#mass effect isn't dead

[dailyadventureprompts]

Hello Dapper. I don’t really expect too much about this, but do you have any ideas for Wargs? They have an interesting relationship with goblins and are weird in that they’re essentially sapient wolf monsters, but I don’t think they’re ever really used that creatively.

Monsters Reimagined: Wargs, wolf panics, and the Economics of Lupophobia

While the surface level answer is pretty simple (warg is a conversion of varger, an old Norse way to refer to mythological wolves like Fenrir) there's actually a surprising amount of material to drill into here on the topic of sapient wolf monsters, especially for someone like me who has a interest in moral panics and mass hysteria events. Wolves were effectively a boogyman for pre-industrial societies, a deep seated generational fear that we only recognize today through cultural relics like the big bad wolf or boy who cried wolf.

TLDR: If you want to do something interesting with wargs beyond just "wolves that talk" I'd advise playing to their folk / fairytale roots. They're creatures of embodied dread, drawn from the stuff of the feywild to sow fear among those who would travel off the path or too close to the wilderness. This lets you tell interesting stories about how the party/major characters respond to fear: Does fear of being attacked in the dark drive the party to make risky decisions that might endanger their quest? How do the villagers react when the wolves are very literally at the door, demanding just one of their neighbours as a meal in exchange for safety?

I'd also advise getting weirder with a warg's powers, playing into that fear of the unknown by doing unexpected things. The party can fight off a pack of wolves, sure, but what does it mean when the lead wolf rips off the bard's shadow and takes off into the night?

Background: If you want a window into the headspace of wolf-panic, think about the neigh omnipresent fear of sharks created by the Jaws franchise. Children who have never seen the movie, let alone seen a shark in person can become irrationally afraid of getting into deep water because they've absorbed the pervasive cultural phobia, which goes onto shape environmental policy as sharks are overhunted or killed out of spite for their perceived threat.

So it was for wolves, even after they were largely hunted to near extinction by medieval and postmedieval societies, the fear of them was so ingrained into cultural traditions that wolf and werewolf panics were a thing that went hand in hand with witchtrails. France had a country wide one as late as the 1760s and the movie based on it ended up inspiring Bloodborne. Alternatively look at the anti-wolf efforts during the colonization of the Americas, right up to the opposition to reintroducing wolves back to Yellowstone park.

On that note (and because we can't have a Monsters Reimagined without some kind of class analysis), lets talk about how these fears are propagated: On many levels it makes sense for everyday people to be afraid of wolves, they're a hunting species that can absolutely pose a danger to us, and when you're living or travelling outside the protection of a settlement you really are vulnerable to a coordinated pack of carnivores running you down.

However, the primary threat that wolves pose to humans isn't predation, it's property damage, specifically in how they kill livestock. While we can talk about individual farmsteads beset by beasts, in reality the herds that wolves were most likely to prey upon belonged to the landowning classes, powerful people who had a profit incentive in seeing wolves driven off or exterminated. This is where you get bounties on dead wolves, not just paying for the value of the hide but actively rewarding people for going out and killing as many wolves as possible to the point of it becoming a profession. This practice has existed for MILLENIA and is still active today, primarily in places where big agriculture influences governments.

It seems incidental at first but then you realize that it fits the model of just about every other kind of cultural panic: widespread ignorance and fear that just so happens to mobilize the populace in a way that financially benefits a select few. You can see the same thing happening today in england with badgers of all things, which have been identified with the local dairy industry as a threat to their herds. This is not only led them to petition the government to cull the badger population, but to put out anti-badger propaganda, eventually turning it into a culture war issure to the point where conservative mouthpieces like Jeremy Clarkson openly encourages killing and gassing badgers on sight.

Returning to the land of fantasy for now: I think it's worth taking the idea of the warg and mixing it with a few other "black dog" cultural archetypes, which can also include the creatures like the shuck or church grimm. In this instance the warg is a sort of curse made manifest, the fear of a haunted place given literal teeth. People who transgress into these forbidden spaces find themselves pursued by a manifestation that dogs them till they're exhausted and vulnerable, much like a wolf harrying its prey.

The bhargest is also of special interest here, considering how I like to relate goblins back to the feywild. You could easily see bhargests as agents of fey that feed on human fear, leading a pack of goblins or hobs that occupy the desolate lands they've called to haunt. My version of Maglubiyet would also delight in employing such creatures as his emissaries.

Going back to the vargr/ Norse mythology angle, it's interesting that most of the wolves that show up are destined to devour something, whether it be a god or celestial certanty like the moon and sun. It's like the concept of an inevitable chase is so fundimental to what a wolf IS that it became a theme of ragnarok's inevitable certantly. Consider having certan packs of wargs be offspring of some fenrir style god eater, beasts of forboding doom who's mere presence is an omen of ill times.

Alternatively, if you wanted to play on the big bad wolf angle, give wargs the ability to take on flimsy human disguises, all the better to get close to their pray and sow fear among the townsfolk. Historical wolf panics after all are not all that different than serial killer panics, and it'd be a fun twist on a traditional werewolf adventure to have the party on a creature that didn't play by the usual lycanthropic rules.

Artsource

[starry-bi-sky]

thinking about Dan in CFAU and just how different he needs to be (in my opinion) in order for Danny's whole thing to work. Canon Danny with Dan's influence, would never even consider thinking of killing anyone even after losing people close to him because he'd be scared of becoming like him. CFAU Danny however has been festering in this hurt and anger for years and wants the Joker dead and is plotting it. I don't think he'd do that with Dan's influence.

I explained how Rath came to be in this post here. Things happened in TUE as normal -- Danny's family dies, he lives with Vlad, Vlad rips out his ghost half. The difference here is that not only was Danny in a grieving state (something exclusive to banshees that the post goes into) but he also doesn't end up fusing with Vlad.

What happens instead is that Danny's ghost half, consumed already with grief and now enraged by being murdered and lied to by Vlad, destroys him completely and disappears into the ghost zone. He traps himself unintentionally in a negative feedback loop of grief, and as a human spirit banshee, cannot mentally handle the constant agony and sorrow he's experiencing. What happens is that he ends up driving himself insane with misery.

So the difference here, ultimately, between Dan and Rath, is that at the end of the day; Dan is fully aware of his actions. He knows what he's doing is wrong, and delights in it. He acknowledges his lack of humanity and feels no remorse in doing what he does.

Rath? He's... not. Not really. Dan is a hulking mass of muscle; tall, towering, terrifying. He loves what he does and does what he loves. Rath, however, appears as a scrawny young boy in raggedy clothes far too big for him, hunched in on himself while dirty, unkempt hair curtains his face and hides whatever he doesn't have ducked down in his curled-in form.

Rath is locked in a constant, unending state of sorrow and misery. He, for lack of better words, is unable to perceive the world around him properly and lashes out terribly and violently at anyone or anything that catches his attention. The only thing that he knows is that his family is gone, his other half is gone, that everyone he loves is gone, gone, gone.

