#my thing is. they could have simply given will some more agency in the story and he could have made a fine bad or ambiguous guy

[bamsara]

If given the motivation I would ramble more about Trod, specifically Tyren and how he's my little dude but also a character who's behavior I've based on being a victim of obsession and idolization myself and how it's very cathartic to write a character exhibiting all the traits, both good and bad I've experienced in the Lamb's position and then knowing exactly how his story ends

That and some Narinder rambles and how Lamb is more comfortable with him than a sweet dog that surely shows more respect for them (idolization that does not see them as a person)

edit: nevermind I did end up rambling. Some TROD spoilers

its great I love this stupid dog and his scheming ways and writing just *why* he's doing what he's doing with genuine belief it's to better protect what and who he loves without actaully taking into account the subject of his affection's feelings on the whole matter. He would never hurt the lamb physically but clearly that three eyed cat is nothing but stress for them (and is he wrong? is Narinder not a source of stress? We are not light in the 'enemies' part of the friends to enemies to friends to lovers part of the trope)

Though the difference between Narinder and Tyren, the rehabilitation and the corruption, although all entitlement, is agency.

Narinder often touts himself as uncaring and hostile to the Lamb and is still angry from the betrayal, as they are, but their agency is still considered even in anger.

In the Fox chapter where Narinder wishes to sacrifice Grekimar and Tyren, Lamb refuses. They argue about it and Lamb stands their ground, Narinder is unhappy about it but does not go behind their back and sacrifice cultists anyway when he very well could.

After reuniting after the fight when Leshy is revived, Narinder and Lamb argues heavily over the subject of whether or not Narinder is allowed to kill Leshy, someone who harmed both him AND the Lamb severely, and even though he's bitter about it, Narinder acknowledges the Lamb was not given a choice prior and will sacrifice his own revenge and comfort so the Lamb can have their agency returned, at least a little bit.

^^^ This one is a complicated one because between both characters, neither killing the bishops nor keeping them alive would result in both characters getting what they want, with reasonable desires for it (wanting to have choice again, wanting revenge on their tormentors, ect)

so Narinder essentially sacrifices his comfort for the Lamb, someone who is constantly sacrificing pieces of themselves and sanity to keep everything in peace

It works the otherway around as well: Narinder demanding talismans and God Tears and Relics from the Lamb and they agree, not because they're required to do what he says but because that's their friend, and they trust him enough to help him with whatever he's doing

(and back to the argument where the refusal to sacrifice two followers was in exchange for some of their heart, Narinder refuses and breaks the deal off immediatly even though the Lamb was willing. The Lamb is obviously more important than whatever goal he had in mind, essentially scrapping his partnership with the Fox and method to gain power because he didn't want his usurper to be weakened. and other things.)

I won't talk about EVERY instance of this because this is already a long post, but overtime the two are forming communication, compromise, and even in anger, there is a respect there that puts them on the same level as equals.

Tyren does not really fall into that.

Tyren would never, and I mean NEVER hurt the Lamb physically. He would never yell at them, never be angry with them, never be upset with them, because he does not see them enough as a person to feel those things around them. And if the Lamb does disagree with him or make him upset, he will simply....disregard their current feelings on the situation and do what he thinks is best for him and them, even if it goes directly against their wishes.

And unlike Narinder, he would do it behind their back to stay in their good graces.

Tyren does care for the Lamb. Genuinely. He did long before that necklace was around his neck. He was already a little obsessed before the loyalty necklace was on him, it just gave him a slight edge.

He respects them but also doesn't. He takes their rejection at the party in stride and is completely unphased by it, completely understanding, but also plots to kill someone the Lamb called a 'friend' because the three-eyed hermit is clearly stressing them out and it makes no sense as to why they're crusading with him, or spending time with him when he's been nothing but a murderer and a blight.

I think a good summary of all this ramble is that when the Lamb tells Narinder to leave Tyren alone, Narinder goes 'whatever i fucking hate you and this stupid cult anyways. die forever' but does what they ask, while Lamb tells Tyren to please leave Narinder alone, and Tyren goes 'sure! :) anything for you my lamb' and digs up a corpse and drops it's mashed remains outside of the cat's hut with a fake letter from the Lamb saying it's 'breakfast'.

Narinder and Tyren are both very selfish, but in different ways

None of this probably makes sense

It is also 6AM

[anneapocalypse]

On Wuk Lamat, and Female Characters in FFXIV

The Thing with Wuk Lamat is you can tell me you think she had too much screentime; you can give me numbers on how many lines she had or how many scenes she's in relative to other characters or other expacs; you can prove to me "objectively" that she gets more focus than other main NPCs; you're simply not going to convince me that this is something I should be unhappy about. And not just because it's silly to think you can use numbers to prove a story is good or bad and make someone else go, "Wow, you're right, let me just throw away all the joy I experienced with this story and revise my opinion because you've scientifically proven to me that I'm wrong."

Because while I love Final Fantasy XIV and I have greatly enjoyed its story in so many ways, fundamentally one of my biggest beefs with this game has been how much female characters have been denied complex character arcs and growth and agency and interiority.

Minfilia gets treated as a sacrificial vessel who lives for everyone but herself and doesn't even get to have feelings about her own death because that entire arc is focused on a male character's angst about it instead. The game tells us in the Heavensward patches that Krile sees Minfilia as her best friend and then just forgets about that later and never follows up on what that loss must have meant to her. Ysayle is basically right about most of what she's fighting for but harboring a bit of self-delusion is apparently such a terrible sin that she has to pay for it with her life, while her male foil is deemed so worthy of salvation that there's a whole plot point about how important it is that we risk our lives and others' lives to save him. Y'shtola is a major character who's been around since the beginning, and the game keeps dropping maddeningly interesting things about her (apprenticed to a cranky old witch in a cave! saved her own life and the lives of her friends with an illegal and dangerous spell and it worked! reserved and undemonstrative yet regularly through her actions reveals herself to be deeply caring! disabled!) and then shows complete disinterest in following up on any of those things with the kind of depth and care shown to male characters with complex arcs like Urianger.

In general there is also a repeated thread of female characters being portrayed as weak or overly emotional: Minfilia is weak because she doesn't fight and needs to be eaten by a god in order to gain "a strength long sought." Krile is portrayed as not being able to pull her weight with the Scions (despite the fact that she actively keeps five of them from dying in Shadowbringers) and the only thing they could think of for her to do in Endwalker was be yet another vessel for Hydaelyn (hmm, that sounds familiar) and it's not until Dawntrail that she gets much actual character development in the main story and even that has to come alongside "Look, she can fight now so that means she's useful." (And I love Picto!Krile, I'm just saying, there's a pattern.) Alisaie, despite having very good reasons for needing to find her own path apart from her brother, is portrayed as having to prove herself when she returns, that she's "not the girl she once was," and "will not be a burden" (while Alphinaud is repeatedly given the benefit of the doubt and reassurance and affirmation from other characters even after he takes on responsibilities he isn't ready for and fucks up big time).

And if you follow me you know I adore Urianger, and I love Alphinaud and Thancred and Estinien too, so please don't misunderstand what I'm saying here! I'm not knocking those characters, or saying we shouldn't also love them. I just use them as a comparison to demonstrate how the female characters have been neglected.

Lyse has some of the stronger character development among the female Scions, and while she's still kind of portrayed as being too emotional and hotheaded in early Stormblood, I think it's actually explored in more depth in a way that I like; Lyse has good reasons for wanting to fight for her nation's freedom, but having been away from Ala Mhigo for several years now, she needs to understand the stakes for the people who've been there fighting for years, what they've lost and still have to lose. She grows as a person and rises to the challenge of leadership, and I'm even okay with the fact that she leaves the Scions afterward because it feels right for her to stay in Ala Mhigo, and at least she doesn't die.

And by all accounts she was, like Wuk Lamat, widely hated when her expansion came out.

Unironically I think the other female Scion with the strongest character arc is Tataru. She tries to take up a combat job, finds that it's not for her, and decides to focus on where her strengths are instead. In doing so, she both holds the Scions together as an organization in the absence of a leader by capably managing their finances, and also comes into her own as a businesswoman and makes international connections that benefit both the Scions and her personally. In contrast to Minfilia, she's not portrayed as weak because she doesn't fight, and is actually allowed to be an important character who's good for more than being sacrificed. Tataru is still distinctly in a supporting role for the player character, however, and her character arc happens as a side story that takes up a relatively small amount of screentime over several expansions, which I think is probably why she doesn't evoke such a negative reaction.

But there is a pattern of the game's writing showing disinterest in the interior lives of female characters generally, and in making their growth the focus of a story.

So yeah, I'm going to be happy about Wuk Lamat! I'm going to enjoy and celebrate every moment of her character arc, of her personal growth, of watching her put the lessons she's learned into action. I'm going to love and treasure every moment when she gets to be silly, embarrassing, emotional, scared, grieving, confused, upset, seasick, impulsive, and still deemed worthy of growing into a hero and a leader. I will love her with all of my soul and you simply will not convince me that it wasn't worth the screentime after such a profound imbalance for basically the entirety of the game. We've never had a major female character get such a strong arc with this much love and attention put into it and that means more to me than I can truly say. The backlash to it is disheartening, as this kind of thing always is, but I'm not going to let it ruin the wonderful experience I had playing it and how much joy it continues to bring me.

And for those of you who don't want any of that for a female character, thank goodness you have Heavensward and Shadowbringers and Endwalker and no one can take those away from you.

(And if you follow me you know that I love Shadowbringers and Endwalker and have very fond memories of Heavensward despite some issues with it, so not only can I not take that from you, I am not trying to!)

Some of us have been real hungry for a character like this with an arc like this, so, I think, y'know, maybe we can have that. As a treat.

[avelera]

Authority and the Urge: Morality and Redemption in Baldur's Gate 3

Theme 1: Domination vs. Freedom as an Alternative Moral Axis to Evil vs. Good

One thing that makes Baldur's Gate such a pleasure to play is that the writing team had such a clear understanding of their themes. Good and evil are not the clean-cut alignments of the D&D world. Rather, they reimagined good vs. evil along more subtle lines of domination and control vs. personal freedom and healing. For the most part, they are remarkably consistent without being preachy, which is no mean feat. Nor do they say you can't dabble in the morally ambiguous, indeed, all the Companions have dabbled in the morally gray and you are invited to draw your own line as to what behavior you find acceptable for them. Even Wyll and Karlach, the most morally upstanding, have made deals with devils for the greater good, and been press-ganged against their will into fighting for an evil tyrant. You are given the choice to say there is no redemption for even these unwilling moments of moral impurity, if you so choose. You can reject Gale for not telling you about the Orb immediately. You can kill Astarion for being a vampire, which isn't his fault. You can criticize and reject Shadowheart for her Shar worship and thus never learn the full extent of how much it was not her choice to join in the first place. You can also urge companions like Gale, Astarion, and Shadowheart to give in to their worst instincts and become true monsters, which brings me to the next important theme.

Theme 2: What is the Worth of a Single Life?

When speaking of themes in BG3, another major one is the power of one person to sway the path of others in their lives towards good or evil. One hand extended in friendship can draw Astarion back from a painful and self-destructive existence, the pursuit of power to insulate him from pain and harm that ultimately would lead him to perpetuate the cycle of abuse he suffered under. There are clear implications of how much the Companions life is changed by their encounter with the player character, in a really touching dynamic about the importance of one life to another, which also works as a game mechanic, imbuing your interactions as a player character with the satisfying power fantasy of being able to have social impact on your Companions as friends, loved ones, or (in an evil run) victims of your sadism. You can make or break them.

Which brings me, finally, to the Dark Urge. It's clear to my eyes that the Dark Urge was originally planned as The Custom Character path. What I imagine happened next, however, is that they realized that there were hard story beats in the Dark Urge's narrative, certain deaths for example, which would be supremely limiting and unsatisfying for many players, who would chafe against the lack of choice.

The Dark Urge is a fantastic novel character, since characters in a novel don't have to do what the reader would do, but video games with their interactive nature usually require a bit more freedom of choice for players to be satisfying. Obviously there are exceptions to this rule, but in general it's very challenging and rarely attempted in video games to put the player-controlled character into a situation where the player loses agency, where the character dies without player freedom to prevent it, makes choices contrary to what the player character would do in a game that otherwise offers choice, or that simply kills the player character without the option to avoid that fate. It can be done but it's very very tough, some of the biggest complaints leveled at RPGs like BG3 or Dragon Age games is when the narrative takes choice away or makes the character make choices, unavoidably, that players would not make or would fight to avoid if they could. They are often the center of the greatest fandom ire. So that's why I think the OC Tav with the blank backstory was created, for those who chafed at the lovely but restrictive narrative arc of the Dark Urge.

