includes additional annotations/commentaries by the illustrators and authors, as well as a few additional pages with additional art. iirc these additional annotations and pages/art aren’t featured or available anywhere else (in the franchise I mean; other people have probably put them online at some point I’m sure).

From what I can see at least, Library Edition Volume 1 is no longer in print, and as such listings for it on resale sites etc are.. price-inflated & prohibitively expensive (~£100+, which I’m sure we can all agree is just not reasonable or accessible to most people). Due to this, I’ve compiled the additional annotations and pages here in this post. Thank you and credit to @artevalentinapaz, who kindly shared the material with me. This post has been made with their permission. The rest of this post is under a cut due to length.

These commentaries are in the context of The Silent Grove, Those Who Speak and Until We Sleep. If you notice any errors or annotations missing, or need anything clarified, just let me know. I think the annotations are in chronological order. In places I elaborated in square brackets to help explain which part of the comics an annotation is referring to. A note before you proceed further: some of the topics referenced in the annotations/additional pages are heavy or uncomfortable. The quotes here are word-for-word transcriptions of dev/creator commentaries, not my personal opinions or phrasings.

(Also, I do recommend always supporting comic creators by purchasing their comics legitimately. I own each issue of these comics having bought other editions of them all legitimately. The reason I put this post together is because this specific Library Edition volume has been discontinued and the consequently-inflated cost is so high, rendering the additional material inaccessible to most.)

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The Silent Grove annotations

Illustrator Chad Hardin: “I used to be an environmental artist for video games, so I built a 3-D model of Antiva City using the program Silo. Many of the buildings are simple cubes, but a few are more detailed. Overall, I spent the better part of a day building it, but I used it again and again throughout The Silent Grove to maintain continuity in the backgrounds.”

Script Writer Alexander Freed: “Even working with David Gaider, it took me several drafts to find Alistair’s voice. His narrative had to convey his humor and self-doubt from Dragon Age: Origins while suggesting a newfound weariness earned during his years on the throne. For readers familiar with the character, he needed to seem like a changed Alistair - but Alistair nonetheless.”

Chad Hardin: “If you read a lot of comics, you might wonder why the majority of the heroes wear skin-tight suits. Well, I can tell you: they are easy and quick to draw. In video games, you build the model once and then animate it, so details don’t slow you down. In comics, everything has to be rendered by hand. Varric and Alistair’s outfits were quite detailed. It took me a long time to get used to them, and even longer to memorize the designs until drawing them was second nature - Varric’s knee armor in particular! Oy vey!”

David Gaider: “One of my favorite scenes in the entire series [when Varric and Isabela are disarming traps and picking locks together while Alistair looks on]. Isabela and Varric, doing what rogues do. I had a suggestion for how to put it together, but Alex managed to make it fit and did a great job with it.”

Chad Hardin: “I never used to keep any of the artwork I created for comics. I would just hand the pages over to my agent to sell. This page [when Alistair, Varric and Isabela are in a tavern together, with hookah in the foreground] I kept for myself. I love the hookah-smoking elves in the second panel and Isabela’s face in the last panel. I rendered the first four chapters of The Silent Grove in grayscale using ink washes, gouache and Copie markers.”

David Gaider: “For a little while, Varric [in these comic stories] was supposed to be Zevran from Dragon Age: Origins, which would have made sense, Zevran being Antivan and all. I know that some fans would have loved to see him, but the dynamics of the group just didn’t work as well. Then a planned cameo later had to be cut for space. Ah well, Zev, another time.”

Alexander Freed: “Isabela at her most dangerous [climbing up the side of the cliff]. This scene - featuring a scantily clad, dripping-wet woman who tends to flaunt her sexuality - could easily have come across as exploitative, but Chad did a lovely drop portraying Isabela as purely focused and deadly.”

Chad Hardin: “Isabela rising out of the water and scaling the cliff with the knife in her mouth is one of my favorite parts of The Silent Grove. It is one of those moments where the writing really inspired the art. Hats off to Alex and David. This is another page I kept for myself.”

Colorist Michael Atiyeh: “This is one of my favorite Dragon Age pages. Chad is such an amazing artist; I feel very fortunate to have had the opportunity to work with him.”

Chad Hardin: “I love that this page [when a guard spots Varric and shouts ‘Intruder!’] made it in uncensored. So many times in comics, I draw something and some stuffy lawyers come out of the woodwork and tell me to tone it down. Dark Horse and BioWare always let me have fun, and this turned out to be one of my favorite pages with Varric and Bianca. Any guesses to which word he is mouthing in the second panel?”

Alexander Freed: “Note the simple decency of Alistair as he gives his cloak, without comment, to Isabela. For all his flaws, he’s genuinely kind at heart - a rare enough trait in Isabela’s world that I think it’s much of what she values in him.”

Chad Hardin: “I love the opening panel to this chapter [the opening panels to Chapter 3, when the team are on a ship at sea]. It’s the image I use on the homepage of my website. This page was a gift to my cousin Wendy, who loves pirates. Seascapes with sailing ships might be clichéd in fine art, but for me it was a first.”

David Gaider: “I wanted to have this story center on the group travelling to a Witch of the Wilds other than Flemeth, and originally I had set it somewhere else - until I remembered a Codex entry from Dragon: Age Origins that offhandedly mentioned a witch in the Tellari Swamps. Brilliant! It’d look like I planned it all along. I didn’t.”

Michael Atiyeh: “I love opportunities where I can show a change in the time of day as you move from panel to panel [when the ship heads towards and the team arrive in the Tellari Swamps]. I feel the palette of each panel is very distinct and beautiful.”

Alexander Freed: “Why did Alistair choose two people he barely knows to be his companions on this quest? We never make this explicit, but of course Varric is on the right track. Alistair wants to surround himself with people who don’t know him and won’t judge him, yet it’s Alistair’s idealism that Isabela and Varric work to preserve.”

Chad Hardin: “Another page where the writing inspired the art [when the group suddenly encounter a dragon]. I love the dragon bursting onto the scene and Isabela’s stare. Some writers will try to cram six or seven panels on a page like this and the pacing just doesn’t allow the artist to give each moment the right punch. Can you imagine if the first panel was crammed into a single square inch?”

Chad Hardin: “Yavana was one of the only characters that we did no preliminary sketches for. I don’t know how that happened, but thankfully it worked out.”

David Gaider: “I love how Yavana looks like a cross between Flemeth and Morrigan. Flemmigan? She’s totally Chad’s design, and it’s great. Typical for these witches, she never says things straight. In my mind, this Alistair is the one who did the Dark Ritual in Dragon Age: Origins - and I was half-tempted to have him lose his cool in this first scene [opening panels of Chapter 4] with her. Too early, though.”

Alexander Freed: “Through this whole sequence [the page when Varric aims Bianca at Yavana], Yavana is dropping cryptic hints and Alistair is refusing to play along. He’s met Flemeth and Morrigan - he knows Yavana won’t give him a straight answer, and he won’t give her the satisfaction of asking needlessly.”

Michael Atiyeh: “Sometimes it’s the little things on a page that spark my interest. Here [when the team navigate vines and mud to get to the temple], the sunset panel came out great and the mud looks really thick and gooey. It’s fun to focus on these details and make them stand out.”

Chad Hardin: “I hated drawing this scene [when Isabela gets kicked] where Isabela gets the boot to the face. Call me old fashioned, but I was raised to believe that only a coward would ever hit a woman (even a battle-hardened pirate adventurer). I draw at home, and my girls often watch me work in my studio. This was a page I didn’t want them watching me draw. I do like, though, that Isabela gets up, yanks the arrow out, and then soldiers on (and later extracts brutal revenge).”

Michael Atiyeh: “Poor Isabela. It seems I gave her more bruises and black eyes than any of the other characters. [when Isabela is yanking the arrow out]”

Chad Hardin: “It’s always interesting to go back and look at artwork because it reminds me of what was going on in my life at the time. I inked this page [opening panels of Chapter 5] at a ‘draw night’ session at an anime convention in St. George, Utah. I was one of the special guests, but I missed the first day because I was at my grandfather’s funeral in Las Vegas, Nevada. Seeing this page brought back those memories.”

David Gaider: “‘Bianca says hello.’ [quoting the panels being referenced] I adore Varric. I was tempted to have him narrate the entire series [in reference to these three comics], but then again I liked the idea of having each series center on one of the trio’s viewpoints. This book belongs to Alistair, but that doesn’t stop Varric from getting all the best lines.”

Alexander Freed: “Claudio, of course, is not a terribly sympathetic figure. But I wanted to emphasize that he takes this fight as personally as Isabela - he sincerely loved Luis and blames Isabela for the man’s death. I think it’s important to give every character, even the most loathsome, some dignity. [when Isabela and Claudio are fighting]”

Chad Hardin: “Payback! Here is where Isabela extracts her revenge on Claudio [when Isabela stabs Claudio]. I never enjoyed killing off a character so much. I particularly enjoyed putting the look of shock in his eyes. He had it coming. There is something satisfying about killing a ‘made man’.”

Chad Hardin: “Every now and then when drawing comics, I wish I could animate some panels and watch them as a cartoon. It would be great to see this sequence [when Yavana catches Claudio’s soul] in full motion as Yavana snatches Claudio’s soul, makes it reenter his corpse and then extracts information from him until he bursts into flame. It was a very Hellboy-ish moment. I enjoyed the movie that played in my mind while drawing this scene. Hope everyone liked the result.”

Chad Hardin: “As I mentioned on page 17, I rendered the first four chapters in grayscale, which made the black-and-white art look great, but had a neutralizing effect when it came to colors. By the time I drew chapter 4, I had seen the effect it was having and decided to stop using the grayscale so the colors would pop. When I saw this page [when Alistair says to Yavana ‘And we helped you find it’] in print, it confirmed to me that I made the right decision. I honestly feel this art was the best of The Silent Grove.”

Chad Hardin: “I practically painted these pages [when Yavana says ‘It is permitted. Tonight and only tonight’] in thumbnails hoping it would help me choose how to render them in ink. It is so hard trying to figure out how to get a full range of value out of just black and white. There are some artists and inkers that make this look easy. Mark Schultz comes to mind. Michael saved my bacon. Colorists really do so much work when it comes to rendering; this page came out awesome because of him.”

David Gaider: “Here we reveal the existence of Great Dragons (as opposed to High Dragons), and also that Yavana was the source of the return of dragons to Thedas after their departure for so many centuries. But why? There’s the rub, and not even Alistair can trust that she’s telling him the truth.”

David Gaider: “Here’s the controversial scene [Alistair killing Yavana]. I think some fans don’t like that Alistair did this, and have said they consider it out of character. I don’t. From his perspective, Flemeth and her daughters have been toying with the world for reasons that can’t be trusted. They dragged Maric away from his family, from him. One might think his judgement foolish, but considering what Alistair was capable of deciding even back in Dragon Age: Origins, it’s certainly not out of character.”

Chad Hardin: “[same scene as above] This was a controversial page, and there were a lot of people who thought it was out of character for Alistair to kill Yavana (I didn’t see it coming - I mean, you just don’t kill a Witch of the Wild), but here is the thing: this page is Alistair acting as a king. Yavana has been manipulating him, trying to play him like a pawn, and he just can’t allow that. There’s too much at stake, for himself and for his subjects.”

Alexander Freed: “The end? An end, at least [the trio walking off into the distance]. The series needed a note of closure while leading into Those Who Speak (which wouldn’t arrive until many months later). David tweaked the ending in the outline several times, and I did my best to balance resolving Alistair’s emotional journey without resolving the quest. It’s not as clean as I’d have liked, but fortunately, now it’s all in one volume...”

Those Who Speak annotations

Alexander Freed: “Capturing Isabela’s narrative voice was much easier for me than capturing Alistair’s - partly because I’d already written The Silent Grove, and partly because of my own writing proclivities. Rereading now, I wonder if I laid on the (mild) profanity a bit too thick. I’ll leave you to judge.”

David Gaider: “I like the additional detail Alex and Chad put in, letting us see more of Qarinus and more of Isabela’s crew. Alex wanted to give her crew more of a presence, and let her first mate have some face time, so they weren’t just parts of the scenery. Good call on his part.”

David Gaider: “I’m really fond of the formal getups Chad made for the party. Isabela’s actually comes from a concept we didn’t use from the cancelled Dragon Age 2 expansion, if I remember right. And Maevaris came from me asking for ‘someone who looks like Mae West’ - with the wonderful outfit all Chad’s doing.

Chad Hardin: “Maevaris. I love Mae. When David and Dragon Age art director Matthew Goldman spoke to me about designing Mae, they wanted her to be fully female with the exception of her biology. They told me to think ‘Mae West’. Well, when I think of Mae West, I think of her... womanly shape. So, drawing Maevaris was always walking a fine line between portraying Mae’s identity and her biology. The process endeared her to me.”

Michael Atiyeh: “Just like in The Silent Grove, we are introduced to another gentleman from Isabela’s past [when the team meet Lord Devon and Isabela threatens him]. As was the case with Claudio, he will meet his fate at her hands.”

Chad Hardin: “When I was drawing Titus, my kids asked me why I was drawing ‘angry Jesus’ or ‘evil Jesus’. I can’t remember which term they used exactly, but it made me chuckle. I was going for a mix of Rapustin and Joe Stalin, but ‘evil Jesus’ would do.”

David Gaider: “I’m not sure it’s apparent here [when Alistair says ‘I’d really rather not’], but Alistair was supposed to be using one of his Templar powers on Titus (that’s why Titus recognizes what he is on the next page) and disrupting his magic.”

Alexander Freed: “Isabela is witty and charming enough that it can be easy to forget that she’s not, in fact, a nice person. Even after finishing the outline, David was concerned about making her too unsympathetic - but I loved his approach in this series. The dark deeds Isabela commits - this murder included [Isabela killing Lord Devon] - are what make her guilt tangible and no easy matter to overcome.”

Alexander Freed: “I thought the notions of Isabela’s pride in her captaincy and dedication to her crew were some of the most interesting aspects of her character in David’s story. In scenes here [when Isabela is on her ship saying ‘Keep them focused and keep them sober’] and elsewhere, I did my best to emphasize their place at the core of Isabela’s world.”

Chad Hardin: “Most of the time I draw from imagination, but because of the complexity of this page [Qunari trying to board Isabela’s ship] I decided it would work better if I had photo reference. On this page are my nephews Jared (Varric) and Adam, my niece Melissa, my kids Erica, Tasey Michaela (Isabela) and Chad (Alistair), my friend’s daughter Amy, my wife Joy, and the neighborhood kids as Isabela’s pirate crew. (The crew member mooning the Qunari is out of my ol’ noodle.) I paid their modelling fee in pizza and root beer. Also, I had originally drawn cannons on Isabela’s ship, so if there are parts of it that look slightly wonky, chances are there was a cannon there.”

David Gaider: “Ever since the BioWare artists finally did a concept for female Qunari, I’ve been itching to include one in the game. It’s always slipped through my fingers, so I was going to be damned if I’d have a Qunari plot in a comic - without the same technical limitations - and not have one present.

Chad Hardin: “I had no idea this was the first time anyone outside of BioWare had seen a female Qunari.”

Michael Atiyeh: “I really like the lighting in this sequence [Isabela in her cell thinking ‘I haven’t eaten in days’], especially the strong white light and the characters in shadow.”

David Gaider: “The entire sequence of Rasaan interrogating Isabela was something I plotted out in detail when this series began. Here they discuss names - something treated in a manner peculiar to the Qunari, considering how much importance they apply to what things are called (and not called), because it forms the core of their identity. Isabela brushes it off, but as we find out later it’s also at the core of her identity. I liked that parallel.”

Alexander Freed: “To balance out the relatively static talking pages elsewhere in the issue, I hoped to make the interrogation and flashback sequences beautiful and full of information. I proposed an approach to Chad, and he wisely reshaped it into what you see here [the page with the scene where Isabela says ‘I’ve made a lot of stupid mistakes’]. Anything that succeeds on these pages should be credited to him; anything that fails is my fault.”

Chad Hardin: “Probably the most challenging spread I have ever done. My friend Stacie Pitt was the model for Isabela on this page, and my wife Joy was Rasaan. I saved these pages [around the scene when Rasaan says ‘Mistakes can be corrected’] for myself.”

David Gaider: “Sten from Dragon Age: Origins becoming the new Arishok of the Qunari was something we'd planned even during Dragon Age 2. This was a great opportunity to show that, and also to show that Sten didn’t acquire horns even despite the makeover the Qunari received in DA2. Hornless Qunari are considered special, and Sten is no exception.”

Michael Atiyeh: “I think that David, Alex and Chad handled Isabela’s flashback [to when she was sold by her mother] in an interesting way, and it created a nice flow to the story.”

David Gaider: “This was a controversial scene [what happened to the slaves Isabela was transporting], the end result of a lot of discussions between me and Isabela’s original writer on the team, and it went through a lot of revisions over that time. It needed to fit with the story Isabela told the player in DA2, but fill in the blanks of what she didn’t tell. We didn’t want Isabela to be someone who became who she is because she was ‘broken’ but instead as a result of her own actions - yet also not be completely beyond redemption.”

Chad Hardin: “These were hard pages [as above] to draw. It was difficult knowing that events such as this are part of human history, such as the Zong massacre in 1781, where the British courts ordered the insurers to reimburse the crew of the Zong for financial losses caused by throwing slaves overboard when faced with a lack of water. Horrifying beyond words.”

Michael Atiyeh: “Here, Isabela visits here crew, and I wanted to play up that she was in the light and they were in a dark cell. The light streaming through the bars gave me the opportunity to highlight Brand, who also had dialogue in the scene.”

Alexander Freed: “I struggled to find a way for Varric to contribute to victory without distracting from Alistair and Sten’s big fight. I’m happy with the solution: a brazen lie seemed appropriate to the character without taking away from the main show.”

David Gaider: “I believe my original plan had Isabela’s and Alistair’s fight scenes happening separately, but I like how Alex intertwined them in the script and I especially like how this ends up highlighting the differences between their characters when their fights are resolved. Isabela is defiant, revealing her name not because Rasaan demands it but because it’s her choice. In both cases, mercy is strength.”

Michael Atiyeh: “The brush I created for the clouds really gave them a nice watercolor effect here [on the deck of the ship, Sten calling Alistair ‘kadan’]. That brush has become a staple in my toolbox.”

Alexander Freed: “With the strong theme of names running through these issues, I liked the notion that Isabela had outgrown being, well, ‘Isabela’. When her name comes up in Until We Sleep, it’s largely played with ambiguity.”

Until We Sleep annotations

Alexander Freed: “The story of ‘Arthur’ is one of my favorite minor sequences [Varric infiltrating and fighting his way into the fortress]. It tells us something about Varric and it delivers plot information - and it’s also a reminder that our heroes kill an awful lot of people during these series and cope with it in their own ways. In general, writing Varric let me skirt the edge of metacommentary, which I greatly enjoyed.”

David Gaider: “Varric, as always, is my ‘voice of the narrator’. Here he’s expressing some of my own amusement at Alistair’s growing list of peculiarities [‘Your majesty is quite the special snowflake’]. To think, back at the beginning of Dragon Age: Origins he was just the player’s goofy sidekick who grew up in a barn.”

Michael Atiyeh: “By the third series, Until We Sleep, I really started to have a complete feel for what I wanted the final art to look like. As an artist, it’s important to continue to evolve and grow. The close-up of Sten’s face [same page as above] is a perfect example of how I wanted the rendering on the characters to look.”