He is a zombie apocalypse wrapped up in the form of a malnourished child, wandering the world in search of people who are not there, and becomes furious if you're not them. He is constantly crying, but he's been crying for so long that he's all but lost his voice. Meaning anyone trying to keep an ear out for him has to listen for soft, pained gasps and quiet whimpering, and wonder if the sound they're hearing are hurt survivors, or the very thing they're running from.

As a result, Rath's influence on Danny isn't that he's scared of doing something bad and becoming like him. He's scared of losing control of himself and dooming himself and others to eternal misery. As a result, he's adamant that things that he's done were not done out of pure emotion, but were active choices he made.

Up to and including killing the Joker. There's enough grief and rage behind his views on him that anyone could argue, especially knowing that Danny's a ghost, that he was not in the right mind when he did it. He was blinded by his emotions and was not in the right mental capacity, he had no control over himself. It'd work as a convincing argument.

If it weren't for Danny himself arguing against it. Killing the Joker was a choice he made, fully and willingly. It was autonomous, premeditated murder and he won't accept anything else -- it was not a fit of passion, it was not act of insanity, it was a decision. He won't accept it being anything else but revenge either, and if anyone tries to claim that it was a necessary evil he will yell at them. He didn't do this for the betterment of the public, that was just a fortunate side effect. He did it for himself and Jason. If you wanted it to be a necessary evil, then you should've killed him yourself. It was a selfish evil and he knows it.

In the end, Dan’s existence would prevent Joker’s death. Rath’s existence only solidifies it.

Rath's complete difference from Dan is one of my favorite parts about this au even if he never makes a direct appearance.

[felassan]

Snippets. 🐺💜 DA:TV spoilers under cut.

Game Informer reporter Wesley LeBlanc has mentioned that he will not be at the DA@SDCC stuff [source]

Saira: "i won’t lie, my very first council note for lucanis was “can’t wait to fuck puss in boots”" [source]

Jay: "And you killed it!" [on Alex Jordan's - one of the actors of Rook - post announcing his role in the game] [source]

Ashe: "say it with your chest HELL YEAH HE DOES" (context: Council members sharing that Lucanis' voice in-game does indeed sound like the actor's Spanish reel video) [source]

Erika Ishii might sneak into the actor panel at SDCC [source]

A user asked "when are the announcements of the different languages voices?" An EA Community Manager replied "We’re not ready to reveal everyone quite yet, but stay tuned!". [source: the official BioWare Discord]

In the Discord, the ask-bioware channel is for questions folks may have for BioWare. they can't guarantee that all questions put there will be answered, but if you have one it's still worth popping it in there as the channel helps them "for future Q&A sessions and the like" [source: the official BioWare Discord]

In the Discord, a user asked about pre-orders. An EA CM replied "Not yet announced!" [source: the official BioWare Discord]

In the Discord, a user asked about the release date. An EA CM replied "I wish I could. Gotta keep it under wraps until it's ready though!" [source: the official BioWare Discord]

EA CM Violet: "always stirring in the bioware lighthouse. hard working team full of passion ❤️" [source: the official BioWare Discord]

A user said regarding the talent lineup for Rook's actors, "This entire lineup is INCREDIBLE." Corinne: "So glad you like it! 😊" [source]

Ghil Dirthalen shared that she thinks Bellara "rocks- so excited for people to meet her ❤️" [source]. She also mentioned that Bellara isn't really like Peebee from Mass Effect: Andromeda [source]

Ghil also shared non-DA voice clips of the companion actors that she thinks sound most like their voices as-used for the companions in DA:TV. This is the clip shared for Taash, although it's not super-close as Caitie had trouble finding a clip of this actor. "but their voice in DAV is a lot more dead pan? In a good way though- Taash is fun!" [source]

This is the clip shared for Emmrich. "this is closer to the Emmrich voice than the other clip ive seen floating about. I would say less cartoony than this performance, but with the same voice??" [source]

Malcolm on Emmrich: "you might have to buy him dinner or something first. He's a classy guy." [source]

Bryce: "someone on Tumblr who follows me for dragon age content called this the Veilbus and I'm-" [source]

John Epler is heading to SDCC [source]

John on the recent Game Informer video: "not shown - the piece of wood digging into my spine for 45 minutes as i filmed this. me after: 'yeah i had a piece of wood digging in between two of my vertebrae' them: 'why didn't you say something?' me: 'i was on a roll and i didn't want to lose it'" [source, two]

Trick: "I thought I knew who I was romancing in DAI until the first time I heard Sera giggle. I suggest pinballing wildly between whoever strikes your fancy as you learn more about the characters until the game comes out and then seeing who wins your heart!" [source]

User: "I was wondering about tavern songs in DAI. There’s a song for Samson, but not for Calpernia. I was wondering if there was an in-universe reason for that, or if it was due to real world limitations?" Trick: "I think the tavern songs were about what the lyricist found interesting, so they weren't a sign that Samson or Sera or Harding was more important than anyone else." [source]

[irhabiya]

hey could I ask where I could learn more about the arab spring? I can’t find many resources and most of them are very American. I’m asking partially because my parents mentioned a massacre that happened at a mosque around that time, but I can’t find much of that? They used to study in Egypt which is why they were horrified to hear about the brutality those years ago. Sorry if this sounds disrespectful you can ignore it if so. I just want to better understand the unrest in Egypt that I assume is still ongoing today with Sisi

hi sweetheart <3 this isn't disrespectful at all don't worry

unfortunately i don't really have any specific resources i can point you towards that aren't riddled with usamerican propaganda or leave out key details but i remember reading this article from a while back and it was pretty succinct. read it with a discerning eye and lmk if you have any further questions about the points they raised

the massacre your parents are referencing is probably the Rabaa massacre which happened in august of 2013, the biggest massacre in modern egyptian history. military and police forces killed an estimated 1000 protestors, most of whom were supporters of the muslim brotherhood, some others were simply opposed to the military regaining power.

the main key points you need to understand about egypt's modern history, contemporary history, and the arab spring as a whole, are the following:

egypt had been effectively ruled by a military ruling class since the 50's. nasser's presidency oversaw anti-imperialist policies and policies favoring the working class, but he basically laid out groundwork for 70+ years of military dictatorship

anwar al saddat's presidency involved lots of dramatic changes to our domestic and foreign policies, namely privatization of many sectors, introducing neoliberalism to the country, signing the camp david agreements with israel

mubarak's presidency was essentially a 30 years long continuation of sadat's neoliberalism and corruption, things got worse by the day for your average working class egyptian

the 2011 25th of january revolution in egypt was sparked due to worsening living conditions, and protests igniting many of the neighboring countries. namely tunisia, where street vendor mohammed bouazizi self immolated in protest of harassment he had been receiving from government officials.

