#rather than the people who were designing the characters themselves

[bucketofcrows]

okay so i played through the first two Zero Escape games and i have mixed feelings about them. but then i start playing the third game and it’s like. how did they drop the ball on character designs so hard. the designs in the first two were pretty good but how did they end up with the most generic looking cast of characters for the third game

[vasilissadragomir]

one of the most heart-wrenching things about thg universe is that you feel the loss of who each character would be outside the circumstances of their birth almost as acutely as you feel the loss of the characters themselves.

sure, we know what lucy gray and her family would be doing in a different world; she’d be dancing and singing and making music which defines a cultural identity. but what about the others? would haymitch have been a hilarious, loving father with a family had he not been forced to survive 47 other children’s brutal deaths? would finnick have been a charismatic and beloved actor, bringing joy to immeasurable people on his own terms? would beetee and wiress have worked together to develop technology to make it easier to connect loved ones far and wide? what would reaper and annie have given to the world, or thresh, or rue, or even coral or cato or glimmer or clove?

if katniss wasn’t half-starving and forced to spend each day hunting to feed her family, would archery be her true passion? or if she’d been a well-sustained little girl with access to art supplies, would she have spent her time sketching captivating dresses? she picks up ropes and making fish hooks quickly—could her dexterity have lent itself to knitting, sewing, or crocheting with vibrant yarns and fabrics? there’s so much evidence that katniss finds clothing inspiring and empowering, even when she dismisses it as frivolous. she likes being pretty, she just hates the circumstances under which she’s made to look pretty. cinna shows her that beauty has its own power, and there are several moments in her interactions with cinna and his designs that make me wonder who she’d be if she had space for art and creativity in her life.

conversely, peeta has had art in his life since he was a small child, but for him, art has always been entangled with his trauma. he could bake and decorate well because he learned from his mother, a mother who beat him his whole life. but his talent grows, not only as a survival tool in the first games, but when he paints rue on the floor of the training center before the second games. his art becomes not only a symbol of his trauma, but a means of resistance and solidarity. in a world where peeta’s intrinsic kindness and loving heart had been nurtured and welcomed rather than abused, could he have been a painter, helping people find collective meaning in the simple realities of life?

could katniss and peeta have still found each other in another world, a world without the horrors they were raised with, and bonded over their love of art? could they have been each other’s muses?

maybe they find their way to share art, after the events of mockingjay, as part of their process of healing and falling in love with each other. when they’re finally safe and have been for a long time, maybe katniss fashions peeta an easel for him to paint in their living room. after months of watching him gaze out the window and paint the changing leaves, katniss takes to knitting on a rocking chair in the other corner of the living room to steady her restless hands. they work silently as the days go by, quietly exchanging the things they’ve made to give each other the reassurance and love neither could ever fully convey with words.

and maybe one day, when they learn there’s a baby on the way due in midwinter, katniss takes a page from peeta’s sketchpad and starts to plan a series of sweaters and hats and socks she can knit for the baby. and peeta goes to the little nursery upstairs and starts working on a mural, so the baby will have something beautiful to look at every day. they work together to design the perfect baby blanket for their child, to ensure they will always be wrapped in a layer of protection and love by their parents.

but even if they find creativity and beauty in their lives after the end of mockingjay, the art they make will simply never be what that art could have been had they not faced what they faced. art comes from suffering, yes, but the human condition has so much suffering as is, and we’d never know what kind of art they’d make if they hadn’t experienced trauma of a distinctly sadistic and inhuman nature. but maybe their children, raised in a better world with love and protection and safety and joy and creativity and expression, will be the ones to create the art peeta and katniss never could.

[starlit-typewriter]

Genshin SAGAU, Creator of Teyvat, but not Humanity Part 1

Playing around with the idea of The creator of Teyvat, not being the creator of humanity.