Alexander Freed: “David’s outline called for a short, somber reveal of the Calenhad story by Sten. Fueled by my desire to avoid ‘talking heads’ sequences, I scripted it as a full-on storytelling flashback. David made sure the history worked (at least from the Qunari point of view), and Chad did a beautiful job handling it in a mere two pages.”

David Gaider: “Blood is important in Dragon Age, as a theme. Here we tie in the dragon blood that was mentioned all the way back in The Silent Grove and explain what it means at last. I was a bit hesitant to tarnish the legend of Calenhad the Great in this way, but I comfort myself with the knowledge this tale is but a viewpoint and not necessarily the entire truth.”

Michael Atiyeh: “Titus melting the attacker is a great example of classic comicbook storytelling and exactly what made me fall in love with the medium.”

David Gaider: “I was really happy with how Chad handled the reveal of Mae as transgender [the scene with Mae in the cell]. My worry was that Varric finding her disrobed might be potentially titillating, but I think he handled it nicely. I only wish there was more time to have Mae properly respond to being exposed in this manner, even to a friend.”

Chad Hardin: “I originally drew Mae as female [same scene as above], then changed her anatomy, so the psychological violation and humiliation she felt would be the focus. Hope that came across.”

Chad Hardin: “When in doubt, have Bianca shoot it [Varric shooting the artifact].”

David Gaider: “This scene [Varric and Bianca the dwarf] with Varric was one I wanted to do for a very long time. We’ve hinted that Varric’s crossbow was named after a real person, someone he never wants to talk about. Now I finally had the chance to show why.”

Chad Hardin: “Of all my Dragon Age pages, this scene was hands down my favorite, because Varric is my favorite. It was awesome to get to draw Bianca in her dwarven form. These scenes give you a glimpse of the love Varric and Bianca shared. It doesn’t tell you the whole story, but you can assume plenty from what is shown. You get to see Varric mostly naked (you’re welcome), but most of all you witness Varric’s heartbreak. I felt privileged to draw it. I got so obsessed with drawing this page I did an entire watercolor painting based on the last panel [Varric gets up to leave, ‘This isn’t right’ - ? or perhaps the scene where he opens the door to leave].”

Alexander Freed: “Unreliable narrators are always tricky - done wrong, they can just confuse the reader. But I’m fairly happy with Varric’s lies throughout this series, most of which are used to downplay the emotional cost of events rather than whitewash the events themselves.”

Michael Atiyeh: “This palette worked perfectly [Varric standing in front of the doorway/portal in the Fade proper], but I can’t take all the credit because BioWare provided reference for the Fade. I added the hot orange energy for the doorway, which looks great with the sickly green sky.”

David Gaider: “This scene [Isabela’s Fade nightmare] was actually inspired by a fan named Allegra who did a cosplay as a Qunari version of Isabela. I knew I wanted something like this for Isabela’s Fade section of the comic, but it didn’t really solidify until I saw the cosplay.”

Chad Hardin: “Isabela is more affected by her encounter with Rasaan than we were led to believe. A portent of things to come?”

Michael Atiyeh: “I love this shot of Mae in the fourth panel [on the page where Isabela is affected by vines]. I would be remiss if I didn’t mention what a great character she is in the series, and Chad captures her beautifully in this shot.”

Alexander Freed: “I saw this issue as a sort of downbeat victory lap. Over the course of the previous series, our protagonists largely came to terms with the inner demons the Fade confronts them with here. The fact they’ve come so far lets them win this last battle... but they still have scars that will never completely disappear.”

David Gaider: “Maric was in the first two novels I wrote for Dragon Age. Seeing Chad’s rendering of him as a regal, grown-up version of Alistair made me incredibly nostalgic. Some characters you just never let go of.”

Alexander Freed: “I feel Varric’s lines (‘tell yourself the stories you need to tell’ but ‘never live your own lies’) are the natural endpoint of all the exchanges he’s had with Alistair, starting from the end of Chapter 1 of The Silent Grove. And of course it plays off the story of ‘Arthur’, as well.’’

Chad Hardin: “I’m happy with the way Titus came off in these pages [Titus attacking and saying ‘The last magisters of Tevinter were so close’]. He looks threatening and powerful when fighting Alistair, Isabela and Varric, but genuinely confused by his inability to defeat Maric. Bye-bye, evil Jesus.”

Alexander Freed: “I can’t help but feel for Titus. He was unthinkably corrupt, but I see him as genuinely motivated by Tevinter’s glory. (The fact Alistair reads zealous ideology as a lust for power says a lot about both characters.)”

Michael Atiyeh: “I love the seamless transition of color from Titus’ magic to the dragon breath and then back into the orange remnants of his magic in the smoke. This was a really fun panel to color [Titus saying ‘Die by what wrought you’].”

David Gaider: “‘You are not the dreamer here. I am.’ I always have a scene or a line that’s in my head when I begin a tale, and this line of Maric’s was one I wanted all the way back when I started working on The Silent Grove.”

Chad Hardin: “I love this page [Maric and Alistair clasping hands]; Mike’s colors are spot on. We get to see all our heroes in an ideal state for the last time. This is the last Dragon Age page I saved for myself.”

David Gaider: “This scene kills me [Alistair destroying the Magrallen]. I knew it needed to happen; I knew I wanted it to happen even back when I began the story. Alistair lets Maric remain in the Fade rather than dragging him back to a world which has moved on. Alistair’s ready to move on, but forcing him to give up that hope... it makes me feel like a bad person.”

Chad Hardin: “Heartbreak for Alistair as he realizes that once again, as a king, he must kill: this time, his own father (granted, the Magrallen did most of the work). I really like how Maric crumbles away in the end. This was my last page, and the emotions on the page and in my studio were very final. Altogether, this was a year of my life in the making. On my last page, I wrote a thank you to everyone involved, the crew at Dark Horse and the crew at BioWare. I’d like to take this opportunity to thank them again. It was a thrill. Finally, a huge thank-you to the Dragon Age fan community, whose support was overwhelmingly awesome.”

Michael Atiyeh: “As the story came to an end, I knew I was going to miss these characters. Writing these annotations reinforces the fact that I hope to work with this great creative team again one day. Many thanks to Dark Horse and BioWare for the opportunity to work on Dragon Age.”

Alexander Freed: “The tension between the art and the narration on this page [the one with Alistair sitting on his throne while nobles argue] is something you can only pull off in comics. Neither tells the full, bittersweet story alone. Similarly, these issues wouldn’t have been possible without everyone on the team; thanks to David, Chad, Michael, and everyone I lack space to list!”

Additional pages / art

Library Edition Volume 1 also came with some additional pages, with additional art and commentary. These are as follows (I’m including them for the sake of completion, click the links to see):

1. Alistair and dragon concepts

2. Rasaan and Maevaris concepts

3. Sten, Titus and Yavana concepts

4. A series of cover pages 1

5. A series of cover pages 2

In case anyone has trouble reading the notes that accompany these images, I’ve transcribed them below:

1. Dragon Age Sketch Book

Alistair Concept 

Dragon Age / Dark Horse

Chad Hardin: “The headshot of Alistair is from a finished sketch with a rejected armor design. In order to save time, the redrawing was completed on the computer, where tweaks and changes are quick and easy, if somewhat less glorious.”

[Dragon] Head #1 / Head #2

Chad Hardin: “Everyone liked this dragon sketch so much that Dark Horse printed it for signings at conventions. You can see I did multiple proposals for the dragon’s head. It was more effective than drawing the body over and over.”

-

2. [arrow pointing to Mae’s sleeve] concealed [I think that’s what it says anyway] daggers / shurikens?

Chad Hardin: “When designing Rasaan and Maevaris, I wasn’t exactly sure how their roles would play out in the series. Maevaris’ outfit was inspired by brothel madams of the Wild West. I thought it would be cool to have some weapons concealed in the formal wear. These never came into play in the series, but they were there in my mind.”

-

3. Chad Hardin: “Although we only see Titus in his battle garb in one issue, I really liked the design of his armor. The sketch of Yavana was done on the fly and served as both a rough preliminary sketch and as a panel layout. You have to work hard and smart in comics to keep up with the deadlines.”

-

4. Cover Artist Anthony Palumbo: “This was my first assignment for Dark Horse, and I was both excited and nervous. I drew pencil sketches of the main characters, scanned them and played with different arrangements, poses and color schemes in Photoshop.”

-

5. Anthony Palumbo: “Fellow illustrator Winona Nelson helped me by sitting for photo reference. I created the mock-jewelry with gold-painted Sculpey. That’s a quick photo of my own gaping maw, to help with the image of Varric.”

[yozzers]

vexos hcs and random notes

ill update as i go, because yes i do update my masterlists every once in awhile, i should probably add them to my pinned... 

General

I sincerely hope they have a small living arrangement so I can inflict them with the pain of having to share almost everything with each other

I just want Shadow and Lync to share a bunk

Like to think that alongside Volt, Mylene and Lync were also recruited by Hydron

None of them officially joined until they were a bit older but probably trained to eventually join the Vexos; in the mean time they probably worked for Hydron or something like that

Volt recruited at 11; Lync a year later and Mylene following not long after (respectively 13, 8, 12 when they’re all gathered)

My reasoning to why Volt is patient with Lync’s antics and Mylene less so but doesn’t lash out as badly as you think she would around annoying little kids; grew up tgt moment

Spectra probably forced his way into the Vexos like “hiiii i see you dont have any Vexos members <3″ bcs obv he wasn’t using royal scientist dad privelages (i think, bcs Clay seems horrified abt Spectra being a Vexos and well, being Spectra) 

Shadow had an advantage of being a nobleman (in terms of him being accepted into the Vexos’ ranks)

the Vexos and their set of rules magent-ed on the fridge door or something and every time they go over a page they have to staple/tape a new page on

Joined in this order, Volt, Spectra, Shadow, Mylene, Lync, Gus 

Vexos being a “chance of death low but the chance is still there” type of job... they feel like idols girl help they are bakugan idol group who work for the government 

sorry the way the vestal kids talk about them... going to treat the Vexos like a kpop group now

Spectra Phantom / Keith Fermin 

[canon] son of a (royal?) scientist. definitely had it good and comfy

think it’d be REALLY funny if he already knew Shadow before he became Spectra, Shadow just doesn’t recognize him bcs of his stupid get up

throws childhood friends Shadow Spectra at you, just two weirdos 

Keith specifically keeps Shadow from ever meeting his sister which is why neither of them really recognize each other

Pre-Spectra; probably would’ve been really into bakugan biology and what not. Feels like the kind of person to talk w/ his dad about “do you think we could change their appearance if we messed w/ their mechanical ball form or would it not carry over to their released forms”

this mf looks like a biology major i feel it in my guts 

mom isn’t dead she just divorced Clay bcs he didn’t know how to balance family and work, good for her

probably lives in another city now, and it’s a bit more of a hassle to meet with her kids so they don’t see her as much but she is present in their lives (keep in contact in other ways) 

probably went a bit silent when Keith went missing

didn’t bleach his eyebrows bcs he didn’t want to harm the skin around there and he never thought he’d take the mask off around others, or about how stupid he’d look without the mask

please please please please draw him with his pink hair roots in his MS fit he should've grown out some of his bleached hair by then

daddy issues is truly the root of evil

Gus Grav

Just Some Gut background; middle class just living life

[canon?] was going on a route to being an “idol brawler”, because that’s kind of what their brawls felt like, since it was all purely for show with some competition. it felt less like a sport and more spectacle.

Gus wanting to be an idol brawler is actually such a funny string of words put together I’m making that a thing, if he didn’t join the Vexos he would’ve been an idol brawler

I like the Gus needs glasses hc (shoutout to @marmeladebois ‘s post on that) 

The hc of him being half human and Runo’s half brother is so good 

Cooks well but refuses to help cook fr the Vexos (unless Spectra specifically asks) --> that job is usually left to Volt

not related but reminds me heavily of yugioh vrain’s Spectre (or other way around... Gus was the blueprint) 

Shadow Prove

[handbook canon] a vestal nobleman 

has an older brother (oc; Lux- casual Haos brawler)

inferiority complex or whatever, the only thing he bested his brother in was Bakugan

the Prove family being typical prim proper noble family and forcing Shadow to be repressed is something, but the Proves having the same kind of wavelength as Shadow but in different variations is funnier. They’re just Like That.

Probably not a military family, does work closely with the government still; um im thinking somewhere under the Fermins but not by much

Considered running away from home several times 

Unwillingly has knowledge on Vestal classic literature/ music

hard clutching a wall whenever he wants to join in on discussions about it bcs he knows this stuff but no way is he going to make himself look like a nerd + hes not actually that interested

*debates you for fun and bcs i hate u <3* 

You know how he doesn’t take his job as a Vexos member super seriously, I wonder:

did his parents force him to be a Vexos since he wasn’t interested in the political side of his family and probably against taking up anything related to it, so they had him do something that’d still be beneficial to the family?  

joined to pursue a freedom he didn’t have as a nobleman and is now just taking it really easy?

has clowns > jesters debate with volt; obv he’s team clown, volt is team jester

incredibly irrelevant but if he was a human he’d be chinese, i’ve claimed him, prodigal son older brother and fail son dynamic is there 

Mylene Ferrow

While I like the idea of her being from a military family, I want to make her like Ling Wen (TGCF) in the sense she started from the bottom and climbed to the top... it fits her ambitious nature of grasping for more, she hasn’t reached what she considers the top just yet... 

[very Ling Wen specific but Mylene being put in jail fr crimes unknown to me and being recruited  by Hydron bcs she kicked serious ass is an entertaining thought] 

I like to think she’s closest to Shadow due to the fact he kind of forces his presence onto her so... not her choice in that matter. “annoying” to “endearingly annoying, you still aren’t getting special treatment though”

Ofc Volt and Lync are on the same level, but I think they all know when to give each other space so they’re more of a “we hold each other at a distance, but we’re aware of out closeness which is enough for us”

Then its Spectra and then Gus in the “closest to Mylene” scale; she just straight up hates Gus and it’s mutual

whoever made the “Mylene and Spectra were exes” hc I think it’s really funny so I’m adding it here 

terrible fashion, she’s the one who chose the outfits when she and Shadow went to earth; her fashionable armor look she usually has was designed with Volt’s help, she just voiced what she generally wanted 

Her red lipstick look was bcs she thought it’d make her look more serious/ intimidating (Volt and Lync approved, it rlly does work on her)

Shadow matches w/ her (via his red nails) after they get teamed up tgt several times bcs he thinks they’re basically the go-to duo matchup whenever they’re assigned work n it’d be cool

Very forthcoming about the fact she used to be considered a criminal and was from same rundown area Volt and Lync come from

She’s grateful she got out of jail but she still has no respect for Hydron and despite how much she tries to hide it she does make it pretty clear to him she doesn’t really like him

I wish I had more to say about her... but It’s all relationship esque, i think in general she’s enjoyable and good so what I want more out of her is character dynamics

Lync Volan

[eng dub] he has grandparents; whether they’re still alive or not is...? 

was part of the same area Volt is from

probably aware of each other but didn’t really know each other

you sound like you have mommy issues 

came from the same area as Volt, but lived further out and closer to those areas where there were some bits of nature left 

ill expand on why he got picked up by Hydron another day lazy rn

Volt Luster

[canon] he’s from an area that just straight up looks like yugioh 5ds’ Satellite, and Hydron was the one who pulled him out of there  

He says Hydron pulled him out of there when he was a kid? I’d assume at youngest it’d be like Hydron (8) and Volt (11)

has a neat collection of handmade jester dolls 

lot more artistic than he seems 

Had his guardian bakugan with him the longest; had Brontes even before he met Hydron

Would the others consider him weird fr having a talking Bakugan that acted friendly with him n cracked jokes? 

[reallifejedi]

//I can’t go into the Butters tag because all the top posts are just Anti-Butters and I’m a spiteful Butters fan, but for anyone saying his physical transformation was impossible, army boot camp before deploying can go up to/just about 5 months before they potentially do advanced training for specialized combat, and his athletic ability as a runner was pre-established in Dead Beat. JB wrote about how good Butters was at running way back when, with all this in mind. In fact, a lot of this was established with little asides and observations sprinkled over a lot of books.

Butters getting more athletic when he’s starting from a decent baseline with an athletic background (probably ran track/cross country as a sport) as opposed to a heavy set one, and learning enough martial arts not to die, is pretty doable I think. Is he going to actually beat Sanya or Micheal or Charity if they were genuinely trying hard? No. But is he going to hold his own? Yes. And is he smart enough to make up the difference? Yes yes.

Also... Shiro was like. 70-80 when he died, and still kicking ass. So. Probably the Spoilers Ahead: 

swords also physically imbue the carrier, kind of like the Denarius do, but the difference between the swords/coins is ultimately choice. The being in the sword imbues the wielder with a certain power if they are the right aptitude, and if they break the very set terms (ie, wielding without faith in Fidelacchius’s case, or turning a blade to an enemy seeking mercy) then the sword just switches off rather than risking becoming a Fallen. They have a very tight set of rules. So between the training and the sword bolstering Butters’s ability, it makes sense to me that he was able to keep up like he did for a night.

... I really need to like. Write out my essay on how Butters’s arc was a Luke Skywalker parallel with the Hero’s Journey, and why it makes sense for him to get the sword because of Murphy’s and Charity’s pre-established character traits, but eh.

Also don’t even @ me about the Andi and Marci thing. It’s not my ship by any means, but they’re both in their thirties and werewolves and deserve a bit of frickin’ autonomy rather than ‘ew Butters is an old man clearly he pressured them.’ Like no, Andi would remove anyone’s hand with her teeth if they tried to pressure her or anyone she loved. And obviously they had a lot of pre-friendship build up when he helped her study her medical school and played Arcanos. Like. Please. I may not like the ship, but it’s an example of a healthy polycule/triad and we deserve that in fiction.

And don’t @ me either about that White Knight thing, Harry was more than creepy about Molly for a Lot Fucking More than one scene, and Thomas started dating the mentally ill Justine when she was sixteen. Butters was creeped out and upset he had a reaction to it.

And it’s not like Butters probably isn’t going to die to fucking Nicodemus one day and satisfy most of the fandom’s desire to see him dead (like Butters hasn’t been one of the most compassionate and caring and selfless fucking people in the entirety of the book series). Like thematically yeah it’d have made sense for him to get killed, but. Letting him become a Knight and atone for his fuck ups and do some good in the world as an active player and not a ‘look out/go to healer guy’ isn’t necessarily a bad thing. And as much as I hate to say it, Karrin losing her plot armor wasn’t necessarily a bad thing either (not touching Battlegrounds, obvs. Just looking at Skin Game).

[entracteofevil]

Character Introductions

Entr’acte of Evil, page 14-36

“Come, kneel to me!”

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Riliane Lucifen d’Autriche

(Kagamine Rin)

The princess who rules the Kingdom of Lucifenia. For her arrogant behavior and proud personality, she is despised by her people, called the “Daughter of Evil”. She and her servant Allen are twins, but as she’s lost her memories of when she was young she doesn’t remember him. Her life was endangered in the civil war with the revolutionary army, but with Allen’s help she escaped from the palace, and later came to live in a monastery.