it's important to note here that even before the protests in tunisia, there had been dissent from the egyptian working class, many factory workers went on strikes in protest such as in mahalla

the 2011 revolution was not ideologically coherent, in the sense that everyone, from all different political ideologies joined in, from the Muslim brotherhood to leftist coalitions. this will be important for understanding why it fell short of achieving long term goals. it managed to force hosni mubarak to step down

the MB's candidate, mohammed morsi won the 2012 elections, which sparked a lot of upheaval from leftists, liberals and religious minorities such as copts.

in june of 2013, mass protests broke out against his regime demanding that he step down from power, the us-backed military hijacked the protests and enacted a coup which reinstalled the military regime with sisi as president. protestors of the new regime, whether in support of morsi or not, were massacred in Rabaa and other locations leaving an estimated 1000 protestors dead

it's important to note here that it was later revealed that certain groups which were involved in the 2013 counter-revolution were funded and backed by gulf states (mainly the UAE iirc, i need to fact check that though). there was a marked increase in organized violence from these groups (tamarod was one of them) out of nowhere and it all played out in the military's favor in the end, which isn't a coincidence considering who are their biggest allies in the region. i don't think this was covered in the article above

there has been unprecedented efforts of censorship in the country since then, a complete crackdown on dissent. journalists get jailed for tweeting things opposed to the regime all the time. egyptian prisons (which aren't exactly known to be the most humane) are filled with political prisoners. this current regime is the one the US and their gulf allies backed and endorsed, we get billions of dollars in military aid from the US in exchange for carrying out their imperialist interests in the middle east. as for living conditions, it only gets worse by the day for your average egyptian. most major cities are riddled with slums, inflation is through the roof, unemployment is high, most people can barely afford basic necessities, our infrastructure is in desperate need of maintenance and renovations, our economy is almost entirely financed by the US (even putting military aid aside), the UAE, and saudi arabia. and we're drowning in debt. we take imf loans like, every other month lmfao it's bad

a lot happened within the span of 3 years, this is all not to say that the MB were good, not in the slightest. but the US once again interfering with a foreign country's domestic affairs to secure their interests has resulted in nothing but devastation for the overwhelming majority of the people living here.

as for the arab spring as a whole, i think it's disingenuous when people dismiss its entirety as western backed conflict. even though a lot of it is exactly that (see: libya), especially in countries where the revolutions kind of bled into them rather than already having brewing tensions from working class people suffering worsening conditions. in tunisia and egypt, there was already a lot unrest within their populations over material conditions, which is why i mentioned the mahalla strikes. it's a shame our revolution didn't have more coherent, stronger socialist organizers, it's a shame it was killed and hijacked before we ever got to reap its benefits

[brucewaynehater101]

Sad AU. I'm sorry.