Masterlist | Next Part

~~~

You were never much of a gamer.

Not that you disliked games of course, but it never quite clicked with you the way it did others. You’d try a couple of games on and off, but there would always be a point where it’d become boring.

Not that there was anything bad about the games themselves, you freely complimented the design and effort it goes into making these masterful pieces of art and code.

You just, weren't a gamer.

Until Genshin Impact

You can still remember the day you heard of it.

You were chatting with friends and one of them brought up this new game they saw a promotion for that they were interested in trying.

It was this anime-esque gacha game.

They showed you a couple trailers and promotional materials, and you must admit they were quite appealing.

However you didn’t intend to try it, knowing that you’d eventually drop it and move on.

But your friend still pestered you, claiming that there’s no harm in trying and dropping another game, after all it’s free anyways, so you’re not losing out on anything monetary.

Skeptical, you joined them in trying out the game.

And

Well

Let’s just say your friend got more than a couple of “I told you so’s” that day

It was beautiful.

The art, the music, the characters.

Everything about this game just, clicked.

You understand why people got so obsessed with certain games.

Why they would be willing to pay for things such as this.

Why this is such a large industry.

It’s, well it’s fun.

It was honestly quite frightening how quickly the game pulled you in.

You never understood the term “completionist”, until it started to apply to you.

Every quest, every domain, every achievement

You did it all

Every dialogue, every story, every entry in the archive.

You read it all.

You scoured the forums for bits of lore, and shrieked with your friend every time something new was dropped.

Genshin was all consuming.

It was honestly quite concerning, if it weren’t for the fact it was time gated with its resin cap and limited content, your outside life probably would’ve suffered.

On some level you probably knew that this was not normal. Your friends who were all gamers as well were never as obsessed over a single game as you were over Genshin.

But you reassured yourself, this is the first game that made you feel this way, its natural for you to go a little overboard.

I’m sure it’ll die down as I try out other games.

But you never really did.

No other game, no matter how popular or similar or highly rated.

Other games from Hoyoverse fared slightly better in terms of attention span.

But you always went back to Genshin.

Not that it bothered you.

Genshin was enough, considering you still had real world responsibilities to balance.

And that was that.

Until, well.

Until Fontaine.

You see, you’d always enjoyed the characters of Teyvat.

But you’ve never quite simped after them the way the fanbase did.

You admired their aesthetics and enjoyed their stories. But they never quite drew you in.

Even your main, was quite honestly determined by meta and whatever character you’ve managed to get your hands on.

There was never a “waifu” or “husbando”.

It was always the world and story that drew you in rather than individual characters.

Iudex Neuvillette was an exception.

The exception

He felt right.

You immediately knew you had to pull for him.

So you did.

And playing him was amazing. He was as meta breaking as you’d hoped and, well, you just liked him.

“Your first official Husbando” your friends would tease. You understand why they would go such lengths for a specific character now.

He was special.

He was a Dragon.

He felt, right.

You quite never understood why

Not until you entered the world of Teyvat.

That story,

Well,

That begins from the other side of the screen.

~~~

“I bet we can definitely open up a whole new sector in Fontaine if all goes well don't you think?” Hu Tao chattered as she and Zhongli strolled back to Liyue Harbor.

Zhongli hummed in agreement, only half paying attention to the conversation. He could tell Hu Tao noticed, since she was keeping the topic of conversation to light topics that anyone with half a mind could parse through. Only enough relevance so that he wouldn’t get lost in thought, but not so much that he had to focus on the conversation.

She was considerate like that, he knew since she had let many of his oddities slide, especially when he was still adjusting to mortal life.

Not that he was free from old habits mind you.

Zhongli doubted he would ever truly be able to blend into a crowd of mortal without some level of adept arts concealing his presence, however he was able to blend in enough so that the average nosy person was able to wave off his eccentricities a simply a facet of his personality rather than something deeper.

He cannot forget that it was thanks to people such as Hu Tao who were willing to let him in without many questions that allowed him to get to this point. Something he will be forever grateful for.

Be that as it may, it did not change the fact that some things will forever be kept secret.

His near encounter with the Hydro dragon for one.

Even from the other side of Qiaoying village where he’d made himself scarce, he could feel the amount of blessings placed upon the man.

He truly was favored by the creator.

Not that that was any surprise.

What was surprising was his own blessing.

Though much smaller, he still treasured the gift given to him by the creator of Teyvat.

Teyvat, after all, was a world of Dragons.

It was due to the advent of The Primordial One, did they lose their authority.

Not that many people knew.

Most people didn’t

The true History and creation of Teyvat was kept tightly wrapped, even the most learned scholars of the Akademiya could only infer at what truly happened, as well as the origin of humanity.

The true name of the creator was lost to time, only their title of the creator of Teyvat remaining. The mortals who lived on Teyvat daren’t give them another for fear of evoking their wrath.

They had plenty to be wrathful about.

Zhongli would only imagine his own rage, if anything similar happened to Liyue.

Imagine putting in centuries upon centuries of work only for an outsider to come in, destroy your work and reshape it for their own people. Before proceeding to have the audacity to name him as a contributor to their success and praise alongside such an usurper.