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AkunoP’s comment

Her character isn’t very complicated in construction, following the template of the ‘willful girl’. I guess she’s developed a bit more than her portrayal in the song. Though I did want to write more on how she grows after joining the monastery (haha). I do regret not being able to do that. It’d be nice if I could write about that somewhere.

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*This character was based on the VOCALOID 2 Character Vocal Series 02 Kagamine Rin of “Kagamine Rin/Len” published by Crypton Future Media.

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-Her monastery outfit is cinched together by a strap tied at the left side on her waist. Her back is the same design as her front.

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-These are the accessories that Riliane wears on her person (rough depiction). There’s a lot of simple items that just have a gem in the middle, but they are still quite expensive.

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Ichika’s comment

*Princess outfit: She has a kind of light and fluffy dress design with a lot of lace and ribbons to show her more adorable side. There’re a lot of rose motifs on her decorations. I wanted to have her hold onto some connection with her and Allen’s parent, so I drew her necklace to look like it was it was made out of something Queen Anne wore.

*Monastery outfit: She’s a novice nun, so her skirt length is a little short. It’s a simple outfit that’s just overall a bunch of sewn together cloth, but as she’s a former princess she has the kind of setup of wearing it well. Though she’s probably a bit bad at her work. Or maybe I should just say she’s not used to it.

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“How’s the flavor, Princess Riliane?”

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Allen Avadonia

(Kagamine Len)

A boy who works as a common servant in the Lucifenian royal palace, despite possessing substantial skill at swordplay and horseback riding. He has a very mature personality, but occasionally he’ll show a bit of boyishness in his expression. He is actually Riliane’s younger twin brother. He wishes for Riliane’s happiness more than anything. He helps Riliane escape during the civil war with the revolutionary army and takes her place, being executed as the princess.

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AkunoP’s comment

He was the hardest character to write (haha). Despite being a protagonist. Mostly in that I would worry that I was making him seem too young (though he is young), and that his youth in itself was a bit difficult to write. Fourteen-year-old boys are tricky. Even now I don’t think I’ve really got a handle on it (haha). There were a lot of parts where I felt like I messed up.

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*This character was based on the VOCALOID 2 Character Vocal Series 02 Kagamine Len of “Kagamine Rin/Len” published by Crypton Future Media.

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-The ribbon that ties his hair back looks to be a butterfly knot. His shoes are a simple loafer design.

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Ichika’s comment

*Servant outfit: He’s a servant, so he has clothes that are easy to move in. In order to show a bit of his boyishness I made the lower cuff of his outer jacket a bit too big for him. His pockets are decorative. I think he should take off his upper coat when doing more strenuous work.

*Traveling outfit: I made his coat a little bit loose, so that it could be worn as-is above his normal clothing. I was thinking about various things when I drew it—like making sure he has a relaxed formal air even when he’s attendant on the princess, that he’s alright even if it rains as he has a hood, that it’s one-size-fits-all, etc.

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“To me, you are a very wonderful person.”

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Michaela

(Hatsune Miku)

A servant who serves Lord Keel, and originally a spirit that lived under the great earth god, Held. She has an inquisitive personality, and her hobby is people-watching. She chose the appearance of the ‘original sinner’ as her human form when she reincarnated. She is beloved by everyone for her kind and sociable personality, as well as her beautiful looks and singing voice. She’s always worrying about her dear friend Clarith, and also this “love” that humans have.

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AkunoP’s comment

This one was also hard to work with (haha). On a fundamental level, she’s less the “of Evil” Miku and more just straight up “VOCALOID Miku”. Like the whole “Miku is an angel” thing from the early days. I think it was through her relationship with Clarith that she was finally able to set herself apart as the “of Evil” Miku. I’ve still got a few more developments for her yet (haha).

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*This character was based on the VOCALOID 2 Character Vocal Series 01 “Hatsune Miku” published by Crypton Future Media.

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-The sleeves of her town outfit are lined with lace. They are three-quarter length.

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Ichika’s comment

*Town outfit: Given that she’s meant to be adorable, her outfit was made with a kind of fluttering look in her sleeves and such. There are a lot of parts where two sleeve ends  overlap. I drew her to be more of a diva than a servant in appearance. Also, while her pendant is a scallop in shape, its size is close to that of the end of her thumb.

*Village outfit: As she’s sort of German in style, I drew her with the image of the German Fairy Tale Road in mind. As I have the personal idea that it’s a hand-me-down from Clarith’s mom, the skirt for her dress is a little too long. I didn’t get the idea that she was dressed all that fashionably in the village, so I made it so that this one had no ribbon.

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“I—I’m sorry! I’m really sorry!”

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Clarith

(Yowane Haku)

A servant who works at the Keel estate alongside Michaela. She’s a Netsuma girl with white hair and red eyes, and she has suffered persecution from the Elphe people due to being an ethnic minority. It’s because of this that she developed her catchphrase, “I’m sorry for being alive”, and her pessimistic personality. On a fundamental level she’s clumsy and not really good at anything, but she does have skill in cooking. She also likes plants and animals, and she takes very good care of saplings.

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AkunoP’s comment

She’s the character that’s the closest to my “real self”. “I’m sorry for being alive” is actually my real life catchphrase (haha). So she’s easy to empathize with. She has a few odd points but she’s really the most normal, “everyman” character in the story. Haku herself was originally conceived not as a VOCALOID but as a “master”(song producer), you know.

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*This character was based on “Yowane Haku”, a derivative of the VOCALOID 2 Character Vocal Series 01 Hatsune Miku published by Crypton Future Media.

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-The length of her hair goes down to slightly above her knees. She also tends to use the bangs on the side of her face to hide her ears.

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Ichika’s comment

*Town outfit: On the whole she’s like Michaela, but I made her design more simple to express a grown-up and “in the background” air. I didn’t see her as someone to wear particularly girly clothes, so her collar is a bit more masculine. I think four out of five times she’d have Michaela help out with the ties on her back.

*Monastery outfit: I designed her sleeves to be neat so that it would be easy for her to cook, which is her main strength. As they don’t have any ostentatious stuff like hair decorations at the monastery I tearfully cut down on her ribbon… It’s a useless detail but her waist sash is supposed to be in a granny knot.

*Village outfit: I put her in a simple, full dress that’s easy to put on. I had intended for her outfit to both show that she was an outsider and be something that Clarith herself picked out to not stand out in a village, which ultimately gave me this image of a slightly overdressed outfit. Hence her design coming out like this.

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“I ain’t broken the fountain yet, yannow!”

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Chartette Langley

(Kasane Teto)

A maid who serves in the palace, and Allen’s childhood friend. Due to her frightening strength she excels at heavy work, but struggles with more delicate tasks and is often breaking things inside the palace. The princess is fond of her for her outgoing personality, and they will sometimes take tea-time together. During the revolution she engages in a duel against Mariam, one of the Three Heroes, using a broadsword larger than her own height.

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AkunoP’s comment

I like this character (haha). She was easy to work with. I wish I could have had her do more. She didn’t get to do anything in the second book, so I’ve been thinking about maybe having her show up in the third book.

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*This character is based on “Kasane Teto”.

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-During the duel she took on the style of wielding a sword larger than her own body. For that reason her outfit was made to show ease of movement.

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-The broadsword is of a simple design, but that’s overpowered by its sheer size. It sort of has the image of a blunt weapon more than a slashing implement.

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Ichika’s comment

*Maid outfit: The ends of her sleeves are precisely folded back. The hem of her skirt is frilly and puffs out a bit, as the style of the maid outfit in the country of yellow. The hem is also slightly short, as she does a lot of running around. The ribbon at her collar had been red at first to match her hair, but I figured that it wouldn’t be red in the country of yellow so I changed it to yellow.

* Resistance outfit: She’s a peasant, so she has light armor on her casual wear. The coverings for her wrists were a bit more unrefined at first. I drew her leg armor in to serve as a sort of counterweight for when she swings her sword around. As such, they’re supposed to be much heavier than they look. She could probably mortally wound someone with one kick.

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“Please…keep what I’ve said a secret.”

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Ney Phatipe

(Akita Neru)

A maid who serves in the palace, and the adoptive daughter of the head maid and one of the Three Heroes, Mariam. She does all her work flawlessly, but it’s countered by her being a gossip and loose-lip, which results in some turmoil occurring. She’s favored by Riliane, and becomes a source of information for her. Her true identity is that of Marlon’s thirteenth princess, Ney Marlon.

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AkunoP’s comment

Like Clarith, Ney is a character that I had a concept of since the very beginning. She was originally a childhood friend of the twins who stood in a sort of “big sister” role, and wound up becoming “another servant”. She’s the character who’s changed the most from how she was in the beginning. I actually had plans to make her into a joke character (haha).

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*This character was based on “Akita Neru”, a derivative of the VOCALOID 2 Character Vocal Series 01 Hatsune Miku published by Crypton Future Media.

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-I considered several different ways of her tying her hair when she’s an assassin, but how she ends up being in that situation is a secret.

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Ichika’s comment

*Maid outfit: The basics are the same as Chartette’s maid uniform. Only the hem is longer, to show the difference in work and her personality. She feels like the kind of person to wear her maid uniform so well that she could do her work from start to finish all day without anything out of place. She was trained by her adoptive mother.

*Assassin outfit: She’s doing espionage activities, so it’s an entirely black uniform. The main focus was ease of movement. The boots are made of a soft fabric to make it harder to hear her footsteps. Her ponytail can be bundled up and pushed under her clothing depending on the situation. It probably just barely gets in. –Fits in.

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“…Stop mocking me.”

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Kyle Marlon

(KAITO)

The king of the island country of Marlon (the “Country of Blue”), and Riliane’s fiancé. Riliane adores him, calling him her “dear”, but he falls in love at first sight with Michaela when meeting her in the mansion of his friend, Keel, and so breaks off the engagement on his end. He is no match for his mother, Empress Dowager Prim, something he’s a bit ashamed of.

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AkunoP’s comment

I’m so sorry, but he’s the one I care about the least (haha). Frankly I seriously didn’t want to write him all that much. These novels aside, don’t expect me to make KAITO this cool overall. Though he’s a pretty toothsome character, with how many turns he gets.

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*This character was based on the VOCALOID Character “KAITO” published by Crypton Future Media.

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-The basis for his masked appearance is a certain sha[redacted]. It’s a simple outfit, but the decorations it has here and there are gaudy in a minor way.

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Ichika’s comment

*Main outfit: As he was designed with a theme of solemnity, his whole appearance is composed with a precise and stiff feel. The collar of his jacket is designed like a suit. His sleeves are meant to feel a bit stern. I drew his outfit with a sort of square image of the country of blue in my head, so he’s light on the curves. Since he’s a male character I put more emphasis on being chic than flashy.

*Disguise outfit: I drew this to feel like the sort of typical outfit of the country of blue. But the quality of the fabric is a grade above that of the average person. If I were to draw in any armor it would let slip what country he’s from, so he’s just got the one sword as equipment. It’s the same sword he wields in his king outfit, but he tries to hide it.

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“Let’s go, everyone.”

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Germaine Avadonia

(MEIKO)

Allen’s adopted sibling who lives in the town below Lucifenia castle, and the adopted daughter of Leonhart, one of the Three Heroes. She’s dependable and cares about her friends, but that comes with the snag of her being a little crude. In actuality she’s quite smart, becoming the leader of the Resistance and earning the people’s respect.

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AkunoP’s comment

At first, I had wanted to make her into a classic, genuinely heroic character…But I guess that got a bit warped. Like Miku, there’s a lot of influence taken from her character as a VOCALOID. I want to write about her past sometime. She’s an unexpectedly pitiable character, who winds up not having a lot of influence.

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Ichika’s comment

In addition to being based on Leonhart’s armor, the insignia above her chest is taken from the hilt of his sword, so in that sense it’s like her equipment has inherited her father’s will. It’s lighter armor, given that as she’s a woman there’s more emphasis on maneuverability. As it prioritizes heroism over sex appeal, her legs haven’t been left exposed.

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*This character was based on the VOCALOID Character “MEIKO” published by Crypton Future Media.

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“You working hard, kids?”

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Leonhart Avadonia

(LEON)

Allen and Germaine’s adoptive father, and one of the Three Heroes. He’s the captain of the guard of the royal family, but he clashes with the princess over their different opinions. An unparalleled drinker, he often drinks the night away with his daughter Germaine.

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AkunoP’s comment

Among the Three Heroes, he’s the one that came to mind first. He vanishes pretty quickly from the story for someone who was present in the plot of the Daughter of Evil since its original conception… Though I guess he does get to do more in the bonus story, so it’s all good. He’s a bit of an old fogey by the Daughter of Evil era. I did have some other more detailed ideas for him, but ultimately wound up not using them.

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Ichika’s comment

He has solidly built heavy armor. The main colors of his outfit are red and white, but there’s a single thread of yellow on his mantle alone to symbolize the people of the country of yellow.  The mantle is part of his uniform as captain of the guard; he didn’t have one during his hero days.

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*This character was independently made based on VOCALOID “LEON” published by ZERO-G.

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“Lucifenia will very soon be overthrown.”

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Elluka Clockworker

(Megurine Luka)

A court sorceress who served the previous monarch, and one of the Three Heroes. Her predictions are never wrong, and so there are many who trust in her in the palace. She has lived for a long time, and is carrying out the task of collecting the “Vessels of Deadly Sin” as a favor to the great land god Held.

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AkunoP’s comment

It’s the postscript character! (haha) Originally I planned for the sorceress role was going to be played by a different character, but then I swapped her out when Luka was published, resulting in her ultimately getting the best role. Personality-wise she’s similar to how I am when I’m drunk (haha). So, like Clarith, I’m quite fond of her, and she’s easy to write.

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Ichika’s comment

It’s a bit hard to tell with the robe on, but despite not looking like it she actually has some degree of exposure. Mostly her shoulders and legs. Her outfit was designed to look bewitching. The jewels at her hip are taken from her VOCALOID image character. After Riliane, she probably has the most accessories out of anyone else.

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*This character was based on the VOCALOID 2 Character Vocal Series 03 “Megurine Luka” published by Crypton Future Media.

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“Yes, the green onion, the Very Amazing, Green Onion.”

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Gumillia

(Megpoid)

A sorceress in training who serves in the palace, and Elluka’s apprentice. She is very close with Michaela, and was originally one of the spirits who served Held alongside her. She picked the form of Elphegort’s first female prime minister, Gumina Glassred, as her appearance when reincarnating as a human.

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AkunoP’s comment

She hardly got to do anything at all…Since she hasn’t had a lot of influence on the story at present, I think I’d really like to give her more to do in the third book (haha). I think she’s the character with the most potential. She was originally a spirit, and is a sorceress to boot. So, expect great things from her in the future!

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Ichika’s comment

As she’s Elluka’s apprentice her outfit design is made to resemble hers, though it also shows a more apprentice-esque childishness in it. But I also see her not changing her outfit even after her training his passed. Like Elluka, she has a single jewel around her hip.

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*This character was based on the VOCALOID 2 Artist Vocal character “Megpoid” published by Internet Co., Ltd.

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“I am one of the Three Heroes, Mariam Phatipe!”

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Mariam Phatipe

(MIRIAM)

She once engaged in espionage as one of the Three Heroes, but now she serves as the head maid in the palace. Her personality is extremely rigid, but she has her kind side as well, and there are many who admire her. She prides herself on covert work, like running secret intelligence.

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AkunoP’s comment

Her appearance is meant to feel like a gorgeous, cool beauty. In conception she’s this badass secret intelligence operative, but in the end she wound up being a dud spy (haha). She was completely useless, and failed to see what was happening with her own daughter. Her position is sort of that of everyone’s stern mother. Though the “Of Evil” series is full of stern women, and all of them are strong.

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Ichika’s comment

She does have a theme of being a rigid, cool beauty. With this sort of masculine air, too. Her outfit is a bit old-fashioned, bearing in mind the image of the previous queen’s reign. I pictured her being able to move a fair bit whatever her uniform, so I think it would always be prim and proper, without anything out of place.

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*This character was independently made based on VOCALOID “MIRIAM” published by ZERO-G.

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“We have a favor to ask of you.”

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Anne Lucifen D’autriche

(Sweet Ann)

The old queen of Lucifenia, and the mother of Riliane, who admired her. She often said she wanted to “build a country where children can live with a smile”, and devoted her energies into the strengthening and expansion of her country. Like her husband Arth I, she passed away from the incurable “Gula” disease.

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AkunoP’s comment

She’s sort of like what Riliane could have turned out like if she’d been raised properly. Strong, kind, and popular. Only, I’m sure she must have been more mischievous when she was younger. She probably had reckless adventures and passionate romantic stories, but I’ve got no plans to write any of them (haha).

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Ichika’s comment

I drew her with a theme of a queen’s strictness and a woman’s gentleness. Actually, her character design is the one I liked the most on first drawing it. She’s not too gaudy, but I’m really happy her outfit conveys a sense of stability in its place.

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*This character was independently made based on the VOCALOID 2 “SWEET ANN” published by PowerFX.

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“That’s just common practice among merchants.”

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Keel Freezis

(Hiyama Kiyoteru)

A famous merchant who conducts trade in Elphegort, while being an immigrant from Marlon. He serves as the head of the trade association, and is also proficient in handling information. He’s an old friend of Marlon’s King Kyle. He has three children.

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AkunoP’s comment

The no.2 super afterthought character (haha). At first I had no plans for him to do anything at all, but when I tried giving him a few more scenes he turned out to be a pretty fun character; I ended up shortening Kyle’s role to compensate (haha). It was a lot of fun to write a character so cheerful. And it was pretty amusing to have him be such a doting parent.

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Ichika’s comment

As he’s a merchant, he wears shoes and an outfit that are both easy to walk in. His uniform base is the country of blue. Fundamentally his robe is for use in business discussions, and is supposed to easy to remove when it gets hot or gets in the way. I would imagine he probably dresses down a bit outside of occasions where he’s conversing with royalty and nobles.

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*This character was based on the VOCALOID 2 Vocaloid teacher “Hiyama Kiyoteru” published by AH-Software Co. Ltd.

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“Tell me the story of the ‘Daughter of Evil’!”

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Yukina Freezis

(Kaai Yuki)

The eldest daughter of the wealth Elphegort merchant Keel Freezis. She’s very attached to her servant Clarith, and often has her wrapped around her little finger, being both naïve and mischievous. She has a hobby of writing stories, and excels at it despite her young age.

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AkunoP’s comment

She’s going to be more active in the third book. She’ll be a main character!! (haha) She becomes the author of the Freezis Fairytales, and the official teller of the story. Come to think of it I did buy the Yuki software the other day, so I might make a song for her after this.

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Ichika’s comment

Frankly she’s the most fun when drawing. While heavily basing her off of her original character image, I also gave her a more chic and mature air befitting a merchant’s daughter. I’m happy I was able to make her appearance show how doted on she is by Keel.

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*This character was based on the VOCALOID 2 Vocaloid student “Kaai Yuki” published by AH-Software Co. Ltd.

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“I was the same as you…Evil.”

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Gast Venom

(Gackpoid)

A skilled mercenary who heads a mercenary band, called “The Demon of Asmodean”. During the revolution he stays at the palace until the end under Allen’s request, and fought against the revolutionaries using a weapon called a katana, something unfamiliar to the Evillious region.