Mirrors of Morality: The Dark Urge's Redemption

I mention that I think the Dark Urge is fundamental to the core design of the game because their narrative path so nicely mirrors the other Companions. A blank-slate Tav is wonderful to work with, and very freeing, but you are left with the slightly hollow feeling of not having nearly the level of trauma or issues to work through that the Companions do. Your character has no past and few opportunities to form a coherent narrative that precedes the events of the tadpoling the way the others do. From a gameplay perspective this is of course nearly impossible to do otherwise, they can't anticipate every RP headcanon a player might run, but they can offer one with the Dark Urge who has the same sort of deep dichotomy and divide in their backstory that the others have.

That said, I completed an Evil Dark Urge run before I completed a good one, despite rolling two attempts at a good Dark Urge before stumbling onto an Evil Dark Urge that worked for me (an older drow matriarch, for those curious).

The reason I struggled was because I couldn't imagine a Good Dark Urge with agency in their prior life. My evil Dark Urge was a willing partner of Gortash and Thorm. One reason I made her older was because I imagined her as mature, worldly, cruel, sadistic, and completely on board with the plot. The amnesia was only a brief interruption to her plans, a distraction. Once she recalled enough of her life and previous goals to piece together her part in the Dead Three plot, she went right back into enacting it and, in the end, won, becoming the unquestioning ruler of a world of thralls in Bhaal's name. If anything, the dialogue options that implied that Bhaal was the one controlling her, or that she had done anything but make her own choices were almost insulting. This woman knew what she was doing, beginning to end, with the amnesia as only a minor interruption.

But this interpretation of the Dark Urge was based on the letter we find in the Dark Urge's point of view, where again, they show no unwillingness to be an agent of the Dead Three plot. Gortash's warm welcome further cemented the view in my mind: the Dark Urge knew what they were doing and was a willing evil participant.

So how, I wondered, can anyone justify a Good Dark Urge? Not saying it can't be done, but how?

The implications I found troubling at first were that anyone who was evil would become good if they were simply removed from their environment. It had a ring of a sort of natural innocence, a sort of "noble savage" worldview that all of us would tilt towards good if our minds were wiped clean. Optimistic in some ways, very dangerous in its implications in others. Then I realized it wasn't a statement. It was a question.

Theme 3: Nature vs. Nurture

I then realized that nature vs. nurture is actually everywhere in BG3 side plots. Another reinforcement of the fact the Dark Urge storyline is baked into the DNA of the story. You have the Githyanki egg plot, Baelen's memory loss making him a good but absentminded person (which can be undone if you give him noblestalk, when he reverts back to the cruel man he was), heck, even the owlbear cub can be given a loving home where he thrives. You are shown, over and over again, stories where you can choose and contribute to and ponder whether or not evil is a product of nature or nurture, in a way that's incredibly relevant to pondering the Dark Urge's path forward under amnesia. Was this Bhaalspawn evil by nature or by choice? It's very juicy stuff.

Furthermore: all of the companions actually offer ways to rationalize the Dark Urge and choose a path forward for them to fall back into evil or move forward into good. This is because the writers of BG3 are actually superb at thematic mirroring. Each Companion can be a mirror for one way to understand the Dark Urge, how they were evil in the past, and how they could choose to change.

Shadowheart: Indoctrinated into the cult of a cruel god from childhood, you grew up in a world where the only moral compass you had was utterly controlled by those around you. You never knew a different world than the cult of Shar/Bhaal. Now with your memory wiped, you have the option to listen to the voice deep down that says the cruelty demanded of you by the little you can remember feels wrong or even follow the good examples of your newfound Companions to see a different way to live. Maybe you always had goodness in you deep down, but the society you knew channeled you towards evil that you're only now free of, albeit with a past full of holes you're trying to fill in again.

Karlach: Maybe you were never a truly willing participant in the Bhaal cult. Incredibly skilled at killing, yes. Perhaps a bit morally flexible to get involved with figures like Gortash. But ultimately, when you were whisked out of the bloody war and world that you were immersed in by circumstance, you saw your chance to get your old life back from before the Bhaal cult and you took it. Baldur's Gate is your home. People like Karlach are the ones hurt by the actions of the Dead Three Plot that you might never have put a face to if you'd never been taken from that world. Now that you see the harm caused, now that you're free, you can finaly become your own person again after being a foot soldier for evil forces.

Lae'zel: You were a true believer in Bhaal's cult. You grew up worshipping your evil god. It's the only life you knew and the only life that gave you meaning. You were a willing participant but before now, you'd never known any other life. However, through exposure to other people, other cultures, other ways of life, you're beginning to see that there are ways to live outside your narrow life of indoctrination in violence. The final blow comes to this worldview when you learn that your beloved god is completely fine with your destruction. They allowed Orin to take your place. Bhaal/Vlaakith would see you destroy and enslave the world for their own glory and be perfectly happy to destroy you at the end of all your hard, devoted work. You did not sin against Bhaal by rebelling against the full horror of his cruelty and negligence towards you, rather, Bhaal has sinned against you.

Gale: You were the beloved Chosen of Bhaal. Coddled, cradled, told you were special and perfect and wonderful. Of course you happily participated in the Dead Three plot, you lived a charmed life as the elevated darling of your deity. But then something went wrong. You were cast out. You've awoken lesser than you were, your body betrays you, you've lost knowledge that once made you walk among mortals as a near-godly figure. And it seems like Bhaal/Mystra doesn't care, as you wander the wilderness. You're hurt. Betrayed. Tadpoled. Orin has taken your place so easily, just as Gale was cast aside so easily. You don't know what you did wrong. You're angry. Resentful. How dare Mystra/Bhaal cast you aside so easily? They offer you a solution to get back into their good graces which require a complete denial, a complete destruction of yourself - becoming Bhaal's chosen once more or blowing yourself up for redemption. Ultimately, the way forward is in choosing yourself and relying on your own cleverness, rather than being seduced back into their circle of influence.

Astarion: Bhaal was a cruel master to you who controlled your every move. That doesn't mean you were a nice person though, or you didn't enjoy murder. But now you are finally free of Bhaal/Cazador's immediate reach. They cannot fulfill their evil plot without you. You can destroy them now, undermine them, or replace them - fulfill the Dead Three plot in your own name. Or you can take this chance once finally outside their grasp to rediscover who you really are, what you want, all the while your hungers drive you towards continuing to take the lives of others. But perhaps the help of new friends can help you deny these urges and steer you towards being a new person. What that new, better person is, what they even look like, is unclear to you, you've never really had positive influences. But maybe you can find it together.

Wyll: You lived your own life before you ended up in Bhaal's plot, as Bhaal's chosen. But that life was stolen. Now, through circumstances beyond your control, you have disappointed your father. Is there a way to escape the reach of Bhaal's control, Bhaal's pact? Will you sacrifice your soul to redeem yourself in the eyes of your father?

Honorable Mention - Minthara: Tadpoled and controlled by the Absolute, you are now set on throwing down all old gods that once thought to control you. Maybe you'll take over the Dead Three plot in your own name. Maybe you'll just take pleasure in tearing it down for your own reasons. Either way, your gods have sinned against you, the cult of the Absolute controlled you, and now you are unleashed to take vengeance.

With the Dark Urge, any one of these paths can provide a map for how to imagine your life under Bhaal's cult. Any one can provide a map for how to make use of your newfound freedom and to justify becoming a better person and saving the world. Or choosing not to.

[codenamesazanka]

I think there are too many things about the AFO gave Decay theory that do not work out. It would cause more problems than it would solve, and although Horikoshi is no stranger to bad/lazy writing, the memory does feel like a red herring. Perhaps it is also notable that both the Tenko from the one-shot and the Sazanka concept character were (apparently) born with their Quirks.

(This is mostly me clinging to hope, though... But it feels like if this was all supposed to be AFO's doing, Shigaraki's character arc would have played out differently. I like your idea that even if AFO gave Tenko Decay, it doesn't matter anymore because Shigaraki has embraced the Quirk as his own, but that leads to another problem: if the reveal doesn't change anything, it doesn't have a point. It would just be there for shock value, and that would be some frighteningly bad writing.)

Yesssss, Tenko and Sazanka! Love them so much. Yeah, Oneshot Tenko says he has had 『the power to disintegration things he touches with both hands』 ever since he was born - doesn't know how or why, but that's his power; meanwhile Sazanka seems to have simply manifested the power to 『take away life with only a touch』 as his quirk (which is the freudian excuse for why he becomes a 'peacekeeping' vigilante who prowls the streets targeting people who has quirks "too chaotic for society"). I have also clung to these two as flimsy reassurances that Decay is Shigaraki/Tenko's original quirk, but gotta admit - doesn't mean much. Shigaraki Tomura Hero Academia is ultimately his own character with his own backstory. 

It would be fun, though, if the memory is a red herring. Like, in-story, Deku himself thinks he's getting 'there', getting 'closer'...

...but to what? The root cause? the foundational trauma? The pain Shigaraki put a lid on? What exactly does Deku think he's getting closer to? More importantly, why? Is it because the memories are, for the most part, chronologically going backwards, and he hasn't cracked all of the Shell of Hatred yet? Is it because he sees black-hair child Tenko, and thinks he's reaching The Crying Child moment? But we readers know The Crying Child Full Of Sadness he saw back in 305 was after Suit Man Brings Tenko Home?

So maybe you're right, that that glimpse of the memory is for the readers. Make us wonder, because we already know all/nearly all the shit that went down with Shimura Tenko—because Deku probably shouldn't know what meaning that memory has? (Unless we get another flashback to explain that Deku had some hidden knowledge all along, somehow. That is also sadly very possible.) 

Like I said before, AFO being revealed to have given 'Decay' to Tenko is something I'm not too opposed to in and of itself; what worries me is how the story will use it. And my worries are the same as yours - imo lazy writing, everything evil in the world is AFO's doing, and how it doesn't really do anything for Shigaraki's character beyond giving him one more tragic backstory element among many.

I've seen people argue that that's fine, it fits with what we know about Shigaraki already - he's just a pawn, he has no agency and never did, he's basically an overgrown Eri who needs to be saved and swaddled and then the Heroes can put on a concert in Tartarus 2.0 to make him smile. :D 

As you've noticed, though, Shigaraki's character arc haven't quite played out like that. Those same people mentioned above might argue that nothing Shigaraki does is actually by his own choice, that he's been so manipulated that he doesn't know up from down and basically everything he is and does is trauma/engineered by AFO/brainwashed into him (except for conveniently, magically, the good things), he needs to understand he’s actually Shimura Tenko, the sweet kid who only cried and made people feel awkward but could carry on the pretense of peace, thank goodness he doesn’t get angry and make people feel threatened and have to change things - but in the story, Shigaraki hasn’t forgotten that he’s Shimura Tenko - he remembers, he acknowledges, and he only says he’s become Shigaraki Tomura.

He still hates being rejected and being denied. He hates being looked down on. He's declared he doesn't want to take up AFO's previous title of Emperor of Darkness, or even be like AFO, eventually breaking out of AFO's possession with his own indomitable will; he's been literally shouting about following his own dreams. He's gone and found his own followers, his friends, and part of the reason he destroys is because of those friends. He’s wrong in choosing destruction, and yeah, maybe he was spurred on by trauma, but he’s not wrong in his reasons - same as Toga, Dabi, the heteromorphs, who were also spurred on by trauma, who were wrong in choosing violence, but not wrong that they were failed by society and not wrong about being angry. Like them, Shigaraki has fought to be seen, to live. Shigaraki has fought so insistently and consistently to be himself. 

But if so, and if we still get the ‘AFO gave Decay’ reveal and it doesn’t change anything, does it have a point? 

It does, actually! Not for Shigaraki, but for Deku. Currently Deku still has the excuse of not knowing a single thing about Shigaraki, so he can still only care about saving Shimura Tenko. Readers don’t have that excuse, so they have to blame everything that went wrong all on AFO. What the ‘AFO gave Decay’ reveal can do, though, is to shut both of those down. AFO gave Tenko Decay… but Shigaraki doesn’t care anymore, he’s actively choosing to pursue the path regardless. AFO gave Tenko Decay, but it doesn’t change anything about how the house his father built was abusive and enabling. AFO gave Tenko Decay, but that was 15 fucking years ago, and in all that time, from the moment the massacre occurred to when All Might raided the bar, no Hero had ever arrived to save Tenko/Tomura from AFO’s clutches. 