Tw: death, dead body, temporary main character death, open ending

~~~~~

Jason is going to hate him.

He's going to yell until his voice gives out. He'll scream, throw out death threats, and maybe even put a couple of bullets in him. He's going to tear their surroundings apart and cuss and shoot near misses.

The man's hands will shake, but only when he's not holding a gun. His breathing will be harsh and forcefully controlled. His eyes will erratically search the room for exits and threats. His shoulders will tighten in defiance, wrath, and fear.

Jason being pissed isn't the issue. It's not what causes Tim to pause at the edge of a Lazarus Pit.

It's what comes after.

It's when Jason, after finding out, stops moving. When he'll close his eyes and almost seem docile in his sudden quiet.

The man, one scorned from religion after the life he's led, will tip his head to the sky. No words will be uttered, but Tim knows. He knows his older brother will beg another father figure for forgiveness and plead for him to stop the constant torrent of shit that's hitting him.

He knows Jason won't expect an answer.

It's when Jason finally lowers his head to look in Tim's direction. It's when the older brother can't quite meet the younger's eyes.

It will be the heave of Jason's chest as he accepts the outcome. It will be the man trying his hardest not to be mad at Tim, the older brother understanding the youngest actions, and the desolate desperation to try to forgive Tim.

It will be Jason still hating Tim regardless.

Tim knows. He knows this is the furthest from what Jason will want. He knows what this will do to the man.

Tim's never been good with grief.

As the teen's knees start to ache, Red Robin focuses on the body next to him. The carved scar in the young man's cheek, the 200 pounds of mass Tim struggled to maneuver, and the still chest. Cloudy seaglass eyes remain open as white hair strands brush the browline.

He's dead, but Tim's never been good at letting go.

The teen knows this may be a long shot. He can push Jason's body into the pit, and the older brother will merely sink.

Jason was alive last time.

The Pit restored him. It twisted him.

Jason was aware. He was aware of all the death he sought with his own hands. His actions and sins were his own.

He was so angry. He saw so much green.

If Tim truly loved Jason, he would never subject him to its waters again. He would let the man finally rest.

Jason wouldn't want to be revived by sickly chartreuse invading his pores. He wouldn't want to feel his veins burn and watch his vision go green.

Tim, if he truly loved Jason, wouldn't do this.

Tim loves his brother, but he's selfish. He's so so selfish. He can't live through another death. He couldn't handle it. He needs him.

Jason can't stay dead.

Tim wouldn't know how to cope.

Fortunately for Tim, a bubbling verdant pool is right there.

The siren call of the waters is usually so easy to ignore. Tim knows the risks. He's seen report after report of its side effects.

He's heard the soft break in Jason's voice as the man talks about it.

Jason is going to hate him.

Tim pushes him in.

[literaryvein-reblogs]

more literary & character tropes

Tropes - themes, motifs, plot devices, plot points, and storylines that have become familiar genre conventions

All writers manipulate language to create certain effects. At the level of individual phrases and sentences, the skillful use of tropes is key to creating writing that’s fresh, memorable, and persuasive.

Artifical Script - found mainly in fantasy settings, this trope is about fictional scripts invented by the author.

Busman's Vocabulary - when a character in a certain profession isn't on the job, they're going to still use jargon from that profession, basically to let us know what they do for a living. Mafia guys will use "whacked" and the like, chefs will use culinary language, and so forth.

Classical Tongue - a language that isn't typically known or used by the common man. It may be dead and mostly forgotten, or only spoken by educated elites such as nobility, scholars, clergy, or mages. A few words from it might be used to denote something special, or it is used for something or someone's name, or someone who knows it might drop a phrase here and there in an attempt to sound clever, but don't expect the common masses to use it (anymore). It's often an Expy of Latin, if it isn't Latin itself.

Dissimile - when you attempt to make a comparison between two things that can't be usefully compared, realize your problem, and then throw more words at the argument in an attempt to salvage it. This just undermines your comparison even further, to the amusement of anyone listening. ["Boxing is a lot like ballet, except there's no music, no choreography, and the dancers hit each other." — Deep Thoughts by Jack Handey]

Enslaved Tongue - certain types of monsters, wizards, and other supernatural or alien beings are able to control your voice, or otherwise replace your communications with those around you. They will use your voice to lie to teammates, friends and loved ones, or to deliver warnings or threats.

False Prophet - someone comes along and preaches a message about how they're going to make everyone's lives better. People will flock to them out of hope, or because they see an opportunity to increase their own power by aligning with the prophet. If they don't already have it, this figure will request assistance—physically, monetarily, or in some other way—so that their goals can be achieved.

The Grotesque - a character that induces both fear and pity in viewers because his deformities belie a perfectly normal — if not noble — personality. The pathos associated with The Grotesque is the implication that he could easily have been a well-adjusted member of society if not for the hideousness that he is powerless to remedy.

Higher Self - the aspect of a character which "knows better". More specifically, however, the Higher Self is the aspect which rises above whatever is going on in the plot and can see the situation in a way that's removed from emotional or melodramatic entanglement.

Inconsistent Spelling - when names and other terms are not spelled consistently in officially published materials (and not fan-made translations), usually because of transliteration issues.

Jeanne d'Archétype - a fictional character inspired by Saint Joan of Arc. This can incorporate various elements of the historical Joan's story. This character is Always Female, usually young, often an Action Girl, and often of humble origin. Her devotion to a religion, her country, or simply a desire to protect her loved ones causes her to assume an active role in liberating the oppressed from an overbearing force, eventually becoming not only a respected leader, but also a living symbol and a reminder of just how unjust the oppressors are if they bring out the warrior in the most unlikely of people. Therefore, her example directly inspires many otherwise ordinary people to follow in her footsteps and join the same cause.

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

More: Literary & Character Tropes

[yuri-alexseygaybitch]

On one hand I sympathize with people wanting to feel like they're doing something by participating in these "general strikes" (not really what general strikes are but w/e) because feeling hopeless and disempowered in the face of mass death is real brain poison and God knows organized labor in the imperial core is in fully class traitor mode and can't be bothered to lift a fucking finger for Palestine, but also the amount of young people I've seen waste time on them + other dead-end endeavors like the Starbucks boycott or getting arrested in publicity stunt "direct actions" is fucking depressing. Individualist salvation politics are a blight. This isn't about proving how much you can give up to a cause it's about organizing effectively and efficiently within a mass movement. It's not - and never will - be about you.

[one-idea]

Horrible idea, but:

Marineford au, in which everyone survived. (At least on whitebeards side. Something Something Marco awakening his devil fruit after seeing his family die around him)

Happy end, right?

Exept that Ace is going through major Angst because A) realization that the family he loves would (and could) have died because of him and B) the uprise of people trying to assassinate him.

No matter where he goes, everyone knows who and (more importantly) whose son he is.

He is seen as the son of the devil, a demon that shouldn't have been born

There isn't a place in the world where he is safe, no matter how much his family tries .

This!

So here’s the thing. I have always seen Ace survives Marineford as having this problem. Everyone now knows who he is.