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AkunoP’s comment

He’s got a mystery for so few appearances (haha). I’ve given him a ton of backstory but I haven’t shared any of it. Like that he’s a descendant of Venomania, that he isn’t actually [redacted], none of it’s been shown in story. And he got killed by an amateur girl (haha). In that sense I guess he’s more pathetic than Kyle. I’d like to get some of it out someday though.

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Ichika’s comment.

I made him more Japanese in style to give him a foreign feel. I drew his outfit and his equipment to be like the protective armor of a swordsman. His outfit’s meant to have a slightly feminine component to it, like having a feminine sash at his waist. He’s got a decent amount of layering in his clothing. His physique is meant to feel pretty lean.

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*This character was based on the VOCALOID 2 Artist Vocal character “Gackpoid” published by Internet Co., Ltd.

directory

[pickalilywrites]

i haven’t uploaded this onto tumblr yet b/c i’m lazy but it’s been on my ao3 for at least a month 😱

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When I Met You

GalliPieck. Canonverse. 

6766 words.

Read on AO3!

Pieck stumbles up the dirt path and wonders how she had managed to walk up this same hill every morning back when she was still a Warrior candidate. Back then it had been a struggle for her too - she never had the best stamina and was always one of the last people to arrive, her cheeks flushed and sweat dripping down her back - but now it’s especially challenging as she hobbles forth on her crutches, which don’t seem to be helping her at all. General Magath hovers behind her worriedly, hands stretched out behind Pieck as if to catch her in case she falls. He always does this, worries too much about Pieck despite the Devil blood that runs through her veins. The man has always been strangely kind even back when Pieck and her companions were still students training to be Warriors. 

“I won’t fall over, so stop looking at me like the wind will blow me away,” Pieck tells the general with a fake pout. She waves him away with a crutch, laughing at his scandalized expression. She turns back to the path, moving forward even though her arms ache and her feet are numb. “I don’t know why I let you lead me here, General. I feel like I have to walk slower just to stop those worry lines from permanently wrinkling your face. It might have been better to just go on my own.” 

“Go on your own?” Magath splutters as if the idea is unthinkable to him. It’s strange how fragile he sees Pieck when just days ago she was on the battlefield killing hundreds of enemy soldiers at the bat of an eyelash. As if she’s not a monster and just an ordinary soldier that needs to rest after a battle. Then again, the man has always been strange that way. Now, his frown deepens, Pieck’s lighthearted words doing nothing to lessen his concern. “I don’t understand why you couldn’t wait for Zeke or Porco to accompany you or wait a week or two until you’ve recovered. It’s not as if the academy is going anywhere.” 

Pieck fights the urge to sigh. Sometimes, General Magath acts more like her father than her superior, but she’d never say this out loud. Instead, she rolls her eyes and says, “Zeke is meeting with a few officials and Porco agreed to meet me here later. He’s grabbing snacks for the kids, but it’d take too long if he brought me along-” Here, Pieck leans over to pat her leg, ignoring Magath’s grimace. “-and today is the perfect day to visit, besides. They have their evaluations today.” 

“Ah, evaluations,” Magath says with a nod. He should know better than her. He had been an instructor for a good time before returning to the field, the new Warriors in tow. He must have evaluated dozens of children before the final candidates had dwindled down to Pieck, Marcel, Annie, Bertholdt, and Reiner. “Anyone interesting?” 

Pieck nods. “Zeke might have mentioned them a few times. Zofia is good at working with others and doesn’t crack under pressure. She’s also quite clever; she does incredibly well with written exams. Udo is also quite good - at least on paper. He’s smart, but he lacks confidence.” 

Their last evaluations were quite impressive, if Pieck recalls correctly. Zofia, a slender girl with a thin nose and half-lidded eyes, had bragged to Pieck about her test scores the last time the Cart Titan had come to visit. Pieck recalls the girl making an effort to point out that not only had her test scores improved, but they were much better than the other candidates. Udo was a little more reserved about his accomplishments, but he had shyly offered his evaluation for Pieck to look at and his marksmanship scores and weaponry grades were particularly memorable. 

“And Grice’s younger brother?” Magath asks. “I believe his name is Falco. You know Colt’s brother, of course.” 

“Of course,” Pieck says, the corner of her lip turning upward into a smile. Of course, Magath would take the time to remember the name of a soldier’s younger brother. He’s the type to remember details like that even though other people in Magath’s position would think such information to be useless. “He’s …. well, he’s very passionate. He works hard.” 

Truth be told, Falco fades into the background when thinking about the other candidates. The boy is talented enough to be considered a candidate, but he’s not more impressive than the others in any way. His stamina is decent, his strength is passable, and his written exam scores are acceptable. Falco hadn’t seemed to inherit the strategic mind and perseverance that his older brother Colt possessed, which is a shame. Of course, it’s not necessary for him to become a chosen Warrior when his brother’s future as the Beast Titan is guaranteed, but it’s always an honor for a family to have someone be chosen as a Warrior. It’s even more of an honor to have two. It’s not Falco’s fault. He isn’t even bad, he’s just not outstanding like the rest of his peers. 

Still, Magath nods as if this is enough. “Character like that is hard to build. The instructors should continue to keep an eye on that boy.” 

Pieck doubts this, but she doesn’t say it out loud. Magath knows a thing or two about Warrior candidates after all, so maybe she should keep an eye on Falco. He might be a late bloomer. 

“I find Gabi Braun the most interesting though,” Pieck says. 

The general raises an eyebrow at the name. “Reiner’s cousin?” he asks. He hums when Pieck confirms with a nod. “Another Warrior in the Braun family. Perhaps it’s in their genes. They’d be lucky to have the Armored Titan handed down to a relative.” 

They’d have to call it luck. Gabi is the clear candidate for the Armored Titan. She excelled in nearly everything with the exception of written and oral exams. The young girl was a model Warrior candidate - something that her cousin Reiner never was. In fact, Pieck still thinks it’s a miracle that the Armored Titan had earned his position because she had never found him a formidable opponent when fighting for her spot as a Warrior Candidate. He lacked in nearly everything and his evaluations were poor aside from writing and oral assignments. Reiner was, in every way, the exact opposite of Gabi. Pieck had thought Porco would inherit the Armored Titan for sure, so she was surprised when it was announced that Reiner would be chosen as the inheritor. Some days she still can’t wrap her head around it. 

“Lucky indeed,” Pieck agrees with a murmur. 

They near the top of the hill where the academy is located. There are children outside, some running around and playing now that today’s lessons have concluded while others lie in the grass to rest. Most of them don’t notice Pieck and Magath strolling up the hill until they’ve reached the gate. It’s a girl that greets them first, shouting Pieck’s name loud enough to have the other children turn their heads and begin running towards Pieck. Pieck’s popularity must surprise Magath because he’s alarmed at the crowd of kids that rushes at Pieck. The kids throw their arms around her, hugging her with so much affection that they nearly knock her to the ground. 

“Ah, did you miss me that much?” Pieck laughs, struggling to stay upright with all these kids piling on her. She pats one affectionately on the head, ruffling their hair. She almost forgets about Magath for a second until she turns her head and sees the man, his forehead wrinkled as he wonders if he should pull the children off her. She grins widely. “No need to worry, General. You’ve left me in good hands with these kids. They’ll take good care of me.” 

At the mention of Magath’s title, the children quickly unstick themselves from Pieck’s limbs and turn towards the general, their hands held up in a salute. Their faces, which had been filled with smiles just seconds before, are now solemn as they look up at Magath. Pieck wants to laugh at the contrast. 

“I’ll leave her in your capable hands then,” Magath says, giving them a salute of his own. The general has the decency not to laugh, but Pieck sees an amused sparkle in the man’s eye before he turns to leave. He gets along well with children. Pieck thinks it’s a shame that the man stopped being an instructor. Nobody speaks until the man disappears from view. 

“That was General Magath, wasn’t it?” a boy says, his voice filled with awe. He turns to Pieck, admiration in his eyes. “I don’t think I’ve ever seen him up close before.” 

“Work harder and maybe you will,” a voice Pieck recognizes as Zofia says. The girl is in the back, her face smug. Zofia is a little thinner than Pieck remembers, but the girl still has the same half-lidded eyes and choppy blonde bangs that she had when Pieck first met her. “You have to get better if you want to be chosen for missions. You’ll never meet the generals and commanders otherwise.” 

Zofia is referring to the military operations that the candidates are sometimes picked for. Only top candidates are chosen; it’s a way to reward the candidates for their hard work and at the same time offer them experience on the battlefield before they acquire their Titan. It’s no use to have a Titan and not know how the battlefield works. Pieck herself had been on a number of missions when she had been a candidate. Zofia has as well, but not a lot of other children are picked for such missions. Not everyone gets that honor. 

“Miss Pieck,” the child whines, clearly offended. He tangles himself around her arm, sulking into her side. 

“You’ll get them soon,” Pieck says soothingly, patting the boy’s back. 

He looks up, surprised. Maybe even a little bit excited. “I will?” 

Pieck nods. “If you work hard,” she says, pressing her finger to his nose. 

The boy groans, his arms falling away from Pieck as Zofia snickers behind him. The other children laugh too, poking the boy and teasing him. A few have worried looks on their faces, probably worried about not being chosen for a mission anytime in the near future. Pieck used to worry about such things too when she was younger. She has other things to worry about now. 

Udo grabs Pieck’s crutches from her while other kids take her by the hand and lead her to the schoolhouse. They tell her about their day - some long-distance running, lessons on surviving in the wilderness, and history classes before their evaluations were handed out to them - and Pieck nods as she only half-pays attention to their stories. Some even show her their reports, although she only really pays attention to Udo’s and Zofia’s. They have high marks - much higher than their peers - and she makes a mental note to tell General Magath and Zeke when she sees them again. As they get nearer to the classroom, she notices that a familiar head of black is not here with them. 

“Where’s Gabi?” Pieck asks, looking around. It’s strange not to see the lively girl hovering around her with the others. Usually, Gabi is the first one to greet her, pushing her classmates out of the way to get Pieck first. She feels a bit guilty about not noticing the girl’s absence earlier. 

People look away at the mention of Gabi, their gazes fixed on their feet and the dirt road. Pieck isn’t entirely sure why, but she sometimes has the feeling that Gabi isn’t well-liked among her peers. It might be because of jealousy or perhaps the girl’s accomplishments intimidate the others. Nobody offers her an explanation of Gabi's whereabouts, so Pieck wonders if the girl had gone home early for a moment until Zofia speaks up. 

“She’s in the classroom right now. She told us not to bother her,” Zofia explains. Out of everyone, Zofia seems to be the closest to Gabi, although it was more like the two got along alright instead of being actual friends. Even now, Zofia’s voice drops to a whisper as they all approach the schoolhouse. “I think she’s upset about her evaluation.” 

That’s strange. Gabi’s incredibly well-rounded. Even with written and oral exams, the girl’s biggest weakness, Pieck can’t imagine Gabi scoring low enough for it to be worth nothing. 

“Do you know what her evaluation was?” Pieck asks. 

Zofia snorts and looks at the schoolhouse door with a pout. “Of course not. Gabi won’t share that with anyone,” Zofia says, rolling her eyes. It’s not something Zofia would understand, Pieck decides, because her scores were good all-around. Even if the girl had a bad score, she’d probably bounce back quickly. Gabi, on the other hand, takes every ounce of criticism to heart. 

They all stand there, Pieck at the door while the kids huddle behind her, wondering if they’ll actually go in. It’s like they’ve approached a dragon’s lair - half of them are too scared to enter while the other half is curious as to what awaits inside. Is Gabi fuming? Is she crying? Is she sitting in silent shock? Whatever it is, Pieck feels like it’s only polite to grant her privacy instead of trying to talk to her about her evaluation in front of a dozen uninvited children. 

“I’ll talk to her myself,” Pieck tells them with a smile. The disappointed looks don’t go unnoticed and Pieck almost laughs. Children are so strange when they’re competitive. Then again, she might have been the same way back when she was their age. 

The students leave, some a little more reluctantly than the others. Some even straggle behind until Pieck shoos them away, telling them to look out for Porco instead because he should have some treats for them when he arrives. The promise of food - snacks, sweets, and other goodies that they aren’t normally allowed - is enough to get them to leave, any thoughts of eavesdropping on Pieck and her conversation with Gabi forgotten. After the coast is clear, Pieck waits a minute before knocking. 

“Gabi?” Pieck calls. “It’s me, Pieck.” There’s no answer, but Pieck spots a lone figure slumped over a desk when she cracks open the door to take a peek. She raps her knuckles against the door frame to make her presence known in case Gabi hadn’t heard the first time, but the girl simply lets out an angry groan. It’s not exactly an invitation, but Pieck takes a seat beside the sulking girl anyway. 

Gabi doesn’t lift her head up when Pieck sits down next to her, but she does turn her head, her lower lip sticking out in a pout. “Hi, Miss Pieck,” Gabi says. Her tone lacks the girl’s usual abundance of energy. In her hand, she clutches a crumpled piece of paper. It most definitely is the evaluation that Zofia mentioned earlier. 

“What are you doing here by yourself?” Pieck asks. She touches Gabi lightly on the arm, and the girl doesn’t flinch away from Pieck’s hand. That’s a good sign. “Everyone else is playing outside and waiting for Porco to bring snacks. I told him to bring your favorites. You like those chocolate candy cigarettes, don’t you?” 

There isn’t even a hint of a smile on the girl’s face at the mention of her favorite snack. She continues to sit there moodily, rubbing the corner of her evaluation between her two fingers. “I don’t feel like eating.” 

“Are you sure? It might be a while before we visit again, and you know Reiner can’t afford to keep buying you snacks all the time.” Pieck lays her head down on the table next to Gabi’s. When she smiles, Gabi returns it with a scowl. “All your friends might eat the snacks before you get a chance to have even one.” 

Gabi’s frown deepens and she turns away from Pieck, hiding her face in her elbow. “Doesn’t matter. They’re not my friends anyway.” Her voice is muffled by the sleeve of her shirt. 

Pieck raises an eyebrow. Gabi’s never been incredibly sociable, but she’s never been this hostile towards her classmates. Curious, Pieck sneaks a peek at Gabi’s evaluations. There aren’t any horrible marks - they’re all in the nineties, a few high eighties, and even a hundred here and there - but there are a few subjects that Gabi’s elbow is covering. She purses her lips, finger tapping on the desk. After a moment, Pieck asks quietly, “Are you upset about your evaluation scores, Gabi?” 

Gabi finally sits up, a terrible glare on her face. Her classmates were right to be afraid. Her face is flushed red, although Pieck suspects it’s from anger rather than embarrassment or crying. Gabi isn’t the type to cry about these things. “Did Zofia tell you?” Gabi’s eyes narrow as she glowers at Pieck. 

Pieck decides not to tell Gabi that Zofia had told her about the evaluations. If anyone can handle an angry Gabi, it would probably be Zofia, but Pieck doesn’t want her to deal with that if she doesn’t have to. Instead, Pieck rubs soothing circles on Gabi’s back. “Can I take a look at them? It probably isn’t as bad as you think it is.” 

The girl continues to glare at Pieck, but the Cart Titan just stares back, expression neutral. After a while, Gabi finally sighs and removes her elbow from the paper, allowing Pieck to look at the paper. 

Pieck takes the paper in her hand, her eyes scanning through the subjects and their corresponding scores. As expected, Gabi’s grades are stellar. Her lowest grades are in history and speaking, but even those scores are an improvement from last term. Pieck’s eyes continue to wander downward until she finds an anomaly among the high scores - cooperation. The box beside it is marked with a large 0, somehow angrier and more savage-looking than the other scores despite being written with the same red pen as the other numbers. Gabi’s teamwork skills have never been that high, but a 0 is abysmal. No wonder the girl is miserable. 

“...Do you have a problem working in teams, Gabi?” Pieck asks, trying to keep her tone light as she sets the paper down. She looks at Gabi cautiously, gauging the girl’s reaction. 

“I don’t,” Gabi says. Her thick brows furrow and she sucks in her cheeks the way she does when she’s angry. “Everyone else just sucks.” 

Pieck has to stifle a laugh, coughing behind her hand to hide her smile. She really shouldn’t be encouraging this behavior, but some of the things the kids say are so ridiculous she can’t help laughing. “I’m sure they’re not that bad,” Pieck says. She hopes that her stoic face is convincing. Then again, Gabi is too busy glaring at the 0 on her evaluation form to pay any attention to Warrior’s facial expression. 

“I don’t even understand why I have to learn how to work with others,” Gabi mutters. She leans back roughly against her chair, slouching with her legs splayed out. “It’s not as if I’ll be controlling the Armored Titan with others. It’s not like the Cart Titan where you have to work with other people to be fully operational.” She glances at Pieck for a moment and, as if remembering who she was speaking to, tacking on a mumbled, “No offense.” 

Pieck shrugs off Gabi’s words, not at all bothered. It’s true that the Cart Titan is the least capable Titan for combat. Its form made it too awkward to fight in combat and it was not anywhere near as agile as the Jaw or Armored Titan. Its strength lay in its ability to transport equipment and carry military weapons, requiring soldiers to work alongside it to operate the machinery. While the other Titans didn’t need extra equipment to be useful on the battlefield, that didn’t mean that cooperation was useless for them. 

“Do you think your cousin Reiner got where he was from doing whatever he wanted and not listening to others?” Pieck says with a laugh. 

Gabi has stopped glaring now, but her lower lip is still sticking out in a pout. Still, she looks at Pieck curiously, wondering what the Warrior has to say, so Pieck proceeds. 

“The only reason why the Warriors work so well together is because we’re able to work as a team. We listen to Zeke, our commander, as well as our military superiors. If we didn’t, we’d be a mess out there on the battlefield. The enemy would massacre us and it wouldn’t matter how powerful our Titan forms are,” Pieck says. She brushes away a stray lock of hair from Gabi’s forehead. 

The young girl’s brow is still furrowed and she looks as if she wants to argue with Pieck, but there isn’t anything to argue about. It doesn’t matter what Gabi thinks. Pieck is the one with more military experience and the one with a Titan. She knows better than Gabi. After a moment, Gabi asks, “How am I supposed to work with people if they don’t like me?” 

It seems like such an ordinary question to ask - not at all about how to get better in combat or improve stamina or anything about surviving during a battle - that Pieck almost laughs, but the girl is looking at her so earnestly that Pieck swallows her smile. “You guys don’t have to like each other, at least not at first,” Pieck replies. There are still people in the military that she hates working with, but she’s not going to tell Gabi that. That’s something the girl can figure out on her own. “Just try to work well with them - listen to them, take into account their concerns, be open to suggestions - and maybe you’ll like them better.” 

“That’s impossible,” Gabi scowls, arms folded over her chest. Her mind has already been made up about her classmates. The girl is incredibly stubborn. It’ll take a while for her mind to change about her classmates. Gabi sneaks a curious glance at Pieck and then, without warning, asks, “Did you get along well with Porco when you first met him?” 

“Porco?” Pieck isn’t sure why the name startles her so much. Maybe it’s because she was expecting Gabi to ask about someone else like Zeke, who Pieck has worked with much longer than Porco. 

Gabi nods. “My instructor said you two work incredibly well on the field together. ‘Perfectly in sync,’ she said.” As she says this, the girl looks almost envious. She looks at Pieck suspiciously as if the Cart Titan has been hiding some secret from her. “What did you think of him when you first met?” 

“When we first met?” Pieck says with a laugh. “That was so long ago though…” Her voice begins to trail off as she recalls meeting Porco. 