And Deku should have to reckon with that.

Let’s cope together. Thanks for the ask! 

[gorbalsvampire]

𝖃𝕴𝕴𝕴 𝕿𝖆𝖑𝖊𝖘 𝖋𝖗𝖔𝖒 𝕱𝖊𝖚𝖉𝖆𝖑 𝕭𝖔𝖍𝖊𝖒𝖎𝖆

𝔄𝔠𝔱 ℑℑℑ, 𝔰𝔠𝔢𝔫𝔢 𝔦𝔦

Our story continues with 'alf a coterie, as player availability is becoming a Factor. There are only two or three nights to go until Kupala's Eve (ol' relleytrots is keeping this both loosey and goosey in case we get caught in a "no more time for things to happen but we need a filler session" bind), and the coterie has several Problems ahead of them.

Tonight, Theodericus and Alzbeta deal with one of those problems: or rather, it deals with them. They awake to find the Knights Hospitaller activated - Libussa is under armed guard, and the Cainites are escorted post-haste to meet her. In the cloister garden, they are met by said Libussa, clearly exhausted beyond endurance (she's hanging on to her guards' halberds just to stand up), and Prince Brandl, along with some mortal hangers-on - the constable of the Old Town, and some minor courtiers.

Prince Brandl wished to know why his dictat concerning Vysehrad had been ignored - when he said forbidden to all Cainites he was not speaking in jest. Theodericus tried to claim that a lady - a queen, even! - was in danger, and the rules of chivalry could not be gainsaid, and that Libussa's masters and descendants were trying to take the city from Brandl -

Oh no. He knew. That doesn't wash. Of course the Fiends were trying to take the city; they had been trying to take the city for three hundred years.

Theodericus also committed his first ever act of deceit - although he can't actively lie he can omit elements from his report, and he simply didn't mention that any other Cainites had been there. A heroic effort on the part of this simple soul. Pity Alzbeta blew it out of the water immediately by asking permission to share the details of her visions, as further cause and evidence to disobey the Prince.

The Prince, sighing, explained that not all visions and callings are necessarily divine in origin: that he, in fact, can summon Cainites and mortals alike into his presence, and if he can do it, does it not follow that others can do it also? Alzbeta had not considered this, and neither had Theodericus, and they felt like right twits.

Turning to Libussa, the Prince demanded she explain herself, exerting his Presence to that effect, and -

*record scratch* Let's talk about my storytelling style for a moment here. I've always struggled with SPC Willpower - when they should and shouldn't spend it - as it's easy to fall into an adversarial mindset here. Recently, I've taken to asking questions like "how badly do we want this to go?" or, as I did tonight, "whose side are we on here?" - this establishes what the players want out of a scene and gives me guidance on how hard I need to go to avoid disappointing them. It's not about giving them what they want - if I have ever given a player what they want it has come at a cost - so much as avoiding them feeling like they had no say or agency in what happened, which can happen when their characters confront an SPC who's an order of magnitude more powerful than them.

Anyway, the crew were more pro-Brandl than before! Alzbeta wanted to help Libussa without putting anyone else in danger; Theodericus now understood the Prince was more competent than he'd thought, and that he might have backed the wrong horse, considering how Libussa was still acting like a woman possessed.

The Prince thus pushed on Libussa, getting the truth out of her; that she was indeed the Queen of the Goths, sworn to serve the patron goddess of her people, entombed beneath Vyserhad. Brandl, moved to pity or perhaps sensing an advantage, made her - and the coterie - an offer. He would take Libussa under his protection, free her from her Blood Oath to Shaagra one way or another, and they would owe him a boon for their defiance, but he would keep schtum about their transgression as long as they did.

Libussa accepted this offer.

*record scratch* So this is another thing that occasionally gives me hives: something that I think is cool as shit, but the players have no way of knowing because it's tied to details about the SPCs that they don't even know to look for. I want to communicate those things because they're cool as shit beats on which a story can turn, but short of roleplaying with myself or writing flash fiction very quickly I don't quite know how to manage that.

Anyway, Alzbeta wasn't sure she was doing the right thing, and so she attempted to force a premonition - INSTEAD activating her new Aura Perception. The splashes and blurs of colour around the Hospitallers; the dark bodies and deep ruddy cores of the Cainites with their Beasts; the hollowness of Libussa, eaten inside out, dark and dead as a Cainite but without that inner bloodlust's light; and a spectral presence, white and evanescent. Octavio. Octavio standing before her, awaiting judgment. She wondered if, perhaps, he was a Prophet by choice, or if he had been compelled to this by some outside force as well - and in that moment of compassion, the presence of Octavio walked through her, and she felt her heart beat, just once.

Prince Brandl accepted her subsequent apology, and left Libussa in the care of the Hospitallers; the coterie had to bring him Octavio to earn their forgiveness in his sight.

Alzbeta took the moment to comfort Theodericus, offering to pray for him - he hoped merely that she could forgive herself. Libussa, at this moment, broke down weeping, and Theodericus rushed to her and asked what she wanted. Really. Truthfully. To die? To be free? To be normal, just for a few days, before the end?

Through her tears Libussa answered that it didn't really matter. Having betrayed her goddess, her defilement was complete. It was better that the Cainites watch over Agnes, her descendant in the convent, who they're collectively sure is destined to be a sacrifice to awaken Shaagra. Libussa could live another three hundred years as a traitor, if it meant another could be spared what she has endured.

Here endeth the session - but I wonder what Mariam and Marsillius were up to?

[pokelolmc]

Fixing TUE Part 4.5--Clockwork and the Observants Headcanons

Welcome back to my analysis of The Ultimate Enemy. Anyone who wants some juicy Clockwork lore, welcome! I've criticised his canon portrayal in Part 4, so here we are onto the changes!

(Part 4), Part 4.5, (Part 5)

I’m not entirely sure on how I'd change the events of The Ultimate Enemy itself—but I can spitball some ideas for background lore of what Clockwork is, what he's capable of and how he works. Establishing limits/profiles of Clockwork’s power, knowledge or moral compass to help guide how his character would act in a rewrite.

Idea one: Limit Clockwork's knowledge. He can only see time by viewing the time window, and has the ability to gain knowledge in real time. He's distinctly fallible.

Idea two: We could limits Clockwork’s power to act on his knowledge by saying that his existence happens outside of normal time—and mixes with it like oil and water. Perhaps his tower/lair is a rift in time, the temporal dimension bleeding into the Ghost Zone—so it’s sort of a “negative space” compared to normal time. Rather than his “Time Outs” being just a tool to manipulate time…it’s his only means of navigating the flow of normal time itself. He can interact with normal time only by existing in these moments “in between”.

The amulets allow him to bring other elements or people from regular time into this “gap in time” to talk to them, but he has limited power outside of communicating with them during these time-outs so they can act in his stead. Hence, why he relies on other ghosts to do his dirty work.

The only problem is, of course, that would still leave the question of “Why not inform the other characters of Dan’s origin story?”, “why not get other characters to interfere with the birth of Dan” and “why not just bring Dan outside of time to fight or contain him?”…but I don’t have answers for that just yet.

Idea Three: Alter Clockwork's intentions, morality or free will. For example, what if Clockwork wasn’t a ghost in control of time, or a master of time, but literal time itself? 

That is, he was less of a person and more of a force of nature. As if the rift in time, which created his tower, leaked energy in the Ghost Zone until it gathered enough ectoplasm to create an avatar for itself. Clockwork is time’s ghostly extension, or an extra limb…or if time itself had its hands up the back of an ectoplasmic sock puppet, making it talk.

Time itself could be a primeval or fundamental force. But just like in real life, it’s not a person. It doesn’t really have thoughts, or feelings, or free will/agency to act on its own behalf. Time…simply is. It just exists. It just…happens the way it does. If time is a program, Clockwork could be like the holographic interface or pop-up window telling the user what’s going on in the OS. An ectoplasmic AI which has learned how ghosts communicate, but isn't as self-aware.

So, we have an interesting twist on the age-old “wise master of time refuses to interfere because they want to be responsible” trope (like the Time Lords from Doctor Who). It's not that there's some "grand plan". Clockwork’s lack of proactivity to change things optimally is because he is the avatar of time. And time just is--it doesn’t try to change itself. Heavy attempts to alter time are a very human…or…ghost thing to do.

This could be why the Observants are the ones who prompt him into action. Perhaps the Observants were the ghosts to discover time travel, and to whatever extent that they have manipulation over time, they have control over Clockwork. They’ve given up on interfering and instead prompt Clockwork to do their bidding.

If we wanted him to have character development, we could have him gradually gaining more "humanity" as he interacts with Danny. Or maybe the Observants' control stunted the development of Clockwork's ghost as his own person, and Danny releases him.

Or perhaps he already has some level of personhood/his own mind as his own ghost, but since he’s still connected to time itself he has limited free will—he is still largely directed by the whims of fate. Though you would have to establish that some sort of fate exists.

Idea three: This is another limitation or weakness that revolves around Clockwork more as a thinking person than the face of an unthinking force. It’s inspired by the Bootstrap Paradox.

Clockwork, as someone who (in canon) can both affect the events of the timeline AND see future outcomes in the time window…should be theoretically able to see timelines/events that result from his own actions, before he gets the idea of what to do. Either he could see what he does, or the results of what he does and infer what he did in his own relative future.

But if Clockwork only knows what to do, because he saw it (or could only deduce what he’d done) in the results in the time window… He didn’t realise it by himself, but was affected by the information of how his future alterations would affect time—he watched what he would do, and knew what to do from there. And the only reason his future self would’ve done that would be because he saw it in the time window too. In that case, where would Clockwork’s ideas have come from? How much free will did Clockwork have?

Which is why I propose the idea that Clockwork can see the results of others’ decisions in the time window, but not his own. He can see what everyone else can do, but not what he can as a being outside of normal time. He has to predict the results of his actions the way a normal person has to rely on guesswork, but with more intelligence involved.

This wouldn’t excuse stupid actions like giving Danny the CAT answers, since he’d still be highly intelligent or wise, but he at least wouldn’t be already know the impacts of his own choices before he makes them. It gives him more wiggle room to potentially fail, or be surprised by Danny’s choices and humanity. Things could have a viable reason to take him off-guard.

[howtofightwrite]

I'm trying to write some old fighters in my story (just plain normal humans) though I've heard of all the old people are vastly more experienced than younger fighters, but how about when the old fighters in fact started learning late (and how late?)? Is there a difference with a 25 year old with 5 years experience and a 60 year old with 10 years experience? I keep hearing it's never too old to start, but isn't that just recreational and fitness purposes?

It's not just recreational and fitness, but this start to run into some serious issues. Physically, you'll hit your peak sometime between your late teens to early twenties (this varies from individual to individual, but even at the latest, you'll peak in your mid-twenties), and will all be down hill after that. In fact, for a martial artist, that decline is going to be more significant because martial arts (and combat) put extraordinary strains on the body.

Someone who is in their sixties and has maintained a healthy exercise regime, is likely to be in better health than I am. I've had bone-on-bone contact in my knees since I was in my late twenties. And, yeah, that's not normal for a martial artist, but that's kind of persistent injuries you'll start to see.

So when we're talking about experience, a lot of times the sheer volume overcomes that damage. Someone who's 60 years old, and has been practicing martial arts for 55 years, is going to be far more dangerous. Even with the damage they've done to their body over the years, they're simply to be more effective than someone in comparatively good health, but with limited training and experience.

Starting at twenty and training for five years isn't a lot of experience. Now, there are very significant possibilities here that could radically alter that calculation. Particularly if they've been trained in a practical martial art, with the intention of using it on other people. Some potential examples would be military Krav Maga, MCMAP, even the version of Judo practiced by law enforcement agencies. Someone who is 25, and has been training to kill people with their hands since they were 20, can be a legitimately dangerous foe.