The government wants him dead. His bounty is going to sky rocket and while we normally see that as a good thing it’s not because of any feat he has done. He hasn’t earned his bounty. And that would hurt. He’s tried his whole life to separate himself from his father and now all of his accomplishments are forever over shadowed by his blood.

It’s also dangerous because his abilities are now over stated (to the general public and other crews) we see in the show how people react to Luffy and the crews different bounties and how much they are treated like a threat or a joke. If Ace’s bounty sky rockets because of his connection to Roger and not his skill the people coming after him are planning to take down someone of let’s say Kaido’s strength and Ace isn’t there. (We are seeing this with Buggy and Cross Guild in the cannon where Buggy’s strength doesn’t match his bounty. And while we are making memes out of it the man has to be stressed)

The Whitebeard’s can try to shield him but they aren’t what they used to be. Even if Whitebeard survives they got out by the skin of their teeth and the arrival of Shanks. While Marineford is them fighting on enemy territory with a mass disadvantage it’s still going to effect the reputation. And even if Whitebeard loved he’s not fighting fit and the world knows that. Marcos and the crew can probably repeal some people but can they full shield Ace the way they could before the war? No.

In fact it would probably be a constant struggle for the next two years. Maybe at some point Ace disappears for a while but in reality he’s met up with Rayleigh and Luffy and joined in on training up his Haki. (And spending time with his little brother)

By the time Luffy and crew are ready to hit the sea again, Ace’s life is in constant danger. And remains so until Wano. Wano where his baby brother beats the pants off of Kaido and becomes the new emperor of the sea. The new emperor of the sea who has a very public tigh to Ace and has already destroyed Enies Lobby to get back one crew member, successfully broke into and out of Impel Down leading a large prison break to Marineford where he publicly declared Ace his brother and fought to save him once already.

Now it’s not the Whitebeard name shielding Ace but Luffy’s. It’s not being the son of the King of the Pirates that gives him infamy but being the brother of the future king of the pirates Monkey D. Luffy. Even if Luffy doesn’t publicly declare Ace as under his protection you would have to be stupid not to understand that these two would go to war for one another.

Honestly Whitebeard’s statues probably got downgraded depending on how badly they got their butts handed to them in the first place. They might join up as part of the Strawhat grand fleet. Whitebeard just wants to protect his kids and at this point he’s old, injured and not what he used to be. It Strawhat has already shown his loyalty to those that are his and Ace is already his.

Of Whitebeard can’t make a run for King of the Pirates anymore. Can’t protect his children and territories he might as well through his hat in with the person he knows is going to take care of them. Someone so much like Roger’s who believes in freedom above all else. (Shanks would be his second choice but the man has to many of his own plans. And it’s kind of obvious that Shanks has through his hat (or his arm) into Luffy’s ring long ago)

Now that’s idea one but idea 2

But this is where we get to have some fun with abilities, timelines, and shenanigans. Because let’s say Marcos’s phenixes ability when awakened is not just to heal but to burn away trauma for the point he can revive someone. When did the revival happen? Because if this happened at Marineford the Whitebeard’s get a second wind and can probably pull out a win in the fight. But everyone knows they survived and who Ace is.

If he does it after the fight. After Ace dies in front of Luffy and Luffy is whisked away. After the Whitebeards retreat. Looking over the bodies and grieving the loss, Marco unlocks his ability. Receiving Ace, Whitebeard, and the others, now we have some shenanigans.

Because Luffy doesn’t know that Ace is alive and Ace doesn’t know Luffy is alive. Maybe Ace lost his fruit maybe home didn’t but we can tackle that later.

The Whitebeards are hanging low until they get their strength back. No one in the government knows they survived and that’s the way it needs to stay. Until Luffy shows back up at Marineford to honor Ace.

Ace sees the news paper and he thought Luffy had died. He knew Jinbei had taken him away from the battle but no one could tell him where Luffy went or if he had survived his injuries. He wants to rush to Luffy and make sure his brother is okay. Marco has to tell him to slow down. If he races out and the world realizes he survived before he’s back at full strength he will just get captured again. But Ace is stubborn about seeing Luffy and making sure he’s okay.

They know he went to Marineford with Rayleigh so they use some connections to find the old man. He’s not about to tell them where Luffy is until Ace reveals himself. He agrees to take just Ace to see Luffy. After a reunion filled with tears Ace decides that the best way to build back up his strength is to stay and train with Luffy.

Now fruit? Did they keep their abilities? They technically died. So either yes they kept them, they lost them, or Marco restored their body and powers but the fruit also exist outside of them so two people can now have that ability. (Meaning Sabo can still get the Mera Mera and Blackbeard still gets Whitebeard’s fruit.) this is helpful to keep the story moving but also reinforcing the lie that the Whitebeards died.

If this is the case Ace and Luffy train their Haki and abilities together for two years. When Luffy is finally ready to burst back o to the scene so is Ace. Stronger than ever.

Again maybe the Whitebeard’s eventually join the grand fleet. If the world thought they were dead they don’t have their statues as emperor crew anymore but they would be a lot stronger in this version.

In both versions they Whitebeard’s help out with Wano and Ace and Sabo get to reunite.

[lieutenantabrudas]

[ID: a drawing of a salarian from mass effect scowling at something off to her left side on a light turquoise background. her skin is bright yellow on her head and back, and bright blue on her limbs and front, with black spots all over. her right horn is tall and thin, the left has been broken off at the base. one eye is cybernetic with three glowing red optical lenses. her right half is covered in burn scars, her face has three diagonal claw scars, her right foot is skeletal and missing webbing with scraps of skin where the webs used to be, and both legs are wrapped in support braces to help her walk. she is wearing a sleeveless green hoodie with a mesh window over her heart, black shorts, and three animal teeth on a leather cord around her neck that have been stained with green blood. one hand is holding a smoking blunt. end ID]

today on disabled exdiff major characters im drawing for disability pride month, the second-most complex design i have for a main character, the bad reverend serial killer aka gurji taeja! taeja first appears in chapter 41 of broken mirror and sticks around for 3 chapters to help shepard and company, then reappears in blood in the water as a deuteragonist dragging shepard into an adventure against their will to go save terra nova. shepard doesn't like her but too bad, i the author do, and so do my readers. she's off doing her own work at the moment in in the land of giants, but she'll be back soon!

the blunt isn't weed btw it's a hallucinogenic drug called naenoda used by salarian priests to commune with the gods. taeja was trained as a priest of the death gods and still follows the god of just deaths and revenge, even though she's otherwise cut all ties with organized religion due to backstory reasons, and smokes a bit of naenoda from time to time for fun and also pain relief. come read my fic i'm very normal about this oc.

her legs were mangled by a predator attack when she was young, and due to her shitheel brother who lured her into it in the first place (it's cool those teeth around her neck are from the predator that tried to eat her and that's her brother's blood on them, don't worry about it :) ) she was left for dead and had to drag herself back to civilization, so they uh. didn't heal right, exactly, and struggle to support her weight. nowadays she alternates between standard braces, special braces that were built into her armor's endosuit, and sometimes a walking stick for short distances if she's already taken them off for the day but needs something from the kitchen.