------

Pieck had, of course, met Porco before. They had been Warrior candidates at the academy and trained side-by-side. She had even had a few conversations with him back then - ordinary conversations about the weather and musings about the lessons they would have - but nothing they discussed was memorable. Of her classmates, Porco had been one of the more memorable of her peers. He was good on the field, skilled at fighting, and had an intellectual acuity for battlefield strategies, especially in large formations. She, along with many others, had thought Porco was the logical choice for the Armored Titan, so it was a surprise when Reiner Braun was announced in his place. The surprise didn’t last, however, and Pieck had been quick to accept it, her memory of Porco and his discontent scowl fading in the back of her mind. It was only five years later that she saw him again, only this time he was no longer Porco Galliard, the candidate that had failed to become the Armored Titan, but Porco Galliard, the one chosen to inherit the Jaw Titan. 

“Meet the Jaw Titan,” Zeke says as he introduces (or, really, re-introduced) Porco to Pieck. 

“We’ve met before,” Porco says at the same time Pieck is thinking it. Still, he offers a hand for Pieck to take and she shakes it, noting how rough and weathered it is in hers. He has a strong grip though, which she takes as a good sign before she lets go. 

“We trained together,” she explains to Zeke. 

“And fought together,” he adds. There’s an awkward silence between them - from Pieck because she can’t recall seeing Porco on the field and from Porco because he doesn’t know how to proceed from there. It must be that the silence is getting to him because Porco clears his throat and clarifies, “I was a part of the infantry.” 

“Ah,” Pieck says with a nod, pretending like she remembers even though she doesn’t. There are so many people on the field every day. The only people she really knows are the ones that work alongside her, manning the artillery on the Cart Titan’s back. 

The commander claps the two on the back. “Well, you two will be fighting side-by-side more often once Porco takes hold of the Jaw Titan,” Zeke says. He looks at Porco. “The ceremony is this weekend, isn’t it?” 

“Ah, yes,” Porco says, a bit startled at the attention. He offers up a bag that he’s been holding. Inside are snacks of every kind - sweet things like muffins and cookies and savory snacks like sausages and jerky. They’re the types of things Eldians can’t afford to buy unless their families had a member that inherited a Titan. Zeke and Pieck both stare down at the snacks and Porco clears his throat. “I bought them to celebrate. Er, if you want any.” 

“Shouldn’t it be the other way around?” Zeke asks, raising his eyebrow. He reaches in and plucks out a bag of jerky. He tears open the wrapping easily, snapping off a piece of the dried beef with his teeth. “Ah, but this is good. Thanks, Porco.” He ruffles the man’s head as if Porco were a child and not a man about to inherit one of Marley’s most powerful weapons. 

“No problem,” Porco mumbles, cheeks flushing at the simple words of thanks. He notices that Pieck still hasn’t taken anything so he offers the bag to her, holding it under her nose. “Take some.” 

Pieck looks down, observing the wide selection. There are only three of them, so there wasn’t really a need to get so much food. These are all snack foods besides, but maybe Porco enjoys snack foods or maybe he’s hoping to save some for his family later. After a moment she looks at him, frowning as she jokingly tells him, “You don’t have my favorite in here.” Behind her Zeke snorts, but Porco looks at her in alarm like he’s afraid he’s actually offended her. 

“Which one’s your favorite?” 

“Don’t tease him when he’s nervous enough as it is, Pieck,” Zeke says with a chuckle. He’s already halfway through the packet of jerky already. 

“Those little sweet crackers. The ones with the scallop edges and sprinkled with sugar. You know the ones?” she asks Porco. She feels bad immediately afterward because the man’s now frowning down at his bag of food. It almost looks like he’s trying to will one of the snacks to transform to Pieck’s favorite treat. Hastily, Pieck makes a grab for a random pack of food and pulls out a licorice wheel. It’s not ideal, but it could be worse. She makes a show of waving it in Porco’s face, a smile on her face. “Nevermind. These will do. Thanks, Porco!” 

He grunts in response but still seems troubled. Even as Zeke continues to talk to them - discussing future plans now that they’ve reacquired the Jaw Titan and the need to prevent neighboring countries from invading - he seems distracted, nibbling at a chocolate wafer nervously and nodding every once in a while. Watching him makes Pieck feel guilty and she almost wants to put down her licorice wheel and apologize, but doing that in the middle of a conversation with Zeke might make the poor man feel even more awkward so she unwinds the licorice wheel and eats it inch by bitter inch. It’s only after Pieck has eaten another licorice wheel - a raspberry-flavored one, which was more bearable than the black licorice wheel before - and Zeke has inhaled nearly all of the jerky and sausage that Porco abruptly gets up to excuse himself, mumbling something about coming back soon. 

“Do you think I made him uncomfortable?” Zeke asks before Pieck can. 

She snorts, nearly choking on her raspberry candy. “You? Why would you make him uncomfortable?” 

“Because,” Zeke says solemnly, “I am his superior, so I might intimidate him. Also, I’ve been told that I’m very handsome.” 

Pieck almost rips off a piece of licorice and pelts it at the commander. She doesn’t, of course. That would be a waste of food. She rolls her eyes instead. “I probably shouldn’t have teased him like that when I barely know him, but I didn’t think he’d be so sensitive.” Pieck takes another bite of her licorice, gagging at the strange mixture of artificial raspberry and bitter licorice taste. She probably shouldn’t have taken another licorice wheel, but she decided it would be an apt punishment. “Do you think we’ll get along well?” 

Zeke shrugs as if it doesn’t matter. He’s surprisingly unconcerned about all this. “It’ll all work out eventually,” he says before giving Pieck a wicked grin. “And if it doesn’t, we can say it’s your fault.” 

“You’re terrible,” Pieck grumbles, sitting back in her chair. 

“I’m sure you’re just overthinking it,” Zeke says reassuringly. He leans forward and looks through the bag of snacks, frowning when he doesn’t find what he’s looking for. “He’s probably just the shy, quiet type. He’ll warm up to us eventually.” 

“Or maybe,” Pieck says, pointing at Zeke, “he’s had enough of us already and ran away.” It seems to be the only logical explanation as to why the man hasn’t returned yet. 

“He probably just went to the bathroom.” 

“That’s an awfully long bathroom break.” 

“It happens,” Zeke says sagely. 

Just then the door swings open and in barges Porco, another bag in his hand. It’s not filled to the brim this time and Pieck and Zeke can only see its contents when Porco haphazardly tosses it between them, peering in curiously to find the sweet sugar crackers that Pieck had spoken about before. They look at him, eyebrows raised, but Porco simply slouches down in his chair, his head hanging so that he doesn’t have to look either of them in the eye. Pieck can’t decide if the man’s just shy or awkward. It could be a combination of both. 

Gingerly, Pieck takes a packet of crackers, holding it up and inspecting it as if seeing the treat for the first time. “Did you,” she asks slowly, “buy this just because I said it was my favorite?” 

“No, of course not,” Porco snaps a little too quickly. He must feel that his response is too harsh because he says, quieter this time, “I just started craving them because you were talking about it earlier. You can have some if you’d like.”

“Thanks,” Pieck says, trying hard not to giggle. He’s both awkward and shy then, she thinks as she rips open the plastic wrap and nibbles on the cracker. And thoughtful. That’s a good trait to have in a teammate. 

Porco grunts in response, taking a pack of crackers of his own and chewing them silently across from Pieck. Zeke, however, does not take any. The commander just frowns at the bag a little unhappily and, after a moment, says, “You didn’t buy any more sausages on your way back?” 

“I’m sorry, sir, I’ll go get some immediately!” Porco says, already getting up to run out of the room. 

Pieck grabs onto his shirt and yanks him back down before he can escape. “Relax, he’s just kidding!” She gestures to the unfinished crackers in his hand. “Eat up.” 

Confused, Porco looks from Pieck and then to Zeke who’s smiling at him rather apologetically. It’s only then that Porco truly relaxes, sitting back against the chair and eating his crackers a little less carefully now, crumbs spilling onto the front of his shirt. 

He’s most definitely awkward, Pieck thinks as she hides her smile behind another bite of cracker, but that’s nothing that she can’t work with. They’ll get along well for sure. 

----------

“When I first met him?” Pieck repeats. She looks up at the ceiling thoughtfully, staring up at the boards that she used to stare at as a child. She then turns her gaze back to Gabi, a mischievous smile on her lips. “Cute.” 

Gabi’s surprised for a moment, the answer unexpected, and then her nose crinkles in an expression that’s almost like disgust. “Cute?” 

“Yes,” Pieck says cheerfully. She wants to giggle at Gabi’s scowl. She probably should have given the girl a more serious answer, but Gabi needs to learn to lighten up a little if she wants to work with others. “Some people think he’s quite handsome, you know.” 

“I guess,” Gabi mumbles, although the frown on her face says that she hasn’t really thought about it. Or maybe she just doesn’t think Porco is handsome. Pieck will have to tell Porco about this. 

“Well, it’s fine if you don’t get along with them immediately,” Pieck tells Gabi. She reaches out to play with the loose strands of hair that are falling out of Gabi’s bun, smiling fondly as she does so. “Just pick someone that you think you can work with well. Someone you can tolerate. And then maybe you’ll learn how to be a team with them. Who knows, you might even become the best of friends.” 

Gabi sulks for a bit and side-eyes Pieck. “Do they have to be ‘handsome’?” 

The elder snorts. “No. It doesn’t matter what they look like.” 

The girl sits there thinking for a bit, mulling over the possible candidates. Her brown eyes flicker over the empty desks in the classroom as she recalls all her classmates. After a bit, she finally says, “I think I’ll work with Falco first.” 

Pieck is only a little surprised. She probably would have picked Zofia - her skillset is more evenly matched to Gabi’s than Falco’s is - but it does make sense that Gabi would choose the boy over Zofia. He isn’t as headstrong as Zofia is and is less likely to clash with the stubborn Braun girl. The two might also make a surprisingly good pair, Pieck thinks. Falco could improve Gabi’s cooperation scores and might also get her used to working with others and Gabi might be able to help the boy improve in all the subjects he’s having trouble with. Pieck definitely approves of the match. 

“I think that would be a good idea,” Pieck says with a smile. She rubs the top of Gabi’s head. “Why don’t you go find him right now? Working on the field is good, but team building is easier if you get along well in your downtime too.” 

Gabi looks a little aggravated, but she gets up anyway. “Fine,” she huffs. The girl grabs her bag and tosses it over her shoulder, her evaluation crumpled in her hand. She maneuvers around Pieck and heads toward the door. She only turns back when her hand is on the knob. Her expression isn’t exactly happy right now - the girl is probably still focused on improving her scores for next term - but she gives Pieck a quick smile and a wave. “Thanks, Miss Pieck. I’ll let you know how it goes.” 

“See you later, Gabi,” Pieck says cheerfully. 

The young Warrior cadet leaves, the door just about to swing shut before someone’s hand reaches out to stop it. Outside, Gabi speaks to someone, but her voice is too quiet for Pieck to pick up the conversation. The other voice is much lower, much more mature, and Pieck realizes just who it is although she can’t hear a word that the speaker is saying. When the speaker steps in, Pieck greets him with a wide smile. 

“Porco.” 

“Pieck,” Porco replies. He raises a hand, showing her a bag that’s less than half-filled with treats. Her friend approaches, dropping the bag onto the table. He takes a seat on the desk, ignoring the many empty chairs around them, and folds his arms across his chest. “Those little gremlins nearly ate everything. I gave Gabi a few biscuits and chips before she left. You’re lucky I still have some things leftover for you.” 

Pieck purses her lips as she takes a peek inside. There are different flavored licorice wheels - strawberry, raspberry, and the original black licorice - and a few packs of sugar crackers. The Titan Shifter takes the crackers, ripping open the wrapper and biting a cracker. It’s nice and sweet and flaky on her tongue. “How blessed I am to have you as a friend,” Pieck hums.

Her companion rolls his eyes as he takes a licorice wheel and bites into it, not bothering to unravel it and eat it in a strand like most other people would. “Blessed is a word for it,” he mumbles. 

Pieck takes another bite, savoring the taste of butter and sugar on her tongue. Truth be told, sugar crackers weren’t really her favorite snack, at least not back then. She had only said that in jest and hadn’t bothered to tell Porco afterward. He had gone through all that trouble to bring the crackers for her that night. It gave her a deeper appreciation for the snack. After she polishes off a pack, she leans forward on the desk, tipping her chin upward so that she can get a better view of Porco. “Porco, what did you think of me when we first met?” 

“What did I think?” Porco repeats. He bites off another piece of the licorice wheel, chewing thoughtfully as he remembers their first meeting. He swallows and answers, “I thought you were weird.” 

Pieck wrinkles her nose. It’s not exactly the answer she was expecting. “Why weird?” 

“You ate, like, three licorice wheels when I first met you,” Porco replies. He finishes his licorice wheel and reaches for a pack of crackers. He pulls one out first and looks at it before licking the sugar crystals on its surface. “Nobody likes licorice that much.” 

“Hmm.” She supposes she won’t tell him the real reason she was eating the licorice wheels. Or the fact that eating all that licorice at once has given her a fondness for the snack now. 

“Why?” Porco asks. “What about you? What was your first impression of me?” 

Awkward. Shy. Endearing. Pieck grins up at him. “I thought you were perfect,” she says.

It’s a comment that might have made him blush in their earlier days together, but now Porco just shoves a cracker in her mouth. “Don’t be weird,” he tells her. He hops off the desk, grabbing the bag of snacks. “Let’s go grab some food now. This stuff is good, but it’s hardly a meal.” 

“Get me my crutches? I think Udo left them leaning against the schoolhouse,” Pieck says. She pushes herself out from her seat and grabs the arm Porco offers her, letting him help her up. She smiles when he reaches over to push her chair in as well as the chair Gabi had left out when she left, and leans against his broad shoulder. 

“What do you feel like eating tonight?” Porco asks as he leads them to the door. 

“Pork?” Pieck says, tilting her head to see how Porco feels about it. 

He nods. “Jägerschnitzel?” he asks. 

Ah, pork cutlets with a crispy breadcrumb crust and chopped mushrooms, a rich gravy sauce poured all over. It’s perfect with a side of steamed beans and mashed potatoes. Pieck’s hungry just thinking about it. She really can’t think of a better meal right now. 

“Perfect,” Pieck says, squeezing Porco’s arm. She looks up at him fondly. “We make a good team.” 

“Yeah,” Porco replies. He pushes open the door for Pieck, letting her go out first before he shuts the door behind them. He collects her crutches for her, handing them to her, and waits as she adjusts herself. “I guess we do.” 

[secretgamergirl]

How not to Write a Campaign

I have been playing RPGs for a very long time. Back in the day, I avoided any and all pre-written adventures of any sort because my limited experience with them was... just frankly terrible. Weird inconsistencies in tone, unfair encounter setups, too many assumptions about PCs’ motives and actions, etc. Then much later I discovered a group of writers who actually got it, wrote things perfectly in line with how my friends like a game to go, and we’ve been all in on those for a decade and change. But I just finished running a ROUGH one, and I want something good to come of it.

I don’t want to make this a specific review, because... I’m in the industry, I know the people who wrote this campaign, I can guess at some of the problems involved, and I don’t want to hurt anyone’s feelings or reputation, so let me just refer to the offending prewritten campaign here as the Amnesia Campaign. It’s for a big fantasy RPG, it riffs of a particular author’s work, you can probably guess what it is from that, but, I’m trying.

The first problem I need to bring up with the Amnesia Campaign is that it just commits the cardinal sin of long term RPG campaign writing- The mustache-twirling villain who always manages to escape from the PCs at the last minute. I cannot convey just how important it is that you never, ever do this. The worst sort of example is when you plan around the PCs actually confronting your villain multiple times, and failing to kill them, which is a terrible idea because there really is no way to ever stack the deck and account for every contingency to make an unwinnable fight, or even one where escape is always possible, and especially if you’re publishing adventures, some number of groups will kill the villain too early, either shorting things out or forcing a handwave to keep an ineffectual villain in play and pretend they’re still a threat.

The Amnesia Campaign doesn’t quite go there. Having an actual chance to go toe to toe with the villain is reserved for the very end, but it does use another variant, where no matter what happens, the PCs arrive just after the villain they’re chasing has left. Now... there’s a way you can make that work. If you have a villain who cannot be reached in practical fashion, and can launch attacks anywhere within a huge region, you can build a whole campaign out of characters reacting to the aftermath of evil actions they could not be expected to even learn about until the villain has left the scene. Here, meanwhile, we have a villain with a big elaborate plot that requires traveling all over the world gathering things, based on research he does at the very start which the PCs can, and indeed are expected to do, quickly pick up on these research notes, and basically know everything the villain plans to do from nearly the start of a very long campaign. And... frankly, the villain has no real edge to keep him believably one step ahead. He is a mildly wealthy man hiring goons, mundane forms of transportation, and having to negotiate and fight his way through to various sub-objectives needed for his plan, and it is at least strongly implied that he doesn’t have a lot of lead time. When presented with a scenario about someone needing to be chased down and stopped, PCs can pretty reliably be counted on to constantly be rushing forward, coming up with clever ways to accomplish what they need to in less time, and cut down if not completely nullify their travel time. But, like with battles the villain somehow keeps escaping from, I am forced to continuously state to my players in running this that no, somehow even after avoiding this whole side quest by reading the mind of the person with important information, and directly teleporting to where the villain left for by riverboat, he somehow beat them there, and once again, just left. It’s frustrating, and implausible. We end up with a villain who seems overwhelmingly outmatched, but keeps succeeding because... well, he has plot armor so we’re railroading this.

Admittedly, having a good villain when writing a full campaign in advance can be tricky. The safe and tested formula is generally to start off with minions of your main villain, starting with some who don’t even know who they’re ultimately working for, gradually build up to who’s calling the shots and to what end, have a big side trip to prepare for the final confrontation not directly involving the villains, than cap it with a big showdown. If the PCs know who the main villain is from the very start and where to find them, it becomes hard to rationalize anything between. Sometimes you can pull it off if they’re leading an army or ruling a country, but even then, you want to work up a food chain to them.

A similar problem, which crops up a bit towards the end of the Amnesia Campaign, is making too many assumptions about how the PCs react, and who they befriend. In RPG writing, you need to make as few assumptions as possible about the specifics of what the PCs will do in any situation. You can count on the real broad strokes. The party will investigate the situation described in the adventure, they’ll explore the area, find the villains, fight them, win, learn something to keep the larger plot growing, but that’s it. You can’t assume they’re going to team up with this NPC, enter this room from that direction, or otherwise reenact what you’d imagine you’d do in their place, or what happened in your test play of your adventure. This is particularly important when you include a little sidequest unconnected to their primary goal, or you’re presenting an open-ended investigation.

Ideally, you just have a sensible location, have some villains in it with clear goals and personalities laid out, and you scatter around some things to enable various clever tricks if players think to try them, without mandating any of them. Mention where windows are, and chandeliers, and holes just too small for the average human to fit through, but don’t, as part of the Amnesia Campaign does, invest heavily in the assumption that the PCs will start investigating a sewer system when investigating how a cult gets around a city and go sparse on other possible clues. Also don’t waste adventure background note space on thousands of years of history at the expense of what the actual current problem in the area is and who or what is behind it.