Beyond that, starting at 50 is unusually late for a practical combatant. That's well past the point where age is taking a toll on your body, and by that point in your life, you're going to need to be very careful with the fights you commit to. Ten years of combat experience is going to further amplify that. Again, ten years isn't a lot of martial arts training, particularly for someone in their sixties. It's not weird for a recreational martial artist who entered later in life, but it is unusually late for someone to start combat training that late. Most practical combatants would have started much earlier in life (probably in their twenties, like the other example you gave.)

Of course, the critical thing about someone who's sixty is, they have sixty years of experience. It may not be combat related, but that experience is there, and, if they're smart, that can dramatically help cover for their lack of combat experience. Everyone is different, and when you're talking about a much older character, like this, it can be very difficult to predict how well they'll handle a given situation, without a full breakdown of the character. That could easily be someone with a lot of experience psychologically assessing and manipulating others, who could easily turn those skills into a significant strategic advantage, or it could be they're exceptional at basket weaving. Like I said, it's hard to judge in a vacuum.

I suppose the short answer is, “yes, there are differences,” but that was always going to be the case. Your characters should be (somewhat) unique from one another, or you should probably start to condense and cull the roster of characters. Someone who started much later in life would need to be a very different martial artist from someone who started combat training at 20.

-Starke

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[aurora-313]

Sometimes characters with just one scene become extremely popular. Why do you think that Masaki took off and has a huge fanbase, while our dear boy Kaien has like 3 fans total? Why isn't he insanely popular?

I admit that personally I have strange tastes, not to be a hipster, for example I liked the chemistry between Fin and Rey and so no romance between Kylo and Rey, and to the internet I'm of apparently disgustingly wrong opinion.

I can't say I have the definitive answer but I can give my two cents:

Masaki has the advantage of being Ichigo's mother and the circumstances surrounding her death are somewhat mysterious.

Ichigo is the main character and she functionally serves as a major source of his angst for... extremely questionable, vague plot and character reasons. (mostly because the plot can't function if anyone bothered to tell Ichigo literally everything he has every fucking right to know, but hey... -.- )

But if I may tangent for a moment: Masaki being a Quincy is something that still has me seeing red. There's a whole other plot progression that could've made more sense and been far more concise without unnecessarily dragging a boring Quincy cast and an Aizen knock-off with a bad mustache out of the dumpster. Which would've also tied everything up in a bow with Aizen's defeat without destroying every modicum of Ichigo's agency... but that's another post for another time.

Circling back to your question: I think if the anime adapted the scenes more faithfully, especially in Soul Society, we'd have seen a larger fanbase for Kaien. A lot of Kaien's references were simply omitted. EG; Ukitake wondering what Kaien would do in the whole scenario (up to and including likely literally kicking Byakuya's ass), Rukia asks his memory why would people come for her, Byakuya flashing back with disgust and a modicum of respect when he compares Ichigo's ferocious will with Kaien's and the abandoned implied reincarnation storyline Kubo set up then abandoned during the Aizen confrontation then we'd have a lot more fans of him.

A majority of fans got into Bleach through the anime, and the anime omitted massive parts of the story that removed meaning from Kaien's character. Worst still, the last thing we see of him is an Arrancar puppeting his corpse. Which means a lot of his 'personality' is relegated to some doppelganger twisting him into monstrous parody. What a note to end on, right?

At the same time, I can see why his presence was so diminished across the manga. He entered the narrative as Rukia's source of guilt, as Ukitake's source of inspiration, as Ichigo's spiritual predecessor, as the one who introduced the concept of heart to Rukia and then gracefully bow out when Rukia allowed herself to take his final lessons to heart (pun intended) and absolve herself of guilt, symbolized in her third Zanpakutou power. (I am shocked however that given Rukia's fight with As Nodt, that we didn't get a cameo in that fear cage, especially considering given, canonically, her most horrific memory was of Metastacia!Kaien... but hey.)

But given how Kubo forgot the Visoreds were the ideal counter to the Quincy and forgot they had their masks, reducing them to chumps, how could I expect him to remember someone like Kaien...?

...

Wow. You admit to liking those characters? I'd delete them all in a heartbeat if I got Kyle Katarn, Jan Ors and Mara Jade instead... but I wouldn't trust Lucas Fims to write their way out of a paper bag if their life depended on it right now.

[blackjackkent]

Here is the thing that bothers me, as someone who works in tech, about the whole ChatGPT explosion.

The thing that bothers me is that ChatGPT, from a purely abstract point of view, is really fucking cool.

Some of the things it can produce are fucking wild to me; it blows my mind that a piece of technology is able to produce such detailed, varied responses that on the whole fit the prompts they are given. It blows my mind that it has come so far so fast. It is, on an abstract level, SO FUCKING COOL that a computer can make the advanced leaps of logic (because that's all it is, very complex programmed logic, not intelligence in any human sense) required to produce output "in the style of Jane Austen" or "about the care and feeding of prawns" or "in the form of a limerick" or whatever the hell else people dream up for it to do. And fast, too! It's incredible on a technical level, and if it existed in a vacuum I would be so excited to watch it unfold and tinker with it all damn day.

The problem, as it so often is, is that cool stuff does not exist in a vacuum. In this case, it is a computer that (despite the moniker of "artificial intelligence") has no emotional awareness or ethical reasoning capabilities, being used by the whole great tide of humanity, a force that is notoriously complex, notoriously flawed, and more so in bulk.

-----

During my first experiment with a proper ChatGPT interface, I asked it (because I am currently obsessed with GW2) if it could explain HAM tanking to me in an instructional manner. It wrote me a long explanatory chunk of text, explaining that HAM stood for "Heavy Armor Masteries" and telling me how I should go about training and preparing a character with them. It was a very authoritative sounding discussion, with lots of bullet points and even an occasional wiki link Iirc.

The problem of course ("of course", although the GW2 folks who follow me have already spotted it) is that the whole explanation was nonsense. HAM in GW2 player parlance stands for "Heal Alacrity Mechanist". As near as I've been able to discover, "Heavy Armor Masteries" aren't even a thing, in GW2 or anywhere else - although both "Heavy Armor" and "Masteries" are independent concepts in the game.

Fundamentally, I thought, this is VERY bad. People have started relying on ChatGPT for answers to their questions. People are susceptible to authoritative-sounding answers like this. People under the right circumstances would have no reason not to take this as truth when it is not.

But at the same time... how wild, how cool, is it that, given the prompt "HAM tanking" and having no idea what it was except that it involves GW2, the parser was able to formulate a plausible-sounding acronym expansion out of whole cloth? That's extraordinary! If you don't think that's the tightest shit, get out of my face.

----

The problem, I think, is ultimately twofold: capitalism and phrasing.

The phrasing part is simple. Why do we call this "artificial intelligence"? It's a misnomer - there is no intelligence behind the results from ChatGPT. It is ultimately a VERY advanced and complicated search engine, using a vast quantity of source data to calculate an output from an input. Referring to that as "intelligence" gives it credit for an agency, an ability to judge whether its output is appropriate, that it simply does not possess. And given how quickly people are coming to rely on it as a source of truth, that's... irresponsible at best.

The capitalism part...

You hear further stories of the abuses of ChatGPT every day. People, human people with creative minds and things to say and contribute, being squeezed out of roles in favor of a ChatGPT implementation that can sufficiently ("sufficiently" by corporate standards) imitate soul without possessing it. This is not acceptible; the promise of technology is to facilitate the capabilities and happiness of humanity, not to replace it. Companies see the ability to expand their profit margins at the expense of the quality of their output and the humanity of it. They absorb and regurgitate in lesser form the existing work of creators who often didn't consent to contribute to such a system anyway.

Consequently, the more I hear about AI lately, the more hopeful I am that the thing does go bankrupt and collapse, that the ruling goes through where they have to obliterate their data stores and start over from scratch. I think "AI" as a concept needs to be taken away from us until we are responsible enough to use it.

But goddamn. I would love to live in a world where we could just marvel at it, at the things it is able to do *well* and the elegant beauty even of its mistakes.

[deyaviews]

Part 2 of the robot x trans girl story I wrote! Posted part 1 two weeks ago here. Recommend that you read that first. Unless you purely want to read a sex scene without context?

CW: sex

Part 2 - Robot x Trans Girl

“May I kiss you?”

Ellie didn’t respond immediately. How could she? Her brain was scrambling to find a cell that was working properly. The air felt thick with the pause left between them. She stared into Abby’s eyes, at every colour and line within them, until they became blurred as she gazed beyond them, staring into infinity and into Abby herself. Her mouth hung open, as if she’d been ready to say something, but left it hanging there, dumbfounded. She recalled how Abby had once praised her knowledge on many subjects. Now, Ellie found herself in the knowledge that she had precious little of it when it came to kissing. She’d wanted it, of course! The circumstances of life had conspired against her to offer her few chances, and her choice in career had decreased them further still. At the same time, that career had led to this moment. To this beautiful creation before her, asking her this. Was this… ethical? She’d never treated Abby like a child, always as an equal, a friend, simply one that still needed to learn more about the world, and she had provided plenty of space and materials for Abby to do so on her own. Her own fears of seeming controlling of someone else kicked in now too, but they were also the reason she had focused so much on making sure Abby had agency. That she could feel as human and independent as she wanted to.

That Abby could consent too.

Ellie swallowed nervously. Coming out of her thoughts, she found herself staring at Abby’s slightly parted lips. Ethical concerns considered, she did want to kiss her friend.

“Yes?” Ellie said.

“That does not sound like enthusiastic consent.”

“No. I mean yes! Yes, kiss me.”

Abby smiled instinctively. She leaned in and pressed her lips against Ellie’s. It was warm, a little wet, and she could feel the excited ba-bump of her heart beating.

Ellie tilted her head and leaned back into the couch, pulling Abbie along with her to not break their kiss. She parted her lips and with some uncertain hesitation let her tongue slip through and into Abbie’s mouth.

After a few seconds, Abbie drew away.

“What was that?” She said.

“What was what?”

“There was a sensation in my mouth.”

“My tongue?”

“Is that something people do a lot?”

“Only when kissing, but I think so. Did you not like it?”

Abbie seemed to calculate her feelings about it for a moment. “I liked it! It was surprising and my body’s alarms went off, but the sensation itself was pleasant.”

Ellie couldn’t help but giggle. “My body’s alarms also go off a lot, even when things are pleasant. Sometimes especially when they are pleasant.”

“That seems inconvenient.”

“It can be, but it’s not necessarily a bad thing.”

“Have your body’s alarms gone off with me?”

“Um… yes? They uh… they’re kinda on high alert right now.”

“I see. Should I stop?”

“I don’t want to stop. Do you?”

“No.”

“Then…” Ellie placed a kiss on Abby’s lips. “What do you want to do?”

Abby’s brain races through various searches and possible responses, filtered by ones appropriate to the situation. She had seen similar situations in the media Ellie had given her to consume and learn language and things about the world. Once she had all her possibilities, she chose a response tailored for Ellie.

“You.” Abby said. “I want to do you.”

Ellie felt her face flush. The alarms were going off, ready to kick into a fight or flight response, but she noticed that Abby was so near to her and her hand rested on the couch’s arm rest, barring an escape if she had desired it. Her desire was not for escape however, and it wasn’t for fighting either. She swallowed her anxieties and put on a brave face.

“Oh really? What do you want to do to me?”

Abby’s eyes scanned over Ellie’s face. “I want to ease your tension. I can sense your muscles tightening. Your face temperature has increased by several degrees. Your pupils have widened.”

“Th-that’s all natural in a situation like this.”

“It is? Oh. Should I not offer release in this kind of situation?”

“Um. Not to everyone, no… but I don’t mind it. I… would like it.”

“Okay. Shall I proceed slowly?”

“Yes!” Ellie said eagerly, then pressed her lips together as if she’d spoken too quickly. “Maybe not even slowly,” she mumbled after it.

Abby nodded with a smile. She propped her legs up on the couch and came in close again for another kiss. Her hands moved to touch Ellie’s body, trailing over her arms and up her sides. Ellie’s skin got goosebumps underneath Abby’s touch. The girl’s eyes were closed in the bliss of kissing. Her hands moved to unhook the clasps of her overalls, and then to find Abby’s, taking hold of them and moving them towards her breasts. Abby hummed in satisfaction at Ellie’s enthusiasm and gently massaged the girl’s breasts. Ellie squirmed underneath her at her touch.

Abby broke away from their kiss to let Ellie breathe. Her breath came out as a satisfied sigh and a disappointed whimper at her want for more. Abby reached over to Ellie’s knee and pulled the girl’s legs onto the couch, turning her towards Abby completely. Ellie’s eyes went wide as Abby pulled her close, now fully hovering over her as she lay flat on the couch. Abby straddled one of her thighs and leaned heavily on one hand places next to Ellie’s face.