things got dialed up to 11 after she fled to omega, joined eclipse, had a falling out with eclipse, and was beaten most of the way to death (intentional) and nearly burned alive (accidental) - note her toes on the one side, there's scraps of what used to be webbing attached to her toes, but the fire effectively seared them away and now that foot sinks lower and spreads further than the other trying to support her weight. her eye was completely unsalvageable, and the surgeons offered her a clone replacement, but she opted for the cybernetic robot eye partially because it's cool and partially because she got recruited for the spectres in the process and wanted a cyborg eye for combat advantages. not pictured are all the additional cybernetics under her skin to rebuild her arm and leg and keep her organs working, and the extra stuff wired into her brain to control everything (especially the eye) and, ah. fix some brain damage. she's fine it's fine. the right half of her face is also paralyzed, and her vocal chords were burned, so facial expressions and speaking are difficult, but it's fine, that's what a few extra apps on her omni-tool and a vocoder implanted in her throat are for. she's fine!!

also she successfully completed spectre training and promptly went back to omega, killed all the eclipse mercs who tried to kill her, and also killed her shithead emotionally abusive father and sealed his bones in her armor so he can never enter the reincarnation cycle and will be trapped in limbo forever, it's fine, she's doing fine, she's definitely stable and does not need therapy about anything she's fine she has hallucinogens and a VI in her brain and batarian friends who are better family than her own she's FINE

[bonzos-number-1-fan]

What R# Means: The ABC's of Fear.

The grading system used by the OIAR is one of TMAGP's more central mysteries. The show is rife with administrative work that's obfuscated even to the employees that assign each case's rating.

I have my own theory about DPHW that I think is proving more and more likely each episode, but as of yet I don't think a comprehensive theory on CAT# or R# has been given. CAT# is still proving a hard to crack but I now think I can take a strong stab at the meaning behind R#.

Spoilers for TMAGP 1-7 below the cut.

For the people who aren't keeping close track of this I'll break down how those terms are used. Each incident the OIAR assesses is assigned a case number in the following format CAT#R#DPHW. CAT, short for Category, is assigned a value of 1, 2, 3, or any combination of those three digits (12, 13, etc.). R, short for Rank, are graded C, BC, B, AB, A, or S (potentially AS but it's not come up). For DPHW each letter is a category itself and replaced with a digit from 0-9 for its grading. So there are 6 separate statistics that the OIAR uses to assess each incident.

If I'm correct about DPHW it's a ranking based on the qualities the incident presents. That's obviously very valuable information. Because of how CAT# is formatted we know it's likely three non-mutually exclusive facets. I had some idea about what it could be but it's proving quite tricky to nail down.

However it's R# that is the topic of today's post and it's something I've had a few ideas on before. We know can assume from its formatting it's a linear scale. C is the "worst/weakest/etc." while S is the "best/strongest/etc.". Initially, I thought that R# was simply a straight forward ranking of potency or threat. Higher the rank, spookier the incident. Very early on that seemed like a strong idea. It was quickly disproven but I then had the idea that Rank was instead the scale of the effect. Higher the rank, wider the incident. Also quickly disproven.

Now I'm thinking it's graded on how hard it is to deny an incident's supernatural nature. Simply put, an outside observer can more readily find a believable rational explanation for an incident of lower rank than of higher rank. Either via their own conviction to believe the supernatural isn't real, or based on the story the OIAR cooks up to explain it.

For that to make sense it needs to tick two boxes. It needs to be able to be pre-assigned to an incident as all CAT#R#DPHW's seem to be, and it needs to be useful information to track. As they're operating under the assumption that CAT#R#DPHW's can be pre-assigned then they're operating under the assumption that each type of incident is relatively stable. Meaning that the likelihood that it can be rationally explained is also relatively stable. Tick 1. There is also a really strong reason for the OIAR to use this as a grade. They're the Office of Incident Assessment and Response, the Response Department might be dead but it was a part of the initial plan. Grading each incident on how likely they are to cause concern should the details go public is very useful for deciding how to approach any given case. Tick 2.

It being useful is all well and good but it does also need to have some evidence so let's look at our highest ranked incident to this point: CAT23RAB2155 - Transformation (Eye) -/- Trespass. A man grew eyes over his body. That's pretty tricky to explain away as a medical mystery. On the other end of the scale we've got CAT2RC1157 - Dolls (Watching), or CAT2RC3338 -Agglomeration (Miscellany) -/- Congregation†. Just a creepy doll and some crappy antiques. I think of all the incidents the one that's the least immediate fit is CAT3C7494 - Collection (Blood) -/- Musical. Most of that incident is very easy to slot in here. "It's just a violin that has sharp strings, so what?". But it's also a violin that made some people eat some other people. However, mass hysteria events do get reported every so often IRL and do have a very long history. So in the grand scheme of things I don't think the details of the event are necessarily all that outlandish. It's really in the realms of urban legend and witch hunts than it is definitive proof of the supernatural.

With all that out the way this is the broad strokes of how I could see this breaking down. C ranks are things you can entirely write off as urban legends, freak accidents, and stress. Potentially things that might not need any covering up at all. I think the majority of events people could entirely say didn't happen will end up in C. "Of course the doll wasn't watching you, dolls aren't alive". B ranks are things that are harder to entirely discount as things that happened but are themselves still relatively easy to excuse as mundane. "Sure, the circumstances of that blogger's disappearance are strange but people go missing all the time, doesn't mean a monster did it". We don't have any A ranks but given the AB rank we do have I'd say A's are things in which no rational explanation can account for it, and as such require more extensive covering up, if it indeed happened. "Okay, maybe the supernatural is real because people don't just grow eyes like that".

As I mentioned early, an S rank does exist. We've not seen this attributed to anything in the show yet and so it might prove to be a special case. However on Klaus' sheet‡ from the ARG it's attributed to an interesting incident. A CAT1RS[No DPHW] with the note Mr. B. And, well, if you know, you know.

From Klaus' sheet we also know that the higher ranked incidents happen less often than lower ones and that idea generally tracks with what we know of TMP and TMA. The supernatural tends to be something you can explain away. It often is explained away. Incredibly overt manifestations are a rarity.

This one will be a slow burn to see if it bears out. Much like with DPHW's it's only really interesting when things go against the theory. I'm not as certain on this one as I am the DPHW theory but I do think it's got legs with our current data.

† This did also feature people who seemed to erase their physical features from your memory after you interacted with them. This isn't something I mention in the theory because it's not taken into account by the header and case number. A major flaw in the OIAR's methodology here is that all incidents are only ever one thing. So the case number is based solely on the presence of lots of miscellaneous objects, rather than the mind-wiping people carrying them.

‡I have made an incident master doc here, containing all the current cases, their CAT#'s, R#'s, DPHW's, etc. It has about as much information on each as I think is reasonable, including who narrates it, a link to its episode, and any other relevant notes, as well as headers for incidents we didn't hear. Additionally it also contains the Klaus sheet (German and English) and links to it when an incident matches. It will be updated each episode after the episode is publicly available.