The next problem is one that, were I the average consumer just buying this book would bother me a hell of a lot more than it does as someone who knows how the sausage gets made. Put mildly... you do not want to play a rogue in the Amnesia Campaign. Nor do you want to play a swashbuckler, a critical-hit focused character of any stripe, really any class out of the... roughly 25% of all classes who rely on knowledge of where to make a hit count the most to do the full amount of damage with their attacks, because practically everything is immune.

Now, again. I partly understand how this happens. We have several different authors writing different chapters of the campaign, simultaneously, in pretty unforgiving crunchy conditions, with just a rough outline to go off. Nobody really has a chance to confirm notes and say “hey, did your chapter totally invalidate one of the foundational character archetypes, because I was thinking of doing that and having two of those back to back would be a bit much.” And while the publisher of the Amnesia Campaign does throw out little booklets of tips for players on what sort of character concepts will/won’t work, they’re not written last, so this sort of tip is missing there too. On the other hand, it’s a huge problem within nearly any given chapter just on its own. If you’re making the call on what all monsters to include in a multi-level stretch of a campaign, you should generally avoid choosing nothing but monsters immune to one of the most common bread and butter class features. And honestly, given how the subject matter naturally lends to the deployment of a particular monster type, erring on the side of assuming everyone else is heavily deploying them wouldn’t be a bad assumption for any author to make.

This though, unlike the rest of my gripes, is ultimately a high level problem that needs a high level solution. When you’re publishing a whole campaign, and you’re doing it in a game where several foundational character concepts kinda live or die based on things like whether things are properly harmed by particular flavors of damage, or whether a decent percentage of enemies fall under a certain classification, that really shouldn’t be a double-blind. Coordinating to get all authors to use a decent spread, or include outline notes like “it’d make sense for about half the enemies in this chapter to be fire elemental themed in various ways, but keep a good variety otherwise,” and/or trying to get a rough handle on emergent themes to adjust for/warn about in player-facing pitch material. Even the best-written campaigns are prone to rude awakenings or hilarious reductions in challenge as turns out, say, going all in on cold damage does indeed pay off for the one with Fire in the title.

Meanwhile, on the other side of that coin, more or less, huge swaths of the Amnesia Campaign really just completely break down by failing to account for some basic standard issue capabilities of a typical party. Particularly the fact that past a certain point, you need to account for the fact that the PCs are almost certainly capable of flight. It’s a thing that happens. If you are really keen on writing adventures where local warlords are chilling out on the open-air rooftop patios of their otherwise heavily fortified fortresses, or melee-oriented monsters plan an ambush in a canyon in a vast wasteland, or a dangerous leapfrog between a series of elevated platforms over something dangerous, you want to make those low-level adventures, or else a typical party, possibly even accidentally, will just completely circumvent the whole thing. There is a whole lot of that in the back of the Amnesia Campaign. My group... literally skipped giant swaths. Heck, there was a whole side quest in the last book where the PCs are rewarded with the location of a giant obelisk which I had to cut because... it was in the middle of a big open outdoor space, and they flew over the city on the way in. They definitely had a view over those hedges.

This sort of dovetails into the next issue, consistently escalating threats. The whole fantasy RPG gimmick is that at level 1, you’re a helpless peasant barely capable of doing anything remarkable, and by level 20 you’re literally punching gods in the face and have more money in your pocket than everyone else in your home country combined (with the obvious exception of the other people in your party). Now, mechanically, balancing around that is a very easy math problem. Characters of level X are meant to deal with threats of level Y, either pull a Y level monster out of the book, or slap levels on something lower to bring it to that point, or spread that out over more enemies, then they drop Z amount of fancy loot. Easiest thing in the world. But you also need things to fit together thematically. You can absolutely throw fighter levels onto the local chicken-stealing goblins to make them mechanically as threatening as a demigod bursting through from another plane of reality, but when a group of characters is at a level where they can be expected to handle the former, it’s just plain weird for them to end up dealing with the latter. Like, yes, these particular goblins have 200 HP instead of the usual 4, so the local town guard can’t handle them, but that should never be true of chicken-stealing goblins. You don’t get that tough stealing chickens, and once you’ve gotten that tough, you should have your sights set a good deal higher than that. At least be stealing rocs or something.

The 4th chapter of the Amnesia Campaign is a particularly blatant example of not getting this, featuring a large number of “please be aware the party can fly at this level” moments mentioned above, and also just demanding the PCs deal with problems that really are beneath them at that point. Seeking out local guides, impressing petty local warlords, getting challenged by giants they must impress to rest safely when crossing a huge desert. These are... not appropriate speed bumps at a point in the narrative where the party is traveling to a location where they are going to literally fight a god, weakened or otherwise. The whole setup would be wonderful as the first chapter of a campaign, but that far in, it just doesn’t work. Particularly when the actual opening of the Amnesia Campaign sets the tension very high right off the bat, with extradimensional threats, shapeshifters, an evil cult, things that typically come later as things start to escalate.

This isn’t to say you can’t mix things up a little. Dealing with threats well below a party’s capabilities can be really nice as a chance to just sort of flex, and get some perspective on how much more capable they’ve grown over time, but you have to do it in a low-tension point of the narrative, and a little self-awareness about it doesn’t hurt.

Finally, while I really kinda hate modern wealth-by-level assumptions, they are baked into the design of the game, so if you’re running with it, you really need to make sure you’re really giving the players something they can use. The Amnesia Campaign really leans heavy on treasure being weird oddities that may be of value to a collector... while also being set, generally, in places so totally removed from civilization that shopping trips aren’t really practical. Much less those needing the party to really find the right sort of buyer.

Really, you want to give out entirely practical loot (really hard to do without knowing the party makeup, but variety can work), big piles of cash/sellables along with sufficiently large cities along the way for viable shopping, or raw materials suitable for crafting plus ample time to really do something with them.

Anyway, hopefully this has come across more as practical constructive advice for anyone writing a campaign, either as a printed product or just for your home game, not just me tearing into the Amnesia Campaign at length.

[leverage-ot3]

notable moments from The First David Job

leverage 1.12

sophie organized the notecards for the intervention

- - - - -

Sophie: Drunk again?

Nate: Are we still unclear? I'm a functioning alcoholic, you know? And the trick is not to get hung up on the "alcoholic." But celebrate the "functioning" part of the sentence.

- - - - -

Nate: Yeah, I- I know all this.

Hardison: No, no, no. See, while you are well-versed in dead-guy art, I myself am not. My entire criminal career is based on technology built after 1981. So I am riveted. Quite so. Please, do go on.

- - - - -

Hardison: Man, am I glad I don't have to break in there. That is one sick security system.

Parker: What, with our tools? Give me three days of prep, it'd be like taking diamonds from the French national bank. That's like taking candy from a baby.

Hardison: I got it.

Parker: A very easy thing to do.

Hardison: Got...it

I love her

- - - - -

Parker: Oh, look, little buddy. (picks up fake statue) That's your new home!

Hardison: Can you please not play with the little naked man? Please.

Parker: I'm not. (sets the statue down)

- - - - -

Eliot: You guys--you know each other?

Ian: Of course. Maggie is Nate’s ex-wife.

Eliot (nervously): Oh.

eliot being completely RATTLED lmfao

- - - - -

Parker: Which conversation do you want to listen to?

Hardison: That's what stereo was invented for.

- - - - -

Hardison: Now, Nate, is Maggie a very good Art Inspector?

Nate: Yeah, she's the best.

Parker: No, no, no, we can't let your ex-wife anywhere near our little naked man!

parker: don’t talk to me or my naked son ever again

- - - - -

Hardison: No, no. Nate, we haven't done any prep. We don't have our tools.

Parker: You want me to break into a secure storage facility with whatever I can scrounge up at the buffet table?

Nate: Pretty much, yeah.

Parker: Cool. I think Sophie left some dresses in here. (turns to look through things)

Hardison: I'll go, too. I, uh, I got a white shirt. I can go wait staff.

(Parker takes off her shirt and Hardison looks the other way, turning the fake statue away from her as well)

hardison is a bashful lil respectful boy and we stan him for it

- - - - -

parker walking in in that amazing dress and everyone looking? good, it’s what she deserves (I’m gay)

- - - - -

Parker: Door's got a silent alarm. (to Sophie) You should hide. (to Hardison) We should pretend to make out.

Hardison: Make what?

(Parker grabs Hardison and they begin to kiss and she pushes the door open a little)

[Founder’s Reception]

(Nate and Eliot turn to look at the building as the sounds of making out come over the comms)

[Museum]

(Sophie goes around a corner out of sight)

Hardison: Let's talk about-- A little bit--

(Parker and Hardison continue to make out. Two guards approach and seem embarrassed. One clears his throat)

Guard: You, uh, bumped the door there. Sets the alarm off.

Hardison: You know what?

Parker: Oh.

Hardison: We, you know how it is.

Parker: Sorry.

(guards walk away and Sophie rejoins them)

Parker: Makeup. (takes makeup from Sophie) Come on. (goes through door)

Hardison: Can we talk about the pretending? That was nice.

(Sophie pushes him after Parker and returns to the party)

poor hardison’s heart must be beating wildly

- - - - -

Eliot: Which one of you did she kiss?

(Sophie sighs)

IMAGINE IF IT HAD GONE THE OTHER WAY THO

- - - - -

parker’s laser grid dodging skills are legendary + her delight when she stands up to see the first david !!!

also we stan a QUEEN who broke into a vault with only a glass of ice, a roll of aluminum foil, gum, and eyeshadow (and a fake makeout sesh)

- - - - -

Hardison: You did not just think about this on the way in from the van.

Parker: Some people do crosswords

- - - - -

Maggie: I-I just, I’m just trying to tell you that I still care.

Nate: No, I-I was –

Maggie: Care what happens to you, I mean. I've never stopped caring about you, Nate

maggie is such a genuinely good person and we love her for it

- - - - -

Parker: Ready?

(Hardison uses his phone to access remote system)

Parker: Come on, come on.

[Parking Lot]

(alarms begin to blare an all the cars)

[Security Control Room]

Guard 1: Hey, the vibration alarm just went off in the restoration room.

Guard 2: Wait. (points at monitor) Look. The car alarms all went off in the parking lot.

Guard 1: Little earthquakes.

Guard 2: Just another tremor.

that’s so smart tho???

- - - - -

Parker tosses the real David to Hardison who catches it)

Hardison: Wha-you-- Don't throw the David.

Parker: You caught it, didn't you?

Hardison: You're crazy

I would have had a HEART ATTACK

- - - - -

Maggie: Adam!

Eliot (turns): Uh, yeah?

(Eliot stops as Nate continues away)

Maggie: Let me give you my number.

Eliot: Great.

[Leverage HQ]

Eliot: I'm sorry your wife gave me her phone number.

Nate: Don't want to talk about it.

Eliot: I-It was only to coordinate where we were gonna go anyway.

Nate: Not talking about it.

hardison is enjoying it so much in the background dnjsjajsjsnnsnn

- - - - -

(Parker puts the statue on the table between them)

Parker: We just stole an $8 million statue on, like, our day off! (she shakes their shoulders happily)

SHES BABY

- - - - -

Pilot: Uh, work? W-what are you talking about?

Hardison: Spot inspection. FAA. Now, look, I want to see this plane's TCAS, VRSM, and 8.1 FM spacing in operation to make sure it's fully functional and in compliance with the new FAA regulations.

Pilot: New regulations?

(Hardison takes out a pen and writes on a clipboard)

Hardison: Pilot unaware of latest regulations.

Pilot: Oh, the new regulations. Of course. Please, come this way. I'll take you right up.

Hardison: Oh, no, no. It's cool, it's cool. I don't need to go up. Just taxi me around the building.

Pilot: Taxi? I thought you need to get up in the air.

Hardison (writes on clipboard): Uncomfortable with black authority figures.

Pilot: Sir, please don't write that.

Hardison: Oh, I will write a letter to your mama if I feel like it.

Pilot: This way, please. It's in order. I-I promise. This way. It's okay. (to copilot) FAA, he's a hard-ass.

(copilot tries to get bags)

Pilot: Screw the bags. Let's go!

this was really funny but also SUCH A GOOD WAY to con people

- - - - -

quinn’s hair did nothing for him in this episode. i said what i said.

- - - - -

(Sophie and Nate get into his car and leave while Quinn continues to take pictures from the open door of the hanger. Eliot walks up behind him)

Eliot: I'm gonna count to three.

(Quinn turns and hits Eliot hard, knocking him across the floor)

Eliot: Nate, we're blown. W—

Nate: Eliot, what’s--

(several feet away, Eliot’s earpiece is lying on the floor. Eliot tries to scramble away, but Quinn kicks him in the ribs, throwing him back, and kicks him several times more)

Quinn: That rib's broken.

(Eliot manages to get to his feet)

Quinn: He said you'd be tougher than this.

quinn: *is a really good fighter*

eliot: *surprised pikachu face*

ALSO the reason eliot was beat up so bad in the beginning was because he kept on trying to get back to his comm every chance he got INSTEAD of truly fighting back. his first priority was warning his team over his own personal safety and ugh we stan a man who cares about his family

- - - - -

,,, imagine you’re driving on a highway and see a chick jump off a bridge onto an armored car, pick its lock and then BREAK INTO said armored car ,,, wyd

- - - - -

poor hardison was ready to relax ,,, he got a soda and made himself some popcorn too

- - - - -

(Quinn and Eliot both stand hunched over, breathing hard)

Quinn: Why won't you go down?

(Eliot laughs, blood falling from his mouth to the floor. Quinn comes at him again, but Eliot catches him and knees him in the chest several times before pushing him away. Quinn falls to his hands and knees, gasping for air)

Eliot: Now that rib's broken.

(Eliot hits Quinn in the face hard, sending him to the floor. Holding his ribs, Eliot walks to the earpiece and puts it in)

payback is sweet

- - - - -

Sterling: Mr. Spencer?

(Quinn is still unconscious as Eliot walks out the hanger doors, breathing hard, limping and holding his ribs)

Eliot: Hey, Sterling. I got some dental work with your name on it. What do you say me and you hook up so I can give it to you?

- - - - -

Sophie: Sterling knows us. He knows how we think.

Nate: So we think like somebody else

THEY THINK LIKE THEIR KIDS

- - - - -

Nate: With a couple broken ribs and a concussion, I don't think Eliot can take out six guys.

(Eliot looks like he’d give it a try)

Nate: You know, but then I thought, "what would Hardison do?"

(Hardison looks at Nate in surprise)

(Eliot pulls out his phone and accesses the computer system, sending a high pitched whine into the comm. devices of the guards. They all bend over in pain. Eliot punches the one closest to him. Nate grabs Geary and slams his head down on the table. Hardison hits another guard in the face with his tied hands)

THAT MEANS ELIOT WAS ALSO THINKING LIKE HARDISON IF HE KNEW WHAT TO DO WITH THE PHONE AND WAS READY FOR IT

also YEET hardison is a badass but wbk

- - - - -

(Parker runs for Sophie. Sterling and his men run for Sophie and Parker. Parker reaches Sophie first and the dive from the roof, Sophie screaming and Parker laughing all the way down)

parker is the only character I’ve ever seen that can scream “yeehaw” and “yahoooooo” without it sounding ridiculous

- - - - -

(Eliot walks into the lobby, holding his ribs. He turns to yell over his shoulder)

Eliot: Hardison!

(Eliot follows Nate toward the door)

Hardison (breathing hard): Wait, Eliot. Eliot, come on.

(Eliot goes back inside)

Eliot: You've got to be kidding me, man.

(Eliot goes to help Hardison carry the painting out)

Hardison: Bring it out, come on.

Eliot: This is just weird.

Hardison: I painted this

okay so we all know that hardison actually hit a lot of cash in the painting but also, eliot actually goes back to help instead of just rolling his eyes and leaving hardison behind. eliot can get annoyed with him but he’d never leave him behind. not even on day one when hardison fell in the exploding building in the nigerian job. eliot was there for him then and he will be there for him for the rest of their lives.

ALSO I really hope eliot got his ribs checked out sometime soon after

- - - - -

Sterling: You're fired. Dust the whole place for fingerprints, okay? I want a forensic computer spec—

(the monitors come to life, showing Hardison’s face)

Hardison: Hey, Sterling. Get out of my house.

(display changes to a 30 second clock that begins to count down)

Sterling: Run. Run!

(all of the men run from the office, coming out onto the street)

Geary: Maybe he was bluffing.

(the entire floor of the building explodes, shooting fire)

Sterling: That's the funny thing about con men. They don't bluff.

- - - - -

the third “scattering scene” of the series

[nickdempsey]

R054 Ch. 1(?)

So, I wrote a thing. For lack of better terms, it’s a fanfic of a fanfic.  Ha.

All kidding aside, full props to the original AU this is based on, @lab-raised-steven . The person running it is a really awesome dude who helped out a lot with the lore and writing process as I wrote this.

The idea is that Jason Stross, a character of mine, waking up to find himself locked away in the Lab of Dr. Robert Wendell, at the mercy of said sadist.

This all stemmed from me reading how much of a bastard one of the scientist characters are and thought, “Hey, it’d be kinda cool of Jason met this guy.

So, without further ado,  I hope you find this piece entertaining, but most importantly, I hope you give @lab-raised-steven / @lab-raised-archive / @societyslostone (Main) a visit! 

Have a great day!

WARNING: Contains violence and mention of severed limbs.

_ _ _ _ _ _ _ _

There were many times Jason had felt this way.

A splitting headache, drowsiness to the point he was unsure if he was conscious, his entire body was engulfed with pain, and pure confusion of where he was.

The last thing he remembered was the explosion he caused by destroying the Warp Pad he warped in through. Then falling into this planet’s ocean. He was sure that he was going to die.

 At least, he was unsure if he was still alive.

 When he did eventually wake up, everything from his environment to clothing was different.

He found himself in a dark and cold room. His prosthetic arm was taken as well as his regular clothes. He found himself in a sort of teal hospital scrubs. His organic arm was handcuffed to the metal chair he was sitting on, along with his feet.

He tried to stand, but the handcuffs and his weakened state proved that the effort was fruitless.

 It did however receive a reaction.

 Jason’s attention was pulled away from the chair as he saw a door open, flooding the room with a blinding white light. A humanoid being walked in. As soon as Jason’s eyes grew accustomed to the light, he was met with a man standing above him. A human male. He held with him a decently sized briefcase, to which he placed on his own size of the table.

The contact caused a short clanging sound as it hit the metal surface.

He was a paler man under his lab coat. He kept staring at Jason through his glasses, windows to an icy cold stare looking up and down Jason’s body. Examining him. Studying him.

Not saying a word, his gaze left Jason and looked over to the briefcase.

The man opened it, angled so that Jason could not see what was inside it.

The man pulled out a small plastic rectangle. A voice recorder.

 The man brought the voice recorder close to him as he looked over at Jason again.

“Doctor Wendell’s log. Ruby 19, Year 7019 After First Contact. Two nights ago, a life form was found off the shore of the Empire State. Unconscious and barely alive.” The Doctor spoke into the voice recorder. He was speaking as if Jason was not in the room, but it was clear that he was talking about him.

 “The life form is human-like.” The Doctor continued. “Same physicality. Similar DNA matches. However, it is clear that the life form, a human male of military age.” He looked up at Jason with his eyes. “His apparel and other equipment also suggest military background for whatever planet he hails from.”