“Is this going slow enough?” The robot said.

“You’re doing great.” Ellie said with a hint of amusement. “You learned well.”

“You gave me good resources.”

“Maybe you can be the one to teach me a thing or two then.” Ellie giggled.

“Maybe so.” Abby smiled.

She leaned in close again to kiss Ellie more. Her body lowered into Ellie’s, lying down tightly against her. As they kissed, one of Abby’s hands moved down across Ellie’s overalls to between her legs. When it arrived there, Abby could feel a tremble through Ellie’s body, and the girl pulled up her free leg, the other one held back by and moving against Abby’s body.

“Ah, you like that, don’t you?” The robot said, her voice dropping lower.

Ellie’s response came in gasps. Had Abby made some assumptions about her from what she’d given her?

Abby smiled, as if she’d read the girl’s mind. Her hand moved up and down, applying a little pressure.

“You like me being assertive, don’t you?”

Ellie bit her lip and nodded. “I do.”

Abby chuckled and kissed Ellie’s forehead. “Good girl. I like how you communicate so well with me. It pleases me, and I’d like to please you.”

Ellie bucked her hips into Abby’s hand. The robot rose up and took hold of the girl’s overalls. With Ellie lifting her butt, Abby pulled the clothes down. She moved aside to free Ellie’s leg and pulled the overalls off her.

As they came off, Abby caught Ellie’s legs, pointing up at the ceiling. She looked down at the girl from between her legs, hugging them against her shoulders.

“You have given me a lot of poetry to read,” the robot said, “but I have difficulty finding the words to describe your beauty beyond its physical elements.”

Ellie smiled shyly. “How would you describe its physical elements?”

Abby processed for a moment. “Warm. Light. Curvaceous. Soft. Moist. Shimmering. Opalescent. Gleaming.”

“Are you describing my eyes?”

“Your eyes are beautiful.”

Ellie giggled and hid her face in her hands. “Stooooopp!” She said, paused, then peeked through her fingers. “Go on…”

“Your face is beautiful.” Abby continued.

“Your legs…” She kissed Ellie’s calf. “Are beautiful.”

“Your thighs…” She moved backwards and lowered her head, kissing the inside of the opposite thigh. “Are beautiful.”

Ellie shuddered.

“Your tummy…” Abby moved forward and kissed it. “Is beautiful.”

“Your panties…” She kissed the bulge in Ellie’s panties, invoking a twitching reaction. “Are beautiful.”

Ellie moaned. Her hands slipped underneath her shirt. “Keep going.”

Abby rubbed the panties and lifted them up to move them aside, slipping fingers into it to take out Ellie’s girlcock.

“Your girlcock,” she said, kissing it, “is beautiful.”

Ellie gasped.

Abby’s tongue poked at the member and then drew languidly across its length. It twitched and grew firmer under her touch as she repeated the motion on either side. When she did it a fourth time, her lips closed around the head and her tongue swished around it, drawing louder moans from Ellie.

Abby drew back, placed a kiss on the head of Ellie’s girlcock, smiled upwards at Ellie, and then took it back into her mouth.

Ellie trembled in pleasure. The way Abby moved and felt, she was indistinguishable from human. Her skin, her lips, her tongue, her fingers… The only things that showed she was different, that she was more, were those beautiful eyes with a light inside, and the gentle vibrations she could feel thrumming inside of her mouth and underneath her fingertips.

Under such influence, it did not take long for Ellie’s gasping “I’m coming! I’m coming!”

Her hips bucked. Abby’s hands held onto Ellie’s butt tightly, the motions of her mouth continuing until that first release came out.

Ellie’s body sagged back down, guided by Abby’s hands. She was mush, laying down, trembling in aftershock. Abby’s mouth came off her girlcock and the robot swished her tongue over it again to clean it off. She giggled as she finished her job, then crawled over to lay down and cuddle up next to Ellie.

“How was that?”

Ellie’s exhausted face broke into a dopey grin. “That was really good, thank you.”

Abby smiled and closed her eyes as she wrapped an arm around Ellie. Ellie put one arm on top of Abby’s.

“I’m very happy to have you.”

“I am very happy to be.”

“Can we do this again sometime? Let me return the favour?”

“Maybe, if you like. I would be up for it, provided with the right parts. There are also things I haven’t shown you yet.”

Ellie laughed. “You make me curious.” She closed her eyes and nuzzled her face against Abby’s. “But for now I wanna just lay her like this.”

“I am also up for that.”

And they lay like that for a while.

——————————

(Reblogs and comments are super welcome! Thank you for reading, and have a great day!)

[megamindslair]

A New Assignment

Moving my fics to @megamindsecretlair

Warnings: There's cursing. Bucky x Blackfem!reader.

Summary: One-shot. SHIELD is trying to rebuild its numbers and its operations, without the pesky Hydra stuff. You are an agent with a troubled past who has been taking any and all assignment you can get your hands on. However, Handler has a different assignment in mind this time.

Word Count: 1,654k

A/N: I just finished watching the Spy x Family anime and I loved the idea of a handler, no name given. I love spy stuff in general and I just wanted to write the a** line. LOL. Enjoy.

You were tired. The extra assignments were kicking your butt and the agency-wide shortage wasn’t helping. On more than one occasion, you’ve told Handler that they could simply recruit more people. Shocker you know, but with so many things Handler had to take care of, it was possible that a simple solution could fall through the cracks.

She was not amused. She launched into her favorite speech about the vetting process and how there was a thin line between idiots and spies. Even their best technology didn’t catch Hydra agents under their noses. It wasn’t enough to pluck some pimply fresh face from college anymore. And on and on her complaints went.

Until then, you dragged your carcass across Shield HQ. The agents were…promising. And that was putting it politely. Recruitment was slow and the focus was on other agencies like Sword, though you weren’t sure what was going on there after the whole Hayward thing. 

The new HQ was a lot more discreet than the previous Triskelion. It still lacked any actual decorating. The walls and floors were bland, the fluorescent lights were as bad as ever, and they used the same landscape and ocean prints from before. For all intents and purposes, it was business as usual. 

You crossed the building and took the elevator to the eleventh floor. Analysts milled around passing folders and talking to each other over their cubbies. They gave you a wide berth and whispered behind their hands. You kept your head high and your shoulders squared back. You could not control rumors and they had nothing to do with you. You, Handler, and the brass at Shield knew what happened. That was all that mattered.

You made your way to the back of the open floor plan and knocked on the door. Handler called your name and you entered, closing the door behind you.

Despite the drabness of the offices outside, Handler’s office was more stylish. The carpet and walls were still a dull grayish blue, but the paintings she chose were thought provoking. In one, two forms were contorted so it wasn’t clear if they were embracing or fighting. It was dark at the bottom of the painting as if they were emerging from a pool of inky blackness.

Handler’s chairs were plush and it was like sinking into a cloud. The desk was large without being obnoxious and it held her two computer screens, folders, mail, and small knick knacks like mini snow globes from various countries and shot glasses lined a shelf behind her. Two large windows let in enough light that the overhead lights weren’t truly necessary. In one corner, there was a flat screen TV depicting the latest news story. 

Handler leaned back in her seat as she tore her amber eyes away from the computer screens. She narrowed her eyes at you, a frown spreading across her small face. It only made you smirk as you settled more into the chair.

“We have a long assignment for you,” she said. 

“What?” 

“We appreciate your dedication to the short assignments and picking up the slack. As a reward, we’re placing you undercover at Bowers Innovation. There’s chatter that they’re working on a super soldier serum,” she said. She nodded towards a thick folder hanging off the edge of the desk.

You took it and skimmed through it. The folder held dossiers on the target, the lab, coworkers, etc. 

“We have other agents already in place to provide some cover.”

“Will people ever give up on super soldiers?” You asked, more to yourself. It seemed like even though aliens and gods visited Earth on a regular basis, people would never stop their endless hunt to be better and do better and live forever.

“As long as there are wars to win and soldiers to fight, people will never stop. We’re sending you in as a team. You’ll be partnered with another agent,” Handler said. 

“I work better alone, you know that. Why are you giving me this?” You asked. This was more suited to grunt work. You were not a babysitter. 

Handler lifted a perfectly arched eyebrow and pursed her lips. She blinked a few times and conveyed an entire conversation in that one look. 

You tilted your head and communicated right back. This was not the best use of your time or skills.

“You are uniquely qualified for this mission. Your exceptional ability to bullshit your way through anything is needed. You could sell ice to a penguin,” she said.

“Why, Handler. Flattery gets you nowhere,” you said, with a grin. 

Her jaw flexed but the blank expression she was known for remained in place. You didn’t really think you could get beneath her skin, but it was fun trying. 

“So, what, you want me to break into this lab, destroy the formula?” You asked.

“Emphasis on a long assignment. We need to know who hired him, where the serum is going, has it been tested, etc. It’s all in the folder.” Handler waved her hand as if she were bored with the whole conversation.

That made two of you. You didn’t like one thing about this assignment. Any attempt at contact would make you suspicious, whether your coworkers vouched for you or not. You were pretty good at bullshitting your way through things but with something like this serum, security was going to be tough. And what was your partner supposed to do?

“Fine. I’ll head to logistics to pick a partner,” you said.

“That’s already been arranged,” Handler said. If you didn’t know any better, you’d swear she smirked.

“What’s going on here? Who’s my partner?” 

Handler turned cat-like amber eyes towards you and said the last name you ever expected. “James Buchanan Barnes.”

Heat flashed over your skin. Anger boiled in your gut. “Are you kidding me? Bucky? He’s the opposite of low-key! I’m not doing it. Bucky is a pain in my natural Black-”

“Ass? You can be sometimes, but it’s part of your charm.” 

You whipped around in your seat and saw the devil himself standing in the doorway. How did he manage to open the door and drop in on the conversation without you noticing? 

You glared at him before looking at Handler. Her face hadn’t changed but you just knew that she was laughing her head off under that stoic exterior.

“Assign someone else,” you said.

Bucky shuffled in and closed the door behind him. He sat down and folded his hands in his lap. 

“Aw, but we got married. It’s a little late for cold feet,” he said. 

You kept your eyes trained on Handler while he kept his eyes focused on you. You schooled your features and dropped your tone. 

“Perhaps this assignment will work better with a more qualified agent. James’ face is too recognizable,” you said.

“That’s precisely why he’s qualified. Any person we’ve sent to get close to the scientist, Julius Fisher, was quickly shut down or the agents were found out. He’ll know that anyone would pay top dollar to replicate the super soldier serum. And if he’s not willing to sell, they’ll steal his research or kill him. He will definitely be suspicious of the two of you. But, he also won’t be able to resist a super soldier. He’ll come to you, trap or not.”

“He’ll know that James isn’t married. If he suddenly turns up married, that’s going to raise suspicions,” you said.

“Don’t you remember how small our wedding was? We invited our closest friends and the reception was lovely,” Bucky said.

“Lucky for you, due to the nature of James’ status, it would make sense to keep his personal life private. Including a wedding,” Handler said.

Son of a bitch. She was enjoying this. She already thought of every excuse you would come up with. 

Your chest felt too tight. You couldn’t breathe well enough to get a full breath. 

“Fine,” you said. There was no situation you could think of to get out of this. You could bullshit your way out of most things except where the Handler was involved. You simply had to make the most of the situation. Even if it had to do with Bucky.

Damn him. He smelled good. And he looked good. When he came in, he wore a t-shirt and jeans and his signature leather jacket. But he made that look like he stepped off of a runway. His hair was short and he already had stubble growing in. 

“Excellent. In your folder you’ll find all the details for your lovely, whirlwind romance and the details of your new apartment together,” Handler said.

You knew a dismissal when you heard one. You stood up and left the office, not bothering to address Bucky at all. Regardless, he caught up to you before you reached the opposite end of the office. He held the door as you left and kept time with you as you stalked down the hallway. 

“So when do you want to move in?” Bucky asked.

“Let’s get something straight. We’re only going to do the bare minimum when it comes to this. Outside the home, we’re the perfect couple. Inside of it, you stay in your room, I’ll stay in mine. We’ll stay out of each other’s way, got it?”

As you spoke, you didn’t realize you were poking him in the chest or advancing on him until he grabbed your outstretched hand and tugged you close. Your chest rubbed against his and the smell of him clouded your senses.