Just imagining it makes him angry.

That is why, the creator’s title is rarely evoked.

Names have power after all.

Names of gods even more so.

To evoke their name, their title, is to ask for attention.

Attention that would be safer left elsewhere.

Not that mortals knew the true reason.

The commonly accepted reasoning was that the creator of Teyvat has long turned their gaze elsewhere, satisfied with the current ruling of Teyvat, having entrusted their powers to Celestia and the Archons.

Zhongli would feel guilt at this blatant lie and rewriting of history if he could.

But he cannot, because to feel guilt would be to regret his actions and to wish something was different.

But he knew that he, along with all of humanity, Liyue Harbor, his Adepti and friends. They would not have existed, they would not have lived, has history played out justly.

The world is not just.

The world simply is.

He feared to an extent that the Hydro dragons would try to force a more cruel version of justice upon Fontaine, condemning them all as usurpers, when they had no idea, or even power over what had happened in the past.

Thankfully it seems that Focalors’s plan to integrate him into humanity worked. Stemming any sort of “justice” he may enact on humanity for the crimes of The Primordial One. In fact, he seems to have great fondness over humanity, absolving them of their sin and saving them from the prophecy that threatened Fontaine for so many centuries.

However, he knew that he was exempt from this mercy. Zhongli knew that when the time came, the Hydro dragon, or well Iudex Neuvillette would spare no effort in holding him accountable for his actions in usurping the original order of Teyvat.

Which is exactly why he avoided the man, dragon? as he did.

“-ello, earth to Zhongli, ”

Zhongli blinked, Hu Tao’s voice dragging him back to their situation at hand.

“Ah, my apologies, I seemed to have been lost in thought”

She clicked her tongue at him, “Aiyyaa, honestly Zhongli, I wonder sometimes if your age is getting to you, I was trying to get your attention for quite a while”

“Is that so,”

Zhongli couldn’t help but smile at her exaggerated groan.

“I was merely thinking about some old history,” he started, preparing himself to finish the history of Qiaoying village that he was telling Hu Tao on their way over.

“Oh no, there’s no need for that,” she waved off, a slight grimace on her face.

He knew how bored she was by the story the way over, so it served as a perfect distraction on the way back to stop her from questioning any further.

“Honestly a girl can only listen so much about the different varieties of teas and their subtle notes and flavoring before she has to burst yo know,” she complained.

“Well, the history of tea has a -”

“Oh look we’re almost there!” She pointed out, most likely in a desperate bid to stop him from droning on.

He was being slightly unfair to her, he knows, but it never ceases to become unassuming when people try to fake interest in a topic, only to regret it when they realize just how much there is to know about it.

Of course it can never compare to when someone has a genuine passion for the topic and wants to engage further, but those mortals are rare.

More often than not, he can use his vast knowledge as a smokescreen too, well, as Paimon would most likely put it. Bore people into leaving him alone.

He waves off Hu Tao as she bounces back home, and allows himself to take a stroll through the streets of Liyue Harbor.

The Lantern Rite was ending, another celebration successfully done under the hard work of the Qixing

He gazed around at all the sights, the lanterns, the food stalls, the beautiful atmosphere of people enjoying the celebration.

No

He could never regret what he did.

Not since it lead to peace and happiness like this.

And

If things are as he suspects.

He may never have too.

He feels it once more.

The glow of the creator's blessing.

He can feel it swirling within him as he steps through Liyue Harbor.

He wonders if they can see it as he does. Sees the beauty and resplendence of humanity.

Look, he wants to scream

They are nothing like The Primordial One

They are good, kind and beautiful.

Humans may not be your creation, they may not have originated from this world but that does not mean they do not deserve to stay.

But he doesn’t

First of all because he feels that screaming these things in the middle of a busy street may attract some weird looks.

But also out of fear, fear that any attempt to disrupt this fragile peace could lead to destruction.

Because it is fragile, it has only been a couple of years since the creator has turned their eyes to Teyvat.

Those who have been blessed have been careful in their own way not to destroy this chance that the creator has given them.

A chance to prove themselves, not only as people deserving of their attention and blessing, but as a people.

To prove themselves just as worthy of the dragons of staying in Teyvat.

Because they all know, in their hearts of hearts, that what the creator has created, they could just as easily destroy.

While some may tease him for his age, there is no denying that with age comes experiences that the younger generation may never know.

He himself, whilst having been born long after the disappearance of the creator, witnessed firsthand