 He looked back at the recorder. “Judging by the condition of his body, he did not arrive to this planet willingly. When stripped of his suit, bruises, cuts and signs of head trauma were found throughout his body. He now seems awake and conscious.”

He looked back at Jason, “I am going to now attempt to extract further information.” He kept his gaze on Jason, placing the recorder down. He rested his hands on the metallic table, ensuring distance between the two.

 There were a few seconds of silence before he spoke.

“You are not of this planet.” Doctor Wendell said, the sound of his voice bounced off the walls of the small and cramped room. “Is that correct?”

 “Who are you?” Jason asked hoarsely. “Where am I?”

 Wendell groaned, sighing in disappointment. “I am asking the questions.” He said, clearly forcing himself to remain calm as he eyed Jason with more intensity.

 “Where the hell am I?” Jason demanded. While his energy was still low, he was able to rise from too tired to a tired aggravation.

 Wendell did not answer. In a quick motion, he stood from the table, keeping his eyes on Jason.

He reached into the briefcase again, pulling out a baton of sorts.

 It was odd to Jason, for he recognized it, but did not at the same time.

It reminded him of the Destabilizers that were left by the Gems on the planet Kul-Baris, but it looked different. It looked far too primitive to be made by the Gems. It almost looked as if it was built by human hands. Humans of this planet.

 Wendell walked around the table with the baton in hand, growing more frustrated with each step.

By the time Jason processed the Doctors intentions, it was too late to defend himself. After two heavy and fast hits of the baton, the first to his head and the second onto his chest, Jason felt as the voltage violently traveled through his body. He yelled in pain as Wendell kicked at his chair, pushing him into falling to the ground.

 Jason could only watch as Wendell walked over the table and began to stomp on him rapidly over his body, his legs and even his head.

Once the Doctor decided it was enough, he hit Jason a final time as he pulled the chair to stand back up. Jason spat out a significant amount of blood.

 “I believe you are unaware of your situation.” Wendell said as his hand gripped Jason’s jaw tightly. “Whatever significant life you believed you lived before coming to this planet is over.  As far as anyone in this universe is concerned, you are dead.”

 He threw Jason’s jaw, causing his head to grow sore from the sudden jerk. “And on this planet, you do not exist.”

 Jason looked back up to Wendell.

 The Doctor looked back at Jason as he returned to his end of the chair. “You are my property. You belong to me now.”

 Wendell put the baton back into the briefcase. “Perhaps if you behave, I will eventually give you your arm back. Continue this aggression.” He looked at Jason’s organic arm. “I will take the other arm. I will ask again. You are not of this planet. Is that correct?”

 Jason could only look at Wendell. The echoing pain told him to comply, as if it was a survival instinct.

“That is correct.” He said, groaning from the pain Wendell presented him with.

 “What is your planet of origin?” Wendell moved to the second question.

 Jason was quiet for a few moments. “Requiem.” He spoke, unsure of the point of answering such a question.

 “Where is this planet?” Wendell asked Jason. “Where is Requiem.”

 Jason looked over to Wendell, his eyes grew more tired from the question. “I studied engineering.” He said to Wendell. “Not navigation.”

 Wendell held a deep sigh as he looked over his notes.

“Perhaps we can talk about something you do know about.” Wendell said as he flipped through some of his notes.

 “The device on the back of your head. Imbedded in your spinal cord. On this planet, we call it the Atlas Vertebra.”

Jason froze. The already cold temperature of the concrete room and metal chair he was handcuffed in felt as if it dropped a few more degrees.

 The Neurolink, a device most of the populace of the Requiem Republic use for better control of devices and communication.

His left arm shot up to try and reach the back of his neck to confirm but was painfully reminded of the four-inch handcuffs connecting him to the chair.

 “Handcuffs.” Wendell sarcastically reminded Jason. He went bac to flip through his notes. He pulled out a page and placed it on the table in front of Jason.

 “Surgical procedure.” Wendell said as he presented the page. The main one was of Jason, post procedure. It only showed the back of his head, a blood-soaked bandage where his Neurolink once was.

 Jason began to feel soreness in that area, now realizing the removal of the device.

 “We found bits and pieces of information.” Wendell said as he pulled the photo away. “Some audio. Some visual. Saved in such a small piece of technology. For lack of a better term; memories. Judging by the recorded brain waves, memories of significance.”

 “Huh? You went through my Neurolink?” Jason asked, finding the task to be near impossible, even by the standards of Requiem technology. “How- “

 “My organization specializes in studying and reverse engineering Alien technology.” Wendell interrupted Jason again. “Until your arrival, it was only Gem technology.”

 Wendell then pulled some more pages from his notes and placed them in front of Jason. “Activating your ’Neurolink’ took a dull afternoon.”

 Jason was silent as he looked down. They were more photos. However, they weren’t just any images. They were memories. His memories. Moments he remembered from his life.

By the looks of the photos, less than perfect memories.

 “We chose these particular memories.” Wendell said. “Of the few we managed to recover. Based on the heightened brain activity. Some of which are obvious why.” He pulled up a photo and placed it in front of Jason.

 The picture was from Jason’s perspective. Filtered through the HUD display of the helmet he wore that day. However, he was well aware of the event shown. It was such a long few years ago, but it felt so recent, as a pain began to grow on what remained of his right arm.

 He was lying on his back that day. Forced down onto the cold icy surface of the cavern in the photo. He remembered his entire body was in pain that day. Standing above him was a figure that clearly wasn’t human, but humanoid.

The figure looked as if they were encased in a full body suit of black armor, which had a purple glow coming off of it.

What made the memory as significant as it was, however, was the figure in question, now covered in Jason’s blood as it held his severed arm.

 “Such as this one.” Wendell said as he tapped on the arm in the picture. “I can only imagine losing an arm in anyway could be traumatic.”

He pulled another photo out, nowhere near as chaotic as the previous. “Let’s try something more recent.”

 Jason was not wearing a helmet in this memory, as the photo lacked a HUD display. It was a rather peaceful scene; the memory was of Jason was sitting on a couch in a rather nice home.

The majority of his vision held another face. It was a blue woman, silver hair ran down her head, down to her shoulders. Her blue eyes glistened as she smiled at Jason.

 “This one, and another, I found interesting.” Wendell said, jotting a few notes regarding Jason’s facial expression to the photo, which oddly seemed more distressed than fond of the seemingly peaceful memory.

Jason’s face grew pale, his eyes fixated on the photo.

 “Same amount of brain activity.” Wendell said. “Nearly identical to the rest. However, the chemical balance suggests happiness. That you are at peace.”

Almost immediately after the statement, another picture was placed on top. “Fifteen hours later. Or at least that was what was logged, this happens”

 The picture was once again of a blue woman. The same from the previous. Her face, however, was from happy. She looked in pain. Her eyes filled with despair. Sorrow.

 Betrayal.

 She was looking straight at Jason, even through the photo. Jason tensed up as he looked at the photo. He was silent, but visually distressed from the photos.

 “Who is she? Why is she so important to you?” Wendell asked Jason, detecting the distress. “The Blue Woman.”

 Jason exhaled uneasily. “Please.” He said in a defeated tone, desperate to get away from the photo. “No. Not this.” She softly said in nearly a begging manner.

 “You do not have a say in this R-054.” Wendell said as he reached for his baton, visually warning Jason. “Who is she? A Gem?”

 Jason remained silent, paying no attention to Wendell as he kept looking down at the photo.

 “Was she just some whore? Don’t remember her name?” Wendell asked. “Perhaps your planet allows that?”

 Jason violently tried to stand up from his chair to argue but was still confined to the handcuff. Such a thing did not matter however, as almost immediately, Jason was met with another attack by Wendell’s baton.

The force from the blow caused Jason to fall to the ground, his chair clattering on the floor.

 “You don’t want to behave?” Wendell asked as he walked around the table toward his fallen and handcuffed prisoner. His baton shot sparks out. “Fine.”

 Not waiting for a response, Wendell repeatedly struck at Jason, not seeming to show any signs of backing away anytime soon.

Chained to the chair, Jason had no way to defend himself. He could only look up to see Wendell repeatedly hit him until his vision began to black out as he lost conscious.

  Jason wasn’t sure how long he was out for, but when he woke back up, he found that he must have been out long enough to be moved.

He was no longer restrained, but he might as well have still been. He was now in a small room that was barely more lit. There were three concrete walls. One of which had a door, presumably locked.

The fourth wall, however, was made of a thick sheet of glass. The other side of the window held another room. The light was off, all Jason could see was utter blackness. As if he was looking out into the void of space.

 AS if on cue, a loud siren played off as the light turned on, showing the parallel room’s occupant.

The room was nothing more than another cell, identical to Jason’s. He found himself stunned as he found who or what was in the other cell’s bed.

 A child. A boy. Until the siren, he was sound asleep.

The boy had curly black hair, and he wore the same hospital gown as Jason, minus the bloodstains from beatings. What received the most attention from Jason, however, was the boy’s eye. His left eye remained closed, bearing only a scar down it.

Jason shuddered, as he couldn’t bare to consider if the scar was a cause to what the people behind this facility did to him.

Better yet, why was the boy here?

 Sure, Jason was from another planet. While he wasn’t fond of his stay in his current location, he did understand it.

 The boy awoke. Stepping out of the bed, he did not seem to notice Jason at first.

That was when Jason saw the Gem imbedded in the boy’s abdomen. A large pink Gem. Almost looking like a Quartz. He wasn’t sure what specific cut of Gem it was, but he knew it was a Gem. Such a thing only served to cause Jason more confusion. Was the boy a Gem? Could Gems even be organic?

 Jason was so wrapped up in his questions, he failed to notice the boy finally seeing him.

Understandably, as his sight was on a grown stranger with one arm, wearing a blood-soaked gown, he began to panic.

 The Boy backed into his bed, falling over as he looked at Jason.

 As Jason looked at the panicking Boy, he began to sit down on his own bed, slow and calm.

 “It’s ok…” Jason said to The Boy, unsure if he would even hear him. “I won’t hurt you…”

His arm was raised, almost like he was giving The Boy a lowered hand wave.

 The Boy began to calm down as he saw Jason was not a threat. He readjusted himself, sitting down on his own bed, studying Jason.

He raised his own hand, thinking they were waving at each other.

 Jason only responded with a weak and tired smile.

[shihalyfie]

"Canon” and “not canon” in the Adventure/02 universe

This is something I want to talk about, because it has a certain degree of relevance to the question of what I choose to take into account in my analyses and what I don’t. I write a lot about Adventure and 02 because both series are ridiculously consistent over their 104-episode runtime, but there are times when things contradict or don’t quite track together, and I have to figure out how to best rationalize them -- which means I need to make arbitrary decisions on what to count and not count, and when one does make those kinds of decisions, you’re very liable to get the complaint: “but that’s not canon!”

Which always makes me think: who decided that? And in the end, this is something that I think extends beyond just Digimon; every fanbase for everything always wants to believe there’s a clear-cut answer to things that everyone’s supposed to follow in a canonical timeline, and things that fall outside it. And sometimes, for some franchises, that is doable, because official staff will actually say outright that “this counts, and this doesn’t.” But that’s not how Toei and Bandai work, and their modus operandi has always been to toss a bunch of often-contradictory stuff at everyone and go “figure it out yourself,” and I think at some point the fanbase really needs to acknowledge that this so-called clear-cut boundary of “canon” and “not canon” doesn’t actually exist at all. Or in other words, any assertion of something being “canon” or “not canon” in the Adventure and 02 universe is purely something arbitrarily defined by fans, and was never determined by official - which, conversely, has actually encouraged you to take as much as you want and figure out the rest yourself.

Before we begin, I do want to make clear that this is not about one’s personal canon based on one’s own preferences -- that is to say, if you’re going “I don’t consider this canon because I don’t like this/don’t want to work with this,” then that’s entirely your right, especially if you’re doing creative work and need to decide what to apply and to not to apply. (Although, as always, one must be conscientious and respectful of those who do like it and consider it canon, because everyone’s going to differ on this.) What I am talking about is when people take a substantial part of the franchise that they otherwise like, such as a movie or drama CD, see one detail that’s contradictory in terms of the timeline or lore, and take that as evidence of “yep, the entire thing’s not canon. We’ll just throw the entire thing out, then.” It just makes me think -- you threw out a perfectly good work for that?! That’s such a waste!

First of all, Toei and Bandai don’t work that way

In general, a lot of the contradictions in the series have a “right hand is not talking to left hand” problem, because as much as we would like to believe that a Digimon series is written by a single consistent entity, the franchise itself is a huge trade-off between Toei and Bandai, and a lot of things from Bandai -- spinoffs, crossover material, games, what have you -- don’t exactly have a stellar track record of being vetted by Toei anime staff. It’s pretty well-known that game portrayals of certain characters can be really off or have misleading info, and even V-Tamer’s somewhat guilty of it. So this is going to happen no matter whether you like it or not, and it happens with any long-running kids’ series that involves a collaboration between multiple companies like this.

Moreover, the traditional custom for Toei “side movies” (in this case, meaning things like the original movie, Our War Game!, Hurricane Touchdown, and Diablomon Strikes Back) is that they’re produced with minimal involvement from the original series’s core staff -- at most, the producer is lightly involved -- and are sometimes even worked on simultaneously with the start of the original series, so you often end up with a movie that’s impossible to fit anywhere in the series timeline because there wasn’t any communication with the two sides. And for that, it’s all too easy to dismiss those movies as “non-canon”, with the fanbase arbitrarily deciding that canon ones are canon because they fit -- but Toei itself has never taken this stance.

The other thing is that, given that Adventure/02 is famous for its ridiculous level of worldbuilding consistency thanks to its director Kakudou’s conscientious efforts on it, it means that as a result, anything not made by him was prone to running afoul on it, and it’s not like the stance back then was to just reject all of it wholesale. “Doesn’t comply with the lore” is so often equated with “not canon”, but Kakudou, the author of that lore, not only made no indication of invalidating or disliking those non-compliant things, but also conversely made an active effort to make those things relevant in spite of that! (See: Our War Game! below.) The official stance is to not deny those works for being noncompliant -- it’s just that Kakudou seems to be the detail-oriented kind of person who personally prefers to work with things that have a high level of consistency (he’s very quick to say “I wasn’t involved on that” whenever someone brings up something from said external materials, not in any condescending way, just “I wasn’t involved, so don’t attribute that to me”). In fact, one of the reasons there wasn’t initially a third Adventure series was that he had difficulty finding a way to adhere to the higher-ups’ pressure to keep all of these contradictions consistent -- so the official stance itself is to try and maintain all of those side works, and that it would be better to end the series itself than to have to do something like deny them.

Which makes things very frustrating for the fans, of course, but nevertheless, that’s how it is -- even back in 2000, the right-hand-not-talking-to-left-hand phenomenon was this significant! And it would have been easy for official to step in and go “okay, we’ll put a statement out here that these don’t apply,” but no, the stance was be that it would be better to stop dragging it out longer and cancel a whole series than to deny those works, which leads us to the current situation. (Plus, think how insulting it would feel from a PR perspective if someone got attached to one of those “non-canon” materials only for official to come out and outright say “yeah this doesn’t count anymore”; we can name examples of this happening in other franchises that have understandably gotten a lot of people upset, and it would be especially offensive to do this right after said material had been released.)

Bolstering the concept of official staff’s very loose opinion of “canon” are the Adventure novels, which were supervised by Kakudou himself and written by Digimon episode screenwriter Masaki Hiro, and are non-compliant with Adventure timeline by design, because it’d be bad for the format to try and depict every single detail in the anime in the form of three novels. Several events are condensed or shuffled out of order, or even sometimes completely different (Koushirou’s incident with Vadermon goes very differently from the anime version). Despite that, this is said directly to be intended as a series of novels to help people understand Adventure and 02 better, and several details in Two-and-a-Half Year Break and Spring 2003 are incredibly consistent with it (namely in the sense of details meant to retroactively connect Adventure to 02, and other background details like Daisuke’s backstory). So you are supposed to do some kind of mental leap where you don’t take the contradictions around the actual events too seriously, but still accept the spirit and the background information you learn from it and retroactively apply it to Adventure and 02 -- and, presumably, that’s probably what you’re expected to do with everything else, too.

And this isn’t even getting into the fact that the anime itself has occasional contradictions and errors due to things like animator error or simply different writers writing different episodes -- the Adventure and 02 staff were certainly very detail-oriented, but they are human and of course inevitably slipped up here and there. How seriously do you take honorifics shifting from episode to episode in ways that don’t seem intentional, or the fact every background material refers to Osamu and Ken having a bunk bed and yet the actual episode with both of them fails to depict it? How do you deal with the fact that the Animation Chronicle is one of the most extensively useful post-02 reference materials with tons of production background info not revealed in the anime, and yet is infamously full of suspected typos that would cause some pretty massive implications if true, or all of those other Bandai and Shueisha-commissioned “side books” and other pieces of media meant to entertain the kids while the series was airing but clearly had no input from Toei staff whatsoever? 

In the end, frustrating as it is, the answer seems to be the same as ever: figure it out yourself.

The standards for what’s “canon” and “not canon” are way too arbitrary

Let’s look at a handful of things that have been historically dismissed as “non-canon” by the fanbase:

The Adventure mini dramas and Armor Evolution to the Unknown: Drama CDs that were generally dismissed as non-canon because they’re “too crack” to be canon (their writing style is of the “it’s okay to push the boundaries of characterization for the sake of comedy” sort, and it wouldn’t be until later when we finally got some more serious drama CDs). The latter is full of honorific inconsistencies, most prominently Daisuke and Ken still being on surname basis at a time they’re not supposed to be (due to the fact that it was released while the series was still being produced). But official word is that you’re still supposed to consider them canon -- and yes, that’s Kakudou himself giving official sanction to a drama CD that involved a massive amount of fourth wall breaking and a completely unexplained reunion between the Adventure kids and their Digimon sometime between 1999 and 2002 (apparently this wasn’t the only one, either). How is this supposed to work? Figure it out yourself.

Hurricane Touchdown: The funny part is that up until Kizuna validated Wallace’s existence, there was no actual consistent agreement on why this movie shouldn’t be canon (the Western side being “evolutionary form timeline violations”, the Japanese side being Wallace’s status as a Chosen Child prior to 1995), which really goes to show you how arbitrary all of this is. It also has a sequel drama CD in the form of The Door to Summer, which is also contradictory with Hurricane Touchdown’s ending, so we’ve got two layers of “it can’t be canon because...” -- and yet it has a lot of interesting Daisuke characterization, and, heck, the whole character of Wallace himself, that would all be rejected if you throw this out wholesale. Then Kizuna came along, and there’s a general sense of hesitation against easily denying officially-sanctioned “main” entries like that, which retroactively forced people to somehow skip past all that and accept it, just for the sake of Kizuna’s notability.

Diablomon Strikes Back: Similar to the above, it used to be constantly dismissed as “a non-canon fun movie” because of the evolutionary forms that appear in it, despite the fact that 02 itself established that it wasn’t that hard to restore evolutionary forms if you figured something out. Somehow, a ton of people treated it as such an impossibility that “they figured it out in the first three months of 2003″ would be a viable explanation, and yet official word is that of the second through fourth movies, this is the one that had the most amount of initial consultation with the TV anime staff! And then tri. and Kizuna came along and clearly had high-level evolutions in play too, and dismissing DSB on these grounds meant dismissing those by proxy, and a lot of people were too intimidated to do that and decided to retroactively validate DSB instead, after years of having dismissed it for this reason. Again: look how arbitrary this all is.