He looked down at you, making his eyes half closed. His long eyelashes nearly fanned his cheeks. He licked his lips slowly as he perused your face.

“Got it,” he whispered, with a smirk. 

“And no touching,” you said. You yanked your hand back and stalked off down the hallway, hating how he made you feel. You were so not okay with this.

[lizzybeth1986]

opinions on lena rys? (sorry if this has already been asked LOL! I'm just interested to see your take)

Thank you for that question @elusetta! It's a pleasant and lovely surprise to get a question like this one... though idk if you'll actually like what I have to say here.

(Also lmao half the fandom will probably hate me for this essay, but everything I've written here is the truth. If y'all want to cling to your biases instead, fandom, be my guest and skip this essay)

I have two kinds of opinions regarding Lena - Lena as an individual character, and Lena in terms of what the writers wanted narratively.

As an individual character...eh. She's okay. On paper she could be promising, but on the whole she starts from one tangent and lands somewhere else altogether midway (and while one can say this of any character in the series, the fact is that, in her case, those inconsistencies all co-exist in the same book!).

Lena is an incredibly self-contained character. Sure, she is both the key to the VI's takeover of Cordonia and the weak link that facilitates their downfall - but there is very little she has to give the story or the other characters, and far more that they are constantly expected to give her. She is first presented to us as more of a loyal soldier to the VI, but mid-story she would have us believe that she'd be a better monarch and had always wanted to be queen. She is part of a cult that claims to be anti-monarchy, yet decides she must be queen and operates under a cult filled with monarchs. And there isn't enough pushback against the notion that a glorified puppet to a murderous cult would make a good monarch, and Lena gets away far too easily with her own crimes at the end (thanks to the brother she had spent the whole book mocking). Most of our time is spent coddling her and pampering her and convincing her that we genuinely like her, and very little on her actually self-evaluating. Like Olivia before her, she's there simply to be cosetted by us (by her brother Liam in particular) before she can afford us even a tenth of the grace she's been given.

And while I'm sure a horde of Lena stans may land on this ask to bleat about her tragic childhood and Sigrid's brainwashing, I'd like them to ask themselves one thing. Even the most conditioned person will find themselves questioning beliefs they grew up with from time to time. (Hana had done that on her own - several times - during the original TRR series, and this same fandom had no problem calling her "weak"). It takes Lena forever to even question Sigrid's weird logic. Yet I'm supposed to believe she'll make a great queen just because she's got military skills? Even though her critical thinking is...barely there? (And believe me, enough people in fandom were celebrating the notion of Lena replacing Liam and what the VI were doing for a portion of the story).

There are possibilities to make such a character compelling - someone who believes they have agency and independence only to realize they are lowly pawns can make for a good inner conflict, and could provide the core group with a good contrast as well - but not with this team, or this fandom. Not with a head writer who will simp for the Val Greaves/Olivia Nevrakis character type against all logic, not with a fandom that is forever desperate to make Liam their personal scapegoat. Not with a team and fandom who are uncomfortable with acknowledging their own favourites' actual flaws. Both of these groups only saw her armor, snark, gun skills and hatred of Liam, and decided she was a great character based solely on that.

Personally and out of the larger context of this story, I don't particularly mind Lena as a character. In a better story that had more balance, I'd probably be more sympathetic. I prefer some of the sweeter and softer female characters, or the characters that represent diplomacy in a series like this. I'm a lot more protective of them nowadays because they tend to be looked down upon most of the time (especially if they are default WOC!). And that happens more often than not with this series!

--

On a narrative level...well. Buckle up coz I have a real bone to pick with the writing team and the fandom on this specific issue.

Narratively, Lena is the most obvious sign of the TRR writing team's cravenness and shamelessness, and the biggest sign of their disdain for the character that gave them the whole premise of this series.

Mind you, I cannot blame solely Lena for this. She is just a culmination of what the team was already doing to Liam. Kneecapping Liam was a process that began early and went on for six books, with fandom encouragement. Liam, contrary to the fandom's claims (and the Drake stans - whose favourite was himself eating up other characters' space on the regular - complain about this the loudest), was already being disadvantaged in several ways.

Here are just a few ways that events that happened to Liam (or storylines that should have been his) but were instead centered on other people, including the MC:

1. Traumatic events:

The assassination attempt that left Liam so traumatized that he could barely eat, and made him shut himself off to everyone, was never incorporated for his benefit. He never gets to talk about it, the MC herself never bothers to ask him about it. It only exists so Drake can sound less whiny about staying in a place that he hates.

The assassination attempt that kills Constantine? At a time when Liam had to grapple with questions about his own rule? Guess what Liam gets. A solitary tear at the finale, and a small scene for the Heir about growing apple trees two books later.

We find out in TRH1 that Godfrey was involved in the plot to kill Eleanor, and in TRH3 that Bartie Sr was his partner in the crime. We center the children of the murderers for the rest. Liam gets barely 10 seconds to attempt to banish Godfrey (the book ends on the latter's successful escape, and the MC conveniently goes into labour at that moment), the next two books require us to pamper the everloving shit out of Madeleine, and Maxwell - who, might I remind you, emotionally blackmailed his brother into giving Bartie Sr his title as Duke and made his father's coup possible - spends more than half of TRH3 playing the betrayed victim.

What does Liam get? A few seconds of the MC mouthing platitudes when they find out, and one scene where Liam is allowed to gaze sadly at daisies. Maxwell gets to weep about his traitor father ad nauseum while barely acknowledging the friend who lost his mother thanks to the same man, Madeleine gets to spend most of TRH2 and 3 expecting us to treat her with kid gloves otherwise she will help Bartie Sr kidnap your child. Honestly, Drake Walker got way more time to moan and gripe about his sister living safely in Paris on Beaumont money!

Most times we hear about something tragic that happened to Liam, it serves to benefit other people - notably team favourites like Drake, Olivia, Madeleine or Maxwell. The entire base of TRH is the mystery of Queen Eleanor's murder, yet the person whose feelings matter least in this story is Eleanor's own son.

Most times when something horrible happens to Liam, or when he discovers something disturbing about his past, the MC hardly pays much attention to him, while showering whiter characters with sympathy and diamond scene moments for less horrific revelations. The same MC who can tell Olivia that it's okay to seek support, or comfort Drake with a drinking game, or convince Bertrand to go easy on Maxwell...has barely any time or interest to support Liam, even when she's married to him.

A Drake stan I'd spoken to around the time of TRH3, once claimed that the narrative may have been trying to balance things between "prominent" LIs by "giving Liam the plot elements" and "giving Drake the emotional baggage". This is an argument I have seen often in the fandom - that "the story makes sense only with Liam as your spouse" ergo he has the biggest advantage of all the LIs. This is directly related to Liam's role as king. Let's take a minute to explore how that is dealt with in the story.

2. Power and Monarchy.

Often Liam is considered PB/TRR's "golden boy" because he is the "royal" spoken about in the title and featuring in all the covers. The popular argument is that the story makes sense only if you married Liam and became his Queen.

However, this argument misses (perhaps deliberately) one very important thing. Even this is mostly centered around the power Liam gives the MC. Liam's attention or even power doesn't increase within the narrative by giving the MC power - in fact it is pushed so far back the narrative often seems to forget who he is, and tosses his role to the MC, Queen Consort or not. His being king hardly seems to benefit him narratively - it is only used to benefit the MC.

People forget that even on a level of being Queen Consort, she shouldn't be having the kind of power she's been given in the narrative, or replace the king. Yet that is exactly what the narrative does.

One of the arcs that was promised for Liam was about the kind of king he hopes to be. As a Crown Prince he grapples with this question, and as a King he faces constant doubt and fear over his capability to rule. When he discovers that his father masterminded the plot against the MC, that moment was written as if it could be a turning point in how he views ruling. At the TRR2 finale he vows to never let fear overpower him the way it did Constantine, and before that in NY he tells the MC that she inspired him to take the reins and have more belief in what he wanted to achieve.

In TRR3, the writers barely bothered to address this conflict at all, besides a line (said in passing, only in his playthrough) about his plans for compensating the Applewood farmers until the new crop could harvest, and a couple lessons on diplomacy for the MC's benefit. Even his role as a king was viewed more in terms of how the MC could use his knowledge, not really as an important aspect of his character. The writers spent far more time forcing Liam to look sadly at the MC that wasn't marrying him, just to appease certain nonLiam stans who missed the love triangle. He was essentially given no real plot of his own in TRR3. This definitely didn't track with the promises made for his storyline in the TRR2 finale in any way or form.

TRH is far more brazen in this respect. From the point that the MC becomes Champion of the Realm/prospective Mother of the Heir, the narrative cedes so much power to her...that it almost treats Liam as a noble rather than the literal King of that country! The royals at the first Ball she hosts in Valtoria address her as if she's the only "monarch" that counts. Isabella questions her about Eleanor rather than Eleanor's actual son. Amalas stalks her constantly. Nobles directly address her as if she's the only one ruling (eg: Kiara's comment about "reactive ruling" elicits a response from the MC, rather than from Liam who is actually standing there).

Even if the MC was the consort ruling alongside the rightfully-appointed King, it still didn't make sense for the narrative to replace him with her in discussions that were meant for the actual person in power. In addition, the narrative itself views her - across playthroughs - more as the Duchess of Valtoria than the Queen of Cordonia - we see her duchy more often than we do the Capitol, there is very little reference to what she does as Queen Consort or any duty she may have to perform on that score, and King Liam himself is made to behave more like a Duke (eg. The only time he's allowed to push back independently against Bradshaw and Isabella in TRH2, is a ballroom duel that is proven pointless by the Auvernese drone attack that they framed Monterisso for).

Most of the power to make decisions is taken out of Liam's hands and given to the nobles who run the Royal Council - and once those decisions turn out to be bad ones, the blame is placed solely on his shoulders even though it was made jointly. Half the characters talk over Liam and directly to the MC about "her rule", even though she is a Queen Consort at best and a random new Duchess at worst.

The MC - who is never really shown doing any actual work for the country or thinking about her people. The MC - whose only political act outside of the shenanigans she gets into with her friends, is a line about contributing to charities. This woman has a wholeass library in her duchy and access to endless resources before that...and still needs to be spoonfed information about neighbouring places by the likes of Hana Lee. This woman started out working in a bar close to a rat-infested dumpster yet never shows a lick of concern for the average commoner in her duchy - forget her kingdom if she is the Queen. She is literally given all of Liam's power, while hardly having to do any of Liam's work (and if you're going to pretend he doesn't do any work? I suggest you read this essay to see what you missed!). And all that is fine - but if this fandom is alright dragging Liam for "being a sucky king" and "partying all the time", I'd better see you guys hold everyone else - including your favourite characters who rule over entire provinces, and your darling MCs - to the same parameters.

By the time we get to TRF, this is the amount of power the narrative gives to the MC:

Not only is Liam's role nerfed to that of a Duke, the narrative itself has no qualms saying the quiet part out loud: Liam isn't the one that matters, the MC is. Liam's decisions and opinions mean nothing, the MC's does.

And this isn't something the MC herself is against, canonically. She enjoys having that power. She revels in it. No matter how badly the fandom wants to make a victim out of her and a Rumpelstiltskin out of Laim - this is a role she accepted wholeheartedly and enjoyed, while not having to work much for it. As a reader you may assume that your vision of the MC wouldn't be comfortable with this role, but canon in no way depicts your assumption as true. So it's not even as if - contrary to fandom's claims - these were roles Liam forced on her.

To revert to what I said at the beginning of this section - the plot runs because Liam is the king of the country and was the reason we came to Cordonia. But in a context like this, that is not at all an advantage. The farther into the story you go, the clearer it is that Liam's role benefits the story more than the story will ever benefit him.

3. Family

Another thread that runs through all the LIs' stories is that of their families. Most of the mystery surrounding the past revolves around Liam's, Drake's, Maxwell's, Olivia's (and briefly, Hana's) parents and their histories - but it would be helpful for once to look at how the narrative frames these stories, and how these characters benefit from them. Are the LIs' themes explored adequately through the inclusion of these stories? Does the LI's feelings get validated by the group, or dismissed? Does the narrative try to downplay the pain they may have endured in childhood, depending on which LI/prominent character the writers preferred?