[sinner-sunflower]

A HH Lucifer-centric AU 13/?

PART 1, PART 2, PART 3, PART 4, PART 5, PART 6, PART 7, PART 8, PART 9, PART 10, PART 11, PART 12, PART 14, PART 15, PART 16, PART 17, PART 18, PART 19, PART 20, PART 21, PART 22

For me, Goodie is not a total goody-two-shoes. Remember that she sees a soul's inner good. She is kind, yes, but only to those she deems worthy.

All I can say is that she and Roo are 2 sides of the same coin.

P.S. I'm not gonna put any snippets anymore, I end up not following them anyway aksjdlajk

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

Goodie: Such words! Angel, was self-preservation not included when you gave them the fruit of knowledge?

Lucifer: Apparently not.

Velvette doesn't dare to make eye contact when the King of Hell crouches in front of her. He roughly takes her face with one hand to forcibly make her look up.

Lucifer: A lot of you seem to think that 'King' is just a title I was merely given.

His claws were digging into her skin so hard that she knew for a fact that she was bleeding- if not for the wet sensation then the taste of iron in her mouth was a dead giveaway.

Lucifer: I can't blame you. I was not the most present ruler, after all. But I thought I made something very clear when I dealt with that moth man.

Velvette can feel her jaw dislocate from the sheer strength. Vox wants to help but he can't move- none of them could. He looks to his side to see Alastor smiling like he just got the best gift ever- the fucking psychopath.

Lucifer: I guess one example isn't enough.

She wants to struggle but her body won't fucking move. Her head was going to explode. She was going to die right here.

Lucifer closes his hands suddenly, crushing the lower half of Velvette's face. Surprisingly, she's still alive. Lucifer removes his command on only her, letting Velvette keel over. She's saying something but it comes out garbled. She makes an attempt to crawl closer to where Vox is.

Vox is looking at her with devastation and horror. His friend is going to die. Velvette produced a high-pitched noise as she felt something stab her leg, pinning her from where she lay. Then came the burning sensation. Her leg is on fire. It's on fucking-

Lucifer: So, let me keep it simple.

He twists Lightbringer and effectively cuts off Velvette's leg.

Lucifer: I'm Lucifer Morningstar.

He swings and slices an arm.

Lucifer: The creator of the first sin.

A stab to the torso.

Lucifer: The angel that damned humanity.

Velvette can't even do so much as a whimper now. Her whole body is mutilated. If she could still see, she's sure that all that's left is a gooey red mess.

Vox averts his eyes but something compelled him to keep his head facing the mess.

Goodie: Uh uh uh! A bit rude to look away, don't you think?

Lucifer: Í̷̫̈́́͂̒̚̕͝͝͝'̶̨̛̺̤̿̀͒͛̂̿͋̄̑͆́͘͠͝M̴̝̯̖̦͍̽̎̏͆̔ ̴̛̛̄̋̈̑̓̀̓̃̄͐͗ͅŸ̷͇̙̟͈̭̥̬̻̙͔̠̱́̽̊̊ͅÔ̵̤͙͈̬̫̪͕̼͍͌̀̔͜U̴͈̼͖̯̤͌̀̀̓̾̔͆̈́̊͑͗̕͠͝R̵̨̹͍̦͒͌̋͒͆͌̄͛̓͑̔́͜ ̸̝͑̐̀̉̃͠͝F̵̞͖̮̗̗̜̯̯͔̮͒̊͒̈́̈́́̽́̂̂͑̎͝U̵̟̙̱̙̯̤̼̙͈̳̘̫͊̈̀C̷̙̞̔̅̊͌͋K̷̖͙̼̪̠̾̄̅̾͘I̵̛̩̘̜͖̩̙̿̐̽́͊́̒͆̆̎̑͗N̴̤̏̂͝G̸͋̋̍ͅ ̵̡͈̩̹̗̹̝̻̬͍̗̬̲̳̟̍͋̽͛̒̉̍͊͑̑̋̅̽Ḳ̷̡̬͔̞̱̤̬̮͉̙͇̪͛̅͊̚I̵̤͙̪̞̝͔̱͎̜̩̖̺̟͔̙͊Ṉ̵͈̤̘͚̻̙̼̓͂̌͋́̎͜ͅĢ̸̭͔͇̹̹̳̭͋̓̒͗̈́̉̈́̂̚

Lucifer casts hellfire on the dying sinner. The king laughed as the flames grew tall. This is the power of the Devil and they will remember now of their place.

The flames dispersed leaving a charred mass. Lucifer turns to face the still-kneeling group of demons.

Lucifer: Û̶̪̌͐́̂̆͠͠n̸̛̟͕̱͍̫̘̻̣̱͈͈͇̱̜͛̓͗̏̅̇͋̒͆͊̓͗̚͠d̷̢̢̨̼̙͈̞͈͓͈͙̂̌͋̔̂̉̍̈́͆̿̈́̕͘͜͠e̵̛͍̯̫̼̫̐͛̊̒̆̉̓̊̽̓̒̒̚͘ŗ̶̨̢̧̮̜͙̪̹̯̙̪̤̠̝̓́̒̋͆̆̓̿͐̄̓̕̚̕ş̷̛̮͖̰̝̟͇͕̟̞̳̟̪̥̂̀̈́̈͗́̿̐̔̎̕̕͠t̶̮̖̭̹͓͉̪̣̦͙̖͍́͐͂̑͒̑͂̑̾̓̍̊͝ô̵̥͓̥͐̄̏̀̾̀̽̆ò̴̜͇̣̣̳͖̗̹̟̇̓͑͝ͅd̸̨̨͈͓̠͑͑̒̎̈́͘͠?̸̟̎̈

All nodded- he almost thought the sinner Overlords' heads would roll off from how frantic they were moving it. Except for Alastor- he kinda looks like he just experienced euphoria.

Lucifer: Good!

He claps in delight as transforms back to his normal appearance. With a snap of the King's fingers, everyone could move again. What they didn't expect was Velvette turning up in her dying place, perfectly fine, looking like nothing happened.

Vox runs forward to hold her as she shakes and cries in his chest. He gives the King a confused look.

Lucifer: What? Do you really think I killed her? Sounds counterproductive. We still have a situation at hand and you are no use to me dead.

They shuddered. His eyes say a silent reminder of how he could kill and revive them over and over again as he pleased. How he could, literally, show them what the phrase 'make your life a living hell' means.

Goodie: Up now! My sister is becoming restless.

Everyone reluctantly stands and gets in position.

Mammon: Show-off.

Leviathan: Ha! You wish you were that scary.

Goodie stands next to Lucifer, placing a hand on his shoulder.

Goodie: Remember, angel, if this fails, you must do what I have told you.

Lucifer nods. A giant red pentagram appears above the entirety of Sloth the moment he opens his palm.

Lucifer: Let's start.

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

Apologies Velvette stans

[alwaysalreadyangry]

very interesting to me that this summer we have Oppenheimer - big budget anti-nuclear film, making a record-breaking amount of money at the box office already for a number 2 opener, selling out images everywhere - and also that in Asteroid City we see nuclear tests happening in the background as a form of bleak humour - like, these characters are not going to be OK twenty years down the line. The film assumes we know how bad this is and lets us work it out ourselves... But it's still there. Made me pull a horrified face, like - oh god.

As nuclear treaties die and nuclear weapons proliferate I'm serious when I say that we do need more mass culture about how the bomb will kill us all. Keeping everyone fucking terrified of these things - reminding people that they exist and are terrifying weapons of mass death and genocide - is unironically a political good. How do we do this in a way that isn't exploitative? I don't know. There's been so much discussion of Oppenheimer not showing the Japanese and Korean dead, of it not showing the terrible effects on the native Los Alamos population or the population of the Pacific who were poisoned by nuclear testing. But I'm not sure it's better to introduce, say, a group of Japanese people just to watch them die in agony, especially as the film is about how disconnected people like Oppenheimer were from the mass death they caused. He can't even look at the photos. He's a coward. The film knows it. But it also enacts his looking away. For good and for ill. I don't know the answer! I'm not dismissing people who find it disgusting how it looks away! I'm also not dismissing people who would find the opposite exploitative and disgusting too!

an interesting response to it has been that we get anti-nuclear groups both praising the film and saying it doesn't go far enough to show the true horrors... We need everyone in the chain of command to remember that we need to keep these fuckers unexploded, untested, undeployed. Popular art and discourse can help with this. Is it an artist's responsibility? I don't know. If that's your chosen topic, maybe. How do we do it without exploiting the dead. Is a question you can ask.

[eruscreaminginthedistance]

The tweets are giving pandering to a very specific subset of the fandom that are still complaining that their HoFs aren't still the main character ngl. Saying "you don't want characters to return cos we'll do something mean to them" is bizarrely juvenile. Like yes, unironically I think anyone who engages with your stories in an intelligent way sees the value in killing off or ruining the happy endings of beloved characters in service of a compelling narrative and showcasing the impacts of our choices.

The choice to sacrifice Hawke or the Warden - potentially Alistair - in The Nightmare was one of the best moments in Inquisition, one that was diluted in playthroughs where one was stuck with, say, Stroud. Mass Effect 3 is full of amazing moments like these - are Kirby and Weekes saying that we wouldn't want another Mordin? Another Legion? All the incredibly impactful moments of that third installment where our decisions played out to either the benefit or detriment of beloved characters? Are Kirby and Weekes really putting all of the fandom under the umbrella of a minority of entitled fans who would rather their faves be the specialist most happiest characters in existence in favour of the dark and high stakes narrative the first two games set the series up to be? What a bizarre response this has been.