The tri. stage play: Mainly because its timeline of events doesn’t fit tri. at all (in regards to the reboot and part 5). This is a fair assessment to make in light of the fact that it doesn’t seem to work very hard to be compliant with the very series it’s branded with, but, funnily enough, it’s actually more lore-compliant with the original Adventure and 02 than the tri. anime series is, and yet the few minor contradictions it makes with the tri. anime series are sufficient to consider it completely kicked out of canon, yet those same people who declare it so aren’t as willing to hold the anime to that same standard just because it holds a more prominent “main” position.

On the other hand, let’s look at some of the things that have been more likely to be accepted than the above:

Our War Game!: Reading this is probably going to make everyone go “whaaaaaat?”, but yep: according to Kakudou, the second through fourth movies were all made without his supervision or involvement and thus have lore contradictions (although he also made sure to say that they’re very fine movies, too). We still haven’t figured out what the lore contradiction is, and so the fanbase considers it canon, and even 02 itself makes multiple references to “the Diablomon incident” in 2000, so you can’t consider this non-canon in the slightest...but yes, according to the official side, it’s actually got a contradictory incursion somewhere in there. There is one hypothesis as to what it is, and it’s such a minor thing that no fan or even official member of staff would dare deny the movie for it, but it still contributes to how arbitrary this entire concept is: Kakudou didn’t want to give anyone (except Miyako, who’s based off a real person) canonical birthdays or blood types for the sake of preventing horoscoping, but Sora’s birthday is portrayed as being around March in the movie. And yes, Kakudou himself refers to this as being something that only happened because he wasn’t involved. (Remember what I said about him historically being quick to disclaim involvement on anything he wasn’t involved on, regardless of how much of a minor detail it is, yet doesn’t necessarily intend to deny the work entirely due to it?)

Tag Tamers: A very vital part of Ken’s backstory that establishes a lot of context behind the Dark Seed and the elusive Akiyama Ryou, which also does not make sense with 02′s timeline and characterization at all, presumably because Bandai and Toei weren’t properly communicating on what kind of details they needed to iron out for this. But of course, all of us would like some explanation to Ken’s backstory, and we have to apply some kind of logic as to how that makes sense, and I’ve yet to see people declare Tag Tamers (or any of the other WonderSwan games) as entirely non-canon as a result.

tri.: For obvious reasons, it’s a “major entry in the franchise”, so people are generally more averse to dismissing it so easily (or, at least, for reasons that aren’t related to pure preference), but I find it rather ironic that Kizuna’s the one that got all the attention for apparently being lore non-compliant, when the exact same lore points mentioned in Kakudou’s reasoning as to why it’s non-compliant (along with a ton of things that actually were in Adventure and 02′s text) are gone against even more regularly and prominently in tri., whereas Kizuna still goes out of its way to adhere to most of these and only seems to have incurred a contradiction in terms of originally intended ideology, and, possibly, its extensive use of the aforementioned movies. (Recall that this got brought up for Kizuna specifically because Kakudou was initially consulted for it; he wasn’t involved in tri. to begin with at all.) See above on how people’s unwillingness to write this one off so easily despite everything ended up retroactively dragging DSB into “accepted canon” territory; that’s how arbitrary this entire thing is.

Then, tied to all of this and making it even more confusing is Kizuna, which, again, putting all issues of personal preference aside, is basically being torn back and forth between all of these whenever you try to apply one of the above arbitrary standards. It’s allegedly lore-noncompliant with Kakudou’s lore and thus lacks his involvement, but it does have the involvement of original series producer Seki Hiromi who was known to be responsible for the series’s original human drama themes (including the premise of 02 itself) and personally vetted the scripts so that everyone could be properly in-character and the original themes still intact; it’s supposedly a “main” entry to the point where people will stop denying older works’ canonicity because of it (see Hurricane Touchdown above), but, legally speaking, is actually classified in the same “gekijouban” category that the first four movies and things like the Tamers through Savers movies are; the staff will say to hell and back that the 02 epilogue still holds (and the movie makes abundant retroactive references in both worldbuilding and themes to it), but many people out there will still insist that the movie ending that way means that (like with DSB above) “they figured it out” between the movie’s ending and the epilogue is apparently some kind of impossibility, and either the movie is non-canon or the 02 epilogue is invalidated now. (My personal stance on this is that the epilogue itself provides the answer to how they figure it out if you look closely at the movie’s themes, but that’s a tangent.)

The point I’m trying to make is that regardless of whatever stance you take on all of the above points, this is all extremely arbitrary, and these fanbase rationalizations on why this and that isn’t canon are constantly contradicting each other, shifting, and occasionally based on really meaningless things. And, again, it’s fine if you’re saying that you don’t consider this or that canon because you personally dislike it or where it went, or you find it difficult to work with, or between two contradictory things you prefer one or the other (I certainly have my fair share of strong opinions in this regard) -- but it would be better if we all admitted this and went “I just don’t consider this canon” instead of acting like there were ever some universal consensus or official backing.

"It didn’t happen this exact way, but something resembling it still happened”

So, we’re in this uncomfortable situation where we’ve been handed a ball of knots and have to work with it (a very frustrating situation especially for fanfic writers), and I have to personally say that I think all of this comes from people having far too inflexible of a concept of “canon” and “not canon”, especially to the point of rejecting a full-on perfectly fine entry just because of one timeline issue. I honestly think it’d be better if we could rather take a certain stance close to the Pixiv dictionary wiki’s view of how Wallace can appear in Kizuna: “(some version of) Wallace exists in the timeline of the main story.”

Right, so: Hurricane Touchdown is contradictory. The evolutions don’t work at that point in timeline, and Wallace shouldn’t be able to be a Chosen Child from before 1995. Those things don’t work with Adventure and 02′s timeline and lore. However, let’s look at the following story: let’s say that, between 02 episodes 14 and 15 (when the movie first screened), while school was on break, Daisuke and his friends went on a summer adventure to the US and met a boy named Wallace, who had a struggle regarding one of his partners losing his sanity, and bonded with him and helped put his partner to rest. No part of this contradicts 02 at all. There we go! So we can safely say that some story that mostly resembled Hurricane Touchdown happened in the canon timeline. Some of its details weren’t exactly the way they happened in “the movie we, as the audience, saw” -- but something that substantially resembled the movie still happened in the universe of Daisuke and his friends. And you can apply that same logic to Tag Tamers, or any other vital canonical but ostensibly contradictory material -- the media that we as the audience got may not accurately reflect the events in universe, but there’s absolutely nothing saying that some more timeline and lore-consistent alternate version didn’t happen in canon instead.

Moreover, even Adventure/02 itself gives you a bit of precedent for this concept -- namely, the fact that the final episode of 02 reveals that the entirety of Adventure and 02 is part of Takeru’s novels. It’s a pretty common theory that there might be differences in the way “the story we got” was presented, versus how they actually happened in the world Takeru lived in -- of course, Takeru certainly went out of his way to remove as much bias from the situation as he could, but you can hardly say that he, as a human, would be completely free from it, and he himself even admits that everyone he consulted had differing opinions on the events in question. And not every single piece of Digimon media has the Hirata-Hiroaki-as-Takeru narrator, which means that perhaps it’s not entirely out of the question that the different takes on the stories that the Tokyo Chosen Children went through in their youth would not be entirely consistent with each other, depending on who’s telling it. But that doesn’t mean that those events necessarily didn’t happen at all, just that some of the details were different from what we as the audience saw.

In the end, I leave the rest to everyone else to figure out -- as I said, I think this is a decision everyone will have to make for themselves, whether they’re a fanfic writer picking and choosing what to include for the sake of a coherent fic, or whether they’re just expressing a preference to not have to think too hard about or work with something they’re turned off by. (And in the case that there is someone who expresses their dislike of working with something and doesn’t want to consider it canon, I think it’s very rude to give them grief for that, and conversely, if you don’t want to consider something canon but encounter someone who doesn’t have as much of a problem with it, it’s very rude to try and expect them to change their opinion to yours.) But I do think it would do well for all of us to have a bit more of an open mind and a creative attitude towards these kinds of things before trying to shove everything into a “fully canon” and “fully not canon” binary.

[grailfinders]

Fate and Phantasms #166

Bonjour and Bienvenue boys and belles to another bit on the BB Channel! For today we’re building the boisterous baroness of bacchanalia as one bit Berserk Bewitchment Bloodline, one bit Battery Builder, all for badass beatdowns! All this brouhaha is to say we’re building and buffing the beauteous brat known as BB.

Check out her build breakdown below the cut, or her character sheet here!

Next up: Hacking the planet? I think you misheard.

Race and Background

The evil AI from the moon BB is about as Custom a Lineage as they come, giving you +1 Dexterity and Intelligence. She also comes packed with Darkvision to dunk on those foolish human eyes and the Lucky feat to tip the scales in your favor by re-rolling attacks, checks, or saves that directly involve you three times per long rest. Games aren’t fun if they’re fair, silly!

Again, Evil AI from The Moon isn’t going to be a background you can find in most games of D&D. That being said, she certainly likes to put on shows of life and death, so once you get past their obsession with fire I’d bet she’d find a lot of common ground with Rakdos Cultists. This gives her proficiency with Acrobatics and Performance so you too can twirl around on stage and put a little flair into your attacks.

This background also gives you an additional bunch of spells to tack onto your spell lists. When you unlock spellcasting in the first place, you get Fire Bolt, Vicious Mockery, Burning Hands, Dissonant Whispers, and Hellish Rebuke. Your free second level spells are Crown of Madness, Enthrall, and Flaming Sphere. Third level is Fear and Haste, fourth is Confusion and Wall of Fire, and your free fifth level spell is Dominate Person. Don’t look at me like that, how else are you going to keep your daughters in line? BB doesn’t rely on fire that much -yet- but the other spells are absolutely in her wheelhouse. And giving a computer virus a fire wall is just plain funny.

Ability Scores

As a hyper-advanced AI from the future, it’d be a little weird if your Intelligence wasn’t your highest ability score. Your smarts are almost as obvious as how great a kouhai you are, so make your Charisma the next highest. Your Dexterity is pretty good too- that outfit probably isn’t armor, at least not in the practical sense. Your Constitution isn’t too bad either. The saying goes, “if it bleeds, you can kill it,” but you’re made out of data so you don’t bleed at all. Your Strength isn’t anything to write home about, but you can warp reality, so why would you need to lift? Dump Wisdom. You’re not exactly the most stable person in Chaldea.

Class Levels

1. Artificer 1: First level artificers get Magical Tinkering, so now you can put minor magical effects into tiny objects. Most of them probably aren’t that practical, but every event shop needs some junk.

You can also cast Spells this level, using your Intelligence to prepare and cast them. On top of your rakdos spells, you can use Lightning Lure and Mage Hand to mess with people. You can also prepare first level spells, like Identify to scan enemies for their status effects, Tasha’s Caustic Brew to re-enact your extra attack card, and Cure Wounds for a bit of maintenance on your spirit origin. It takes work to look this good, y’know!

Finally, you get proficiency with Constitution and Intelligence saves, as well as Arcana and Medicine. You were built to look after humans, and you obviously know a lot about tech.

2. Artificer 2: Second level artificers can Infuse Items to turn dumb ol’ mundane objects into magical objects! You learn four infusions right now, but you can only keep two of them available at a time, and you can swap them out between long rests. Really lean into it, make the rest of the party fight for the affection of their kouhai.

As far as your actual infusions go, Mind Sharpener is a great one for spellcasters, letting them force their concentration to stick even if they fail a save as a reaction. You can also use an Enhanced Arcane Focus to make your spells even stronger. For magic items, the classic Bag of Holding is always in fashion, and Sending Stones will help bring party communication into the 21st century.

3. Sorcerer 1: Being smart is nice, but it’s time to make things a bit more.. interesting. As a sorcerer, you get another Spell list that uses your Charisma to cast. You also get your own home game version of BB slots thanks to your Wild Magic Surge. When you cast a sorcerer spell that uses a spell slot, your DM can make you roll a d20. On a one, you then have to roll on the wild magic surge table.

If that’s not wacky enough for you, the Tides of Chaos can speed things up. Once per long rest, you gain advantage on one attack, check, or save of your choice. Your DM can also force you to roll on the WMS table when you’d normally get a WMS to recharge it.

You get cantrips like Friends, to make friends with Senpai; Message, to send calls to Senpai; Light, to help with Senpai’s dumb human eyes; and Minor Illusion, for some cheap holograms. For first level spells, Mage Armor makes that outfit less of a tactical issue, and Tasha’s Caustic Brew frees up some prep slots for artificer spells.

4. Sorcerer 2: Second level sorcerers are Fonts of Magic, giving you sorcery points equal to your sorcerer level each long rest. Right now they can be used to refill spell slots, or you can empty spell slots to get more points.

You can also cast Magic Missile for some caster balls. I know you’re not a caster, but you do run around with a magic wand, it’s not that wild a concept.

5. Sorcerer 3: Third level sorcerers get second level spells, as well as Metamagic to make them a little bit more you flavored. Distant Spell doubles the range of a spell (or gives it a range of 30′ if it’s touch), while Subtle Spell lets you cast a spell without all that vocal or somatic component nonsense. Why waste time chanting when you could spend it narrating?

You can also cast Enhance Ability to alter your data in favor of one kind of skill checks, gaining advantage on them for the duration. You also double your carrying capacity for strength checks, avoid small falling damage with dexterity checks, or gain temporary HP with constitution checks.

6. Sorcerer 4: Use your first Ability Score Improvement to bump up your Charisma to make Senpai notice you. And also to make your sorcerer spells harder to avoid.

You can also cast Prestidigitation to make more small magical effects, or Alter Self to further improve your being. When you cast it, you pick one of three modes. Mode 1 gives you a swimming speed and the ability to breathe underwater. Mode 2 lets you change appearance as an action for the duration, and Mode 3 lets you grow Natural Weapons that are magical against resistances. Honestly Mode 3′s a bad matchup for you, but you’re an independent AI who don’t need no humanity, I’ll let you make your own decisions.

7. Sorcerer 5: Fifth level sorcerers get Magical Guidance, letting you spend 1 sorcery point to re-roll a failed skill check. You can also cast third level spells like Dispel Magic to bonk Kiara back into horny jail. Probably. We haven’t built her yet, still not entirely sure how that’s going to work.

8. Sorcerer 6: Sixth level wild mages can Bend Luck, using their reaction and 2 sorcery points to add or subtract 1d4 to another creature’s attack, check, or save. You love playing games, but more in the ‘dungeon master’ sense.

You can also cast Clairvoyance to set up your very own BB channel studio wherever you’ve been before.

9. Artificer 3: Third level artificers can always find the Right Tool for the Job, creating whatever tools you might need over the course of a short rest. Thanks to being an Artillerist, you can also bring one of those weird geometric enemies from the CCC event to the battlefield in the form of an Eldritch Cannon, creating a freestanding small cannon or a handheld tiny one. They’re pretty customizable, but they all come in one of three flavors. Flamethrowers deal AoE fire damage, Force Ballistas deal single-target force damage and throw people around, and Protectors give out temporary HP.

You also get the freebie spells Shield and Thunderwave. 

10. Artificer 4: Use this ASI to bump up your Intelligence for better artificer spells.

11. Sorcerer 7: Seventh level sorcerers get fourth level spells, like Ego Whip! If your target fails an intelligence save, they get disadvantage on all attacks, checks, and saves, and it can’t cast spells. At the end of each turn it can try to make another intelligence save (still at disadvantage), but tbh most creatures aren’t that bright compared to you.

12. Sorcerer 8: Another ASI already? Bump up your Charisma to make it even harder to break out of your ego whip, and also grab Banishment so you can deal with that giant pain in your behind, Kingprotea (note: this level description does not contain the opinions of fateandphantasms. fateandphantasms does not condone any kind of Kingprotea hating.)

13. Sorcerer 9: Fifth level spell time! Grab Creation so you can warp reality and make pretty much whatever you might need out of thin air!

14. Artificer 5: Fifth level artillerists can make Arcane Firearms this level, adding 1d8 to artificer spell damage cast from a specific focus. This also means that your artificer spells and sorcerer spells can finally come out of the same wand, though I doubt most DMs would care to correct you before now.

You can also cast the freebie spells Scorching Ray and Shatter now, since you can learn 2nd level artificer spells. Use Heat Metal if you’re feeling sadistic, Invisibility or Spider Climb for some hacks, or grab Lesser Restoration for some cursed cupid cleansing.

15. Artificer 6: Your Tool Expertise doubles the proficiency of all tool-based checks, but you also get two more infusions, and one more concurrent infusion to boot! A Spell-Refueling Ring will give you more energy to deal with your many, many, problem children, while a Radiant Weapon will just make your wand shinier. Not that it’s a bad reason to grab it.

16. Artificer 7: At seventh level, you can speed up your processors to have Flashes of Genius, using your reaction to add your intelligence modifier to an ability check or saving throw nearby. You can use this Intelligence Modifier times per long rest.

17. Sorcerer 10: Your newest metamagic option lets you twin spells, turning a one-target spell into a two target spell. Now you can keep both your daughters under control at once with one casting of Dominate Person!

You also get the Mending cantrip, because let’s be real your outfit probably doesn’t look as good as it did 17 levels ago. Finally, you get the spell Far Step to bip and bop all over the place as you see fit. Remember, if you teleport off camera it’s not cheating!

18. Sorcerer 11: Eleventh level sorcerers get sixth level spells, like Tasha’s Otherworldly Guise! If you’re going to wear a nurse outfit, it might as well come with superpowers. You get immunities to certain damages and conditions, you can fly, your AC goes up, and your weapon attacks use your spellcasting modifier, are magical, and you can attack twice per action. Ramming a giant needle into somebody never felt so right!

19. Sorcerer 12: For your last ASI, grab the Tough feat. All these sorcerer levels have not done your HP total any favors.

20. Sorcerer 13: Your capstone level nets you a seventh level spell, so grab Plane Shift so you can finally escape the Mooncell and show Senpai all the hard work you’ve done!

Pros:

You have a ton of ways to cheat at dice, manipulating the world to always work in your favor. Re-roll dice with magical guidance and lucky, or just stick a finger on the scale with bend luck and flash of genius. Either way, your party will be thankful to have you.

You also make a decent variety caster thanks to the variety of technological goodies at your disposal. Support team communication with sending stones, spy on people with clairvoyance, create whatever the party might need with creation, or just blow people up with thunderwave and your eldritch cannon. You come packing a little bit of everything.

You’re particularly good at shutting down one or two opponents, with Ego Whip destroying their ability to do much of anything, Enthrall and Fear keeping you their main focus, or Banishment shoving them out of existence entirely.

Cons:

Those wild magic surges can bite you in the ass just as much as they help you, so try to make sure you don’t spin a bankrupt on the BB slots. Seriously though they can straight up kill your entire party at level 1. Don’t be unlucky.

Having a bit of everything means you aren’t focused on any one thing. Builds like Ishtar and -god help me- Mephistopheles?? beat you in magic damage, Scheherazade and Kogil beat you for utility, and Medea Lily and Irisviel beat you for healing. It must be nice to have so many senpais though!

Trying to keep on top of all those checks and saves means you’ll burn through your sorcery points really fast, so just... don’t push yourself too hard, you might not like what happens when you run out of power.