A prime example of how the narrative uses the family background to their character's advantage is the Drake-Savannah story. Savannah is constantly viewed from Drake's lens, even when it is revealed that she's actually living a comfortable life thanks to a pair of nobles. Drake is STILL allowed to use her "experience" as an example of the "bad, no-good, dastardly nobles", is allowed to look down on the one noblewoman who befriended Savannah, and is allowed to punish Bertrand all the way into TRR3 for perceived slights.

While Savannah likes Bertrand enough to want to marry him, it is Drake's judgement of him that is centered - Savannah brings what he said about Bertrand up whenever she wants to badger him into doing her bidding, and Drake himself is allowed to humiliate Bertrand just to give his agreement to their match. Savannah's wedding is literally the wedding Drake described in a TRR3 diamond scene as his dream wedding (Ice Palace, TRR3 Ch 11), even though canon had her aspire more to the noble life than her brother. That wedding lasted half the book, and involved Bertrand being further humiliated by Drake's family. Despite her many flaws, canon chooses to view Savannah as "perfect" primarily because that's how Drake views her...and Drake can never be proven wrong on anything (even if the team has to do a retcon to make it so). This extends to the rest of his family as well. Canon attempted to create Leona out of whole cloth so that Bianca could appear less of an asshole (an attempt that failed), and Jackson is depicted as a close friend who Queen Eleanor trusted with the news of her pregnancy, yet somehow he never did anything nor asked any questions after she was dead and there was a potential child out there. His father is still the innocent among innocents, the best person and friend that ever existed. Drake is centered in most stories surrounding his family, and so is his perspective.

Maxwell gets something similar to this treatment later on in the story, specifically with the way Bartie Sr's coup and Bertrand's perceived betrayal is handled. The coup itself begins with Bertrand handing over his title and responsibilities to his father - a move facilitated directly due to Maxwell's lies and retcons about Bertrand in his book. Maxwell spends more than half the book clinging to some weak hope that the man - who is literally staging a coup of Maxwell's friend's throne, and later kidnaps a child - is a good man. His tirade against Bartie Sr being a bad parent, in Valtoria, hardly acknowledges what Bertrand had to suffer. As mentioned earlier, when Bartie's treason was revealed Maxwell centers that truth around himself even though the son of the woman Bartie killed is right in front of him (there's a vague promise about how he'll do anything to bring his father to justice, but that's about as far as his communication with Liam on this goes). And finally, even after it's been made clear that Bertrand was secretly supporting the core group, Maxwell and the group still behave like he did something wrong and continue to mistrust him, to the point of expecting him to apologise and suspecting him in the next book to be in the VI (though Maxwell does initially stage a weak protest to this). All this, while never having to acknowledge Maxwell's own role in getting Bartie Sr closer to power!

The team pretends to do something similar for Hana, but with egregious retcons. While in TRR her parents' motives are tied to Hana having a beneficial marriage and furthering their fortune - and they come close to disowning her for wanting to follow her own path - in TRH the narrative aggressively retcons their story so that their motives are attributed to affectionate worry and protection, rather than control. While it is great that Hana still isn't required to forgive her mother, the narrative forces her to soften Lorelai's motives in a way that is insulting to her original story. I won't speak more on how Hana's story was handled, as I do so in detail here. Olivia, while not an LI, was given far more grace from the narrative; she was given an entire holiday book to ruminate over what to do with her traitor aunt's necklace. Throughout TRH, she is involved in and heartily lauded for various "spy missions", most of which culminate in nothing because all she does is sit on that information and not tell anyone (with very few exceptions, like the reveal about Bartie's murder of Eleanor). That story is wholly centered around Olivia and her comfort. Ergo, even a side character can get plenty of space for their story if their writers actually give a damn.

Which brings me to Liam.

There were problems already in the way Liam and his family issues were explored, even before Lena came along. Stoicism and the pressure to show a sense of calm at all times was an accepted trait of Liam's, and it was one that his fans had hoped he would emerge out of as the story progressed. Yet the narrative only allowed him to show strong emotions when it was centered around protecting the MC (see: Liam's confrontation of his father in TRR2 Ch12, or fighting Anton in TRR3 Ch 21). The MC was far, far less proactive in this respect, even as she acted as counselor and teacher and guide and angel of mercy to numerous white characters in the same book.

When Liam's father dies right in front of him, the narrative forces Liam to deflect and keep it moving, only allowing him to shed a single tear at the end of the book. TRH finds Liam hit with reveal after painful reveal of the plots behind his mother's death, and he is allowed barely seconds to even show an emotional response to this - much less be comforted. In each case he is meant to move ahead as if this wouldn't affect him, as if the next mystery is more important, as if he didn't deserve support.

A support that the MC doesn't mind lavishing on Drake, Maxwell, Olivia, Madeleine, Penelope, White Noble no. 1, 2, 3, 4...the list is endless.

Into this already-skewed situation, enters his sister Lena, who hates him. She spends half the book verbally shitting on him and the group, calling Liam weak, claiming without any actual experience (besides heading a company) that she could do a better job leading and fending off coups and plots that he and his friends already managed to thwart. The narrative uses Liam's love for family and need to reconnect to this unknown sister to make sure Lena is centered in whatever reveal comes forth about their mother.

This wouldn't even have been as big of an issue if every other instance where Liam bore immense loss wasn't pushed aside as less important. If they didn't restrict the MC's concern to lukewarm platitudes and the occasional causal question. Lena getting this moment all to herself wouldn't have mattered as much if Liam wasn't constantly forced by the narrative to push his hurt, pain or anger aside when he discovered his father's illness...or when his kingdom was under attack...or when his father died...or when he discovered his mother had hidden a pregnancy...or when he discovered his mother's first attacker...or his mother's second attacker...or the King Guard who betrayed his family...or the cult that clearly wanted to kill his mother and keep him away from his sister...you get the picture.

In fact, the lack of care extends to the way the core group deals with the Lena situation as well. When Lena is first revealed to be both The Fist of the VI and Liam's long-lost sister, the core group callously scoffs at Liam's suggestions to communicate with her, rather than trying to comfort him. Even Hana, who has to sympathize and speak positively about the likes of Madeleine and Olivia - women who have harmed her and have regularly undermined her - is made to sound like she has no patience for Liam's obvious internal conflict. If anyone could understand how hard it would be to let go of family whose motives can be harmful for you, it would be Hana. Yet the team has her place timelines on Liam's emotions in a way the group never bothered to do to Maxwell in a somewhat similar situation, in the previous book.

Of course, once the MC decides it would be a good idea to win Lena's trust, the group magically sees this aim as legitimate. For the rest of the book, Lena is pampered, cosetted, coddled, shown around Cordonia and treated with kid gloves, all while trashing on Liam without much significant pushback. The entire story revolves around her journey from a skeptic of the group to realizing they are genuinely good people. All while her brother who gave us this series languishes in the background - his own power snatched from his hands and passed to the MC, his own traumas and tragedies forgotten, his own emotional baggage thrown away so Lena and Drake can take centerstage.

At the end of the book, when the group gets closure from Sigrid over VI and her multiple betrayals, it is Drake who gets the most space to react out of the group alone. The book begins with his discovery of Bastien's involvement in the VI, and allows Drake ample space to grieve and ruminate over it (btw, let's forget entirely that Bastien has been King Guard this entire time, and that meant that for all five years of his rule and for many many years before that, Liam and his family had a walking talking security risk "protecting" them. Coz who cares if the King of Cordonia dies, amirite?) When it is discovered that Jackson died while working undercover to expose the VI, it is Drake who gets the most time among the group to confront Sigrid, and it is Drake who gets to give a lengthy monologue to his dead parent, for which the MC and Liam are required to stand there and comfort him. In contrast, Liam gets just one line in a scene about the person who masterminded his mother's death. It is Lena instead, who gets to react emotionally to that - because the Sigrid story itself was created specifically to pander to this one just-created character.

Lena wasn't created to add to Liam's story like Savannah was. She wasn't meant to share their joint history like Bertrand and Maxwell initially were, or sidelined for the sake of another side character related to another LI like Bertrand was. Lena was created to replace Liam as the center of a tragedy that happened to him, that affected him, that haunted him for years, that had repercussions on his life...that he was never given any real space to emotionally explore.

Drake's story benefitted from Liam's trauma, to the point where only he was allowed to talk about it and where his perspective was the only one given value. The MC's story benefitted from Liam's power, to the point where she damn near replaced him narratively in that role despite never doing the work, while the fandom laid the entire blame on Liam ad nauseum and not her. Over and over, in plots and coups and murders that hurt his family, other people were allowed to talk, allowed to think, allowed to feel...while Liam got maybe one teardrop per parent.

In the same trajectory, one can clearly see why they developed a character like Lena in the first place. The writers spent 6 whole books heartlessly picking at parts of Liam's story and giving those bits away to their actual favourite characters. Bit by bit, from his experiences to his work to his role, they whittled away Liam as a character until he was left with practically nothing. Do you think they would seriously just stop that process with TRH3? I mean, the head writer is someone who likes "mean characters who speak their mind" and her disdain for characters who represent diplomacy and peace isn't even thinly veiled. Of course they'd go further!!

Lena was created with the sole purpose of ensuring Liam never got adequate closure for himself. They simply passed on that luxury to her, and the fandom who hid behind "Liam gets everything!!111" while never speaking up once about the gross favouritism directed towards their own beloved LIs and side characters, cheered the same team on in this.

I can say this with complete confidence: had Liam been a default white man, like Drake and Maxwell were (or like Ethan Ramsey in OH or Ernest Sinclaire in D&D were), Lena's story would have looked very, very different. In fact, I highly doubt she would even exist.

[distort-opia]

do you ever think that joker's character would be hated less if harley was never created? dont get me wrong i love her, its just that her inclusion in the first place was for joker to beat the gay allegations and the abuse isnt rlly fun imo. whining about this is kinda pointless since we cant change the past but i just wanted to hear how you feel about this topic

Mm. This is a bit complicated. I know that it's a popular belief, the idea Harley Quinn was created to make Joker appear less queer, but that's not entirely rooted in fact. Not saying this motivation didn't play a role at all, but if you read up on Harley's origins, some writers involved were against her becoming a regular character on BTAS because it would humanize Joker too much to have a love interest; that was a significant concern. When introducing her to main comic continuity, Dini specifically had Joker be as dark and murderous towards her from the start, and this persisted in most comics featuring them afterwards.

It's not Harley's sheer existence that contributed to the hatred for Joker's character in recent times, in my opinion. It's three combined factors: her redemption arc for the past decade or so, Joker's abusiveness towards her, and the fact she was given a female love interest in Poison Ivy (which turned her into explicit queer representation). The draw of Harlivy as a ship and of Harley being depicted as an abused woman standing up for herself was understandably massive, for a big segment of fandom. And unfortunately, many were eager to forget about Harley's past crimes and choices because of this; after all, it's not difficult to just blame Joker for all the "evil" parts of Harley in order to justify her actions. Joker undoubtedly had a big influence, but it really takes away from her character if her agency is denied entirely (I do hate this recent cross-fandom tendency to take conflicted darker characters and sanitize them). And there is something to be said about Joker being written as a one-dimensional abusive asshole, in order to uplift Harley's character arc and make her triumphs over him more impactful. It is a pity... while I can't say I am a fan of Harley, I find her interesting, and her relationship with Joker has some fascinating aspects to it that get downplayed and ignored in this wave of oversimplification. The main reason she stayed with him was because she thought there was humanity to him, and that she could be the one to bring it out. The tragedy of it, of course, is that she's not wrong-- it's simply that Joker is pretty much incapable of seeing anyone other than Batman as an equal and a fellow human being. Joker does care about her in his own twisted way, but as an extension of himself; a possession, something he created. He also treats her as an extension of himself, which is to say... badly. Because despite how contradictory it might seem at first glance, Joker is suicidal and self-loathing.

Anyway, an analysis of Jarley isn't the point of this :)) To make a long story short, it's true that Harley never being created would've led to none of this happening... but thing is, I do think a female sidekick was inevitable. If they didn't give Joker Harley Quinn, they would've come up with a different character like her eventually, and then who knows where that would've gone. And even if you try to imagine a world with Joker having no one like Harley in his story... the current hatred towards Joker in Tumblr and Twitter circles is quite intertwined with the rise of purity culture and with Joker fatigue (due to DC's overuse of him). Joker as a villain is associated with alpha male toxicity and the whole "we live in a society" mindset, which instantly makes fans on this side of the fence wary; although, even leaving aside the fact Joker has killed countless people in canon, it's more that he shot Barbara Gordon and killed Jason Todd that gets him the biggest amount of hatred. Of course that his abuse towards Harley plays a big part as well, but personally, I don't think it's the main cause. Batman has so many villains, but few of them have harmed Bruce and his Family as personally as Joker has. Seeing as the fandom for the Batfamily is the biggest one, it's not surprising that Joker is disliked within it. (Which is perfectly fine. Issues only arise when fans don't make the distinction between reality and fiction and begin to harass each other over make-pretend non-existent people.)