All this to say, I wish these devs would just be honest and admit carrying over all those decisions is just too much work. Turning the finger to the fandom and claiming the fans just don't know any better isn't doing anyone any favours. As if returning creator-favourite Morrigan is in any danger or will have anything go wrong for her in any way. Just stick to your guns, guys; overwhelmed at the work is way more understandable than this made-up position that this is secretely what the fans want. Yes, I expect that when you keep bringing back significant characters in Veilguard that you do put in all that effort and do something more interesting with them than just fanservice, hence why I've been asking for months why Varric isn't dead yet.

But for the most part, nobody is expecting fully voiced and mocapped cameos or questlines from every single fan favourite or potentially relevant character. It's really just the throwaway lines and codex entries that people like me would want; just getting a sense that the world is a living thing that is breathing and acting even while we're away, and that even if our impacts did not influence the game itself, they still had an effect on the world.

[bonefall]

do the starclan angels get to taste the culinary evolutions their descendants cook up? do they ever watch their great grandkids salting something and think "damn that looks agreeable"

Sadly there are downsides to being dead. They can still eat and cook the prey in StarClan offerings, but they can't taste of the mortal plane any longer.

There is ONE exception. Sacrificial offerings can be tasted. Tasting these offerings as a spirit can sometimes have... unintended effects.

Nothing magical, but suddenly, it hits you again that the afterlife isn't the same as being alive. There's flavors you haven't experienced in years. Mass returns to your lips and paws. You realize that you aren't breathing, and for a twinge of a second, your chest surges with the warmth of a beating heart.

Angels who died young are usually alarmed and unsettled by eating such offerings, and won't partake more than once. To others it's a comfort. Many cry after their first experience, so perhaps, unknowingly for the living, it's why it's so common to make food sacrifices during droughts.

[acradelius]

KINKTOBER '24 IDEAS

I've decided that I'm going to try and participate in this year's Kinktober event to try and get some motivation back for writing. I might not do a piece for every day, maybe every other day or three, in order to not overwhelm and burn myself out.

Here's some ideas that I've come up with by far :) Once again, MINORS DO NOT INTERACT!

I. "One Of Your Wives"

Inspired by "One of Your Girls" by The Weeknd

FANDOM - The Walking Dead

PAIRING: Negan Smith x Female! Reader

SUMMARY - Reader is taken by Negan as a result of a compromised trade. Expecting to be rescued not too long later, Reader rejects Negan's offer of becoming one of his wives. Yet, as time continues passing by without any attempts of being rescued, becoming one of Negan's wives is becoming more appeasing by the day, not that Reader would admit it.

II. "Video Message Incoming"

FANDOM - Call of Duty: Modern Warfare (2019-2023)

PAIRING - Johnny "Soap" MacTavish x Female! Reader, Simon "Ghost" Riley x Female! Reader, (Essentially) Johnny "Soap" MacTavish x Female! Reader x Simon "Ghost" Riley

SUMMARY - While having some downtime on a mission Soap proceeds to check his phone, seeing that he has some incoming video messages from his best friend, Simon, who's on a break from missions. Let's just say that Simon's been taking good care of Johnny's woman while he's been away.

III. "Rattlesnake Trail Bridge"

FANDOM - Far Cry 5

PAIRING - Jacob Seed x Female! "Rook"! Reader

SUMMARY - Rattlesnake Trail Bridge. It's the place where Jacob Seed goes to indulge in a drink or two whenever the stress of Eden's Gate becomes too much. A nice, quiet place, solely for him. That's till one night he comes upon Reader, Hope County's Junior Deputy, in his spot with a drink as well.

IV. "Extended, Deleted Scenes"

FANDOM - Fallout (TV Series)

PAIRING - Actor! Cooper Howard x Actress! Co-Star! Female! Reader

SUMMARY - Cooper Howard's career has definitely gone downhill since doing those advertisements for Vault Tec, making him somewhat desperate and taking on whatever roles and scenes that he can. When offered a chance to make extended scenes for "A Man from Deadhorse", Cooper agrees, but soon finds out that it's definitely not what he thought, especially with his favorite co-worker involved as well.

V. "Strobing Lights, Snorting Lines"

FANDOM - Mass Effect (Mass Effect 2, Specifically)

PAIRING - Thane Krios x Female! Engineer! Reader

SUMMARY - Thane's been tasked with locating and bringing back Reader to the Normandy in order to retire for the night to continue on with the next part of the mission to fight the Reapers the following day. Managing to locate them amongst the crowd of intoxicated partygoers, Thane comes to discover that his crew mate isn't as innocent as he had believed. Yet, with a little bit of convincing, he finds himself not only indulging with a piece of the clubbing experience, but also in Reader as well.

[stolas-bgw]

Play the Sidequests You Coward

Final Fantasy XVI is a litmus test for the patience gamers have for a story and worldbuilding.

FFXVI has got it's issues, it's combat is a bit over-reliant on the power of the dominant moves and is a little brain dead. It's crafitng system is... clearly forced in? Like the game did not NEED a crafting system and would probably be exactly the same without it. Late game the combat effects begin to obscure the screen and meld together so it gets to be a little difficult to tell what's going on.

That being said, the one and most common critique of FFXVI as being "objectively bad" are the sidequests. A critique I wholly disagree with and, to be honest, am sick and tired of hearing. When I see a reviewer critique the side quests as being boring and tearing away from the experience of the game, all I hear is "I didn't watch the cutscenes."

These quests are not just "collect 3 nuts, get shitty XP, and move on." These quests are world building and story fleshing out events. Some of the best stories are tucked away in these "fetch quests." These stories make the main quest feel MORE EPIC, MORE IMPACTFUL, not less.

As some have pointed out, CBUIII, the team that made FFXIV, clearly took their design for side quests from XIV and put it inot XVI. Except that's not true. They didn't take the structure for it's side quests, they took the structure from their main quests. FFXIV's main quest is filled with "go fetch 3 things," "go talk to X people," "hold my hand and give me a guided tour of X area." And to some people, these quests are "pointless filler." But to the people who are actually invested in FFXIV's story, you know these quests are ESSENTIAL to making the story as emotionally ressonant as it is.

The same is true for the sidequests in FFXVI. These quests feel as though they SHOULD be mandatory, not optional. But because FFXVI is a more mass-appealing game, CBUIII knew that not everyone would have the patience for dealing with these seemingly mundane issues. It was the correct move to make these sidequests. But they are anything but side content.

The sidequests are not boring fetchquests that give shit xp. They are story quests that flesh out the world of Valisthea, the people of the world, and Clive as a character. They show you why Clive fights for the right to live and die as you choose, they give the message of the game texture and depth. The main quests WORKS on it's own, but the side quests really elevate it, if you give them the time of day.

These are incredibly well written, emotionally resonant, and important missions that I am sick and tired for being compared to "shitty MMO quests." This isn't WoW where you help a random guy kill 40 boars and you never see them again. You getting that food to those people MATTER. Those people needed someone like them to reach out to them, or they may have had a much harder time integrating into a new life. Clive needed to see how horrible the world could be through the eyes of a child raised by a corrupt system. CLIVE would give a shit about the people who work for him and help them out when he can. He would want to LEARN about the people who are risking their lives day in and day out to help make their vision become reality.

Can some of the side quests feel boring? Sure. But that's kind of the point. These quests are grounded in reality and tedioum of life. Not nearly as much as in FFXIV, but still enough that it DOES test your patience and appreciation of the story and world. If you don't like that, that's ok it's why it's side content. But these quests ARE NOT MMO fetch quests. They matter and make the story better for existing.