[swordfright]

please write that essay

I assume based on your timing that this ask is in reference to this post, in which case I'm sorry it took me a couple days to get around to answering! This is not gonna be super well-organized but here are my thoughts:

The lore tidbit about c!Quackity actually having WON the bet with Glatt is literally the best possible way that whole situation could have gone. It’s such a solid storytelling move and I respect cc!Q to the moon and back for confirming it, both because I think c!Q's actions after having won the bet are very in-character for him and also because this option is, simply put, more narratively satisfying than the alternative. I'll explain why I think that.

c!Quackity's whole character arc is about belonging and agency and, importantly, how the pursuit of those things can go wrong. When he first joins the server he struggles to find somewhere to belong and gets used by others. His later attempts to exercise agency in order to foster his idea of a safe and stable community (yes, I'm including Butcher Army here) largely end in disaster. So eventually, Q establishes his own country, his own place where he can control every potential element and risk factor, but arguably he does so at the cost of love and friendship and community, the things he wanted to foster and maintain and protect in the first place. His defining fears about community safety eventually become reduced to fears about personal safety. To me, it’s a very clear negative character arc. When Q makes the bet with Schlatt’s ghost and ends up torturing c!Dream for the revival book, the audience are led to assume it’s because he lost the bet and is still beholden to Glatt in this one final way.

The exact nature of his and Schlatt's relationship prior to Schlatt's death carries some degree of ambiguity, but it's pretty widely interpreted as an abusive romantic relationship, and I'd argue that canon supports this interpretation. They were engaged following the Manberg coalition, and we know their relationship was increasingly rocky during this period. If you subscribe to this particular interpretation of their relationship (which I do because again, I believe canon supports it), then this adds a certain weight and gravity to Q's bet with Schlatt's ghost. The bet becomes a horrible postmortem extension of this toxic relationship that has deeply left its mark on c!Quackity, and Q losing the bet puts him in a vulnerable position both psychologically and literally. He is still beholden to his shitty ex, despite having put him in the fucking ground. That's a powerful motivation to get the book and be done with Glatt forever --- so it makes sense that when Q started torturing Dream for the book, many viewers automatically assumed it was because Q lost that bet.

Personally, I never really liked that assumption, because I feel it lets Q off too easy. It's too convenient an excuse. It dismisses the horror and cruelty of Q's deal with Sam by allowing Q the plausible deniability of desperation, characterizing the torture as his final desperate attempt to escape Schlatt's legacy, i.e. “My abuser made me do it, I’m still being threatened and coerced, I’m not culpable for my own actions!” (Which isn't even a justification that c!Quackity himself would ever use, so it's frustrating to see viewers fall back on it. The c!Quackity woobification in this fandom is much worse than the c!Dream woobification but let's leave that discussion for another day.)

But then (BUT THEN!!!) we find out that no, c!Quackity didn't lose the bet, he actually WON. He didn't want that book for Glatt, he wanted it for himself. He tortured Dream for this reason and because he enjoyed torturing Dream, and it’s an amazing anti-reveal because it pulls the rug out from under you but it also makes perfect sense given the sort of person we’ve watched Q becoming over the course of the past year’s worth of lore content. It’s about cycles of violence! In a story that has been about cyclical violence from the beginning, this is a natural conclusion for Q's character arc. DSMP is a story about building as an escape, and escaping what you've built. And ironically, this reveal makes c!Quackity a perfect foil to c!Tommy because Tommy is an abuse victim who, in a lot of ways, strives to be better than his abuser (hello I realize this is a controversial opinion but whatever this is my post) and Quackity is an abuse victim who intentionally strives to out-do his abuser.

Finally, Q winning the bet with Glatt is like, the only option that carries any kind of narrative catharsis. Because if he’d lost the bet, it means that despite Q's tireless efforts to gain agency, he never truly succeeded and is still being used as a pawn. Which is boring imo! It’s literally “area man ends up exactly where he started," which can be a compelling arc but it's not the most compelling possible arc for this particular character in my incredibly biased opinion. Whereas Quackity having won the bet gives his character arc direction. The arc then becomes “area man strives against all odds to achieve agency, succeeds, forfeits humanity in the process.” Area man escapes cycle of abuse only to perpetuate it. Which I personally like because I think it's interesting!

It may not be an uplifting arc, but it’s an arc! It starts in one place and ends up somewhere else. It has momentum! Even though this reveal technically reflects “poorly” on Quackity’s character (idc lol he will be my forever babygirl no matter how many times he violates the Geneva Convention), it’s a plot twist that respects his character so much more than the alternative. There's only so far you can take a story about a guy being powerless. It's much more fun to tell a story where the powerless guy finally attains the agency he always wanted, but at a great personal cost.

(Coincidentally, this is also the reason I wish c!Wilbur's finale stream had ended not with him leaving c!Tommy but with him asking Tommy to accompany him to Utah and Tommy rejecting his offer. But I digress lmfao I'll be bitter about that storytelling decision on my own time)

Anyway, I think @elmhat phrased it really well when they said "We care about Quackity because of his choices." Not just what happens to him, but how he decides to react.

[touchingmadness]

Help me choose a Nano project?

I am by no means promising to heed the results to this, but I could use some opinions. I have a few ideas for what to work on for Nano but can't make a final decision which is... a problem, since these all need some more planning before I actually start writing them.

Descriptions and pros/cons below the cut.

Reblogs allowed and appreciated.

That Which Remains (post-apoc sci-fantasy)

In a post-apocalyptic world where the passage to the afterlife has been mysteriously cut off, the streets are oversaturated with the spirits of the dead. Trained Quellers take to the streets with their spirit-sensitive subordinates to channel and extinguish these spirits. Aereas is an unsanctioned Queller who is secretly spirit-sensitive. When they're called in to investigate the apparent suicide of a Queller-in-training, they get pulled into the mystery of why the spirits of the dead are lingering and what the Quellers are - or aren't - doing about it.

Pros:

Most developed plot

Main and secondary character decently developed

I know DEFINITIVELY how this ends, down to the scene

Cons:

Might be derivative -- formulated as a dream while I was binging stories about body-hopping and talking to the dead

Most of the other characters don't even have names

Unsure if this is a single book

Wither and Woe (high fantasy, political drama)

Five nations are on the cusp of deadly conflict. Tensions are rising, and plans are being pushed into motion under the veneer of civility. A young princess married off as a glorified hostage barters with the demon Wither for a child that will earn her nation's protection. She bears her husband an heir that is not his own amidst the political machinations of the inner court and begins to suspect that she is not the only one who Wither has helped.

Pros:

WITHER!!! I love Wither so much!!!

Most of these characters are well-planned

Wrote a bit for this a few months back

Cons:

Still unsure is this should be one POV or like six

Worldbuilding needs some work

Heavy subject material with little room for levity -- usually prefer to write these types at the same time as a lighter project

Casey Draper's Big (Gay) Alien Road Trip (contemp sci-fi)

Casey Draper is stuck in a rut since graduation, faced with the harsh realities that her dreams may never come true and her friends might not want to see her again. Life isn't like the books, and that sucks. So who can blame her when she lets herself be kidnapped away from her dead-end job by an angry alien who seems to think she's a missing alien prince? Casey's in for the adventure she always craved as they flee secret government agencies, stumble upon strange towns, and eventually have to stop the actual runaway prince from getting himself killed with his party boy attitude.

Pros:

Main cast is completely planned

Incredibly dissimilar to anything I've watched/read lately, so less likely to accidentally draw from things half-remembered

Almost episodic, can afford to be rambly and unfocused

Cons:

It's the type of contemp where the worldbuilding is basically just our world, which is difficult and often boring for me

Literally no existing outline AT ALL

Annoyed with my own job in a way I wasn't when this was first planned -- risks getting too pessimistic or just frustrating

Project Evergreen (post-apoc sci-fi)

Arden thinks his life is over when he leaves behind his family's stronghold to take his sister's place at the Eternal One's estate. But instead of being imprisoned for Fern's habitual impulsiveness, he is given a new name and instructed to work on a mysterious device alongside others in similar situations. And he would truly prefer it if the Eternal One would simply lurk. Instead, the mystical woman infamous for somehow surviving long past the Before Times visits him and speaks as though he is someone else.

Pros:

Relatively developed cast drawing from discarded projects

Basically a fucked up and nonromantic sci-fi Beauty and the Beast story, so most of the big story beats are planned for me

Strong thematic center - easier to make story decisions

Cons:

No clue what happens between the big story beats ¯\_(ツ)_/¯

Worldbuilding is slapdash at best

I have no clue how this ends

[harpagornis]

MTG Analysis: Archons part 2

a while back I wrote an extensive article on the archons of Magic: The Gathering. Since I don't feel like making a fool reboot (and I can't add more images to that article) I've decided to make a sequel article dealing with the archons we haven't reviewed yet.

Archon of Coronation

Released in Commander Legends this archon hails from the plane of Fiora. Given what a political clusterfuck that plane is, I don't know what the archons political stance is, but I suppose they support whoever's in charge (currently Marquesa).

This is the first archon with an actual bird steed (unless we count Ornitharch's flock of birds?) which makes it stand out quite a lot. I also like the pure black face, so eerie for a White card. I guess it could be mask like a robber's mask, which makes it funnier in my opinion.

Archon of Cruelty

Introduced in Modern Horizons 2 this one is the first non-White, mono-Black archon, which I quite dislike since it plays into the whole "Black if evil" shenigans. As we previously discussed, Archons represent the cruel side of White mana, so this makes even less sense flavourfully.

The design at least it's interesting, with a hooved carnivore like a mesonichian with bat wings as steeds. The exact plane where it lives is not clear, but judging by the Bolas horns it might either be from the Meditation Realm (which would make it the only living thing besides the imprisoned dragon twins there) or Amonkhet, which has no precedent for archons but enough for angel-fuckery. Maybe Bolas meddled with it and that's why it's mono-Black?

Guardian Archon

(Apologies for image quality, it was the only large pic I could find without the card)

Debuting in Strixhaven: Commander, this owl ridding archon has a quill-end like shield, which I find it quite adorable for a sinister force of violent order. The pen might be mightier than the sword... which is why its a shield instead of a weapon. Clever girl/boy/non-binary!

Archon of the Wild Rose

We return to Eldraine with this imposing white-stag riding archon. Like previous Eldraine archons it looks quite luminous and ghostly and we actually have a reason why! Accroding to the D&D tie-in monster manual, Eldraine archons are actually deceased knights. They live at the boundaries of the wilds, marking the border between the human and fae realms. Human knights often pick up a fight with an archon in order to expand the humans' domain, which is fruitless as the archons don't get to decide where the boundaries are. Silly humans.

The return to Eldraine also introduces the card Archon's Glory, showing an archon flaring before what I assume is one of Ashiok's nightmare thingies. Not much to say except it looks pretty cool.

Ezrim

We conclude this sequel with the second legendary archon, Ezrim. From Ravnica, Ezrim started as an Azorius archon, before quitting because the other archons were apparently too much for him. He then went on to found a truth cult (ironic considering mythological archons are all about keeping the illusion of the material world) until it grew into a detective agency. He is a major character in the Murders at Karlov Manor storyline; not a lot of quirks but has quite a presence. We also see through him that an archon and steed can momentarily seperate... which he uses to file paperwork. Neat.

I like the use of browns in his depiction, like a very subdued gold. Besides the trenchcoat - working wonders to hide his face btw - he wilds a blue staff, which I assume he uses to unvield the truth. His steed is some sort of sharp toothed bull with two tails and four wings; it isn't described in detail in the story, I'm assuming because either the final design wasn't ready when it was written or because it's simply not easy to described

And that's it for now

Creative has made Archons quite a rare creature type, and have played quite a bit since we last sank our teeth, subverting both the MTG rule as White's bad side and the mythological role as masters of illusion.

Let's see what the future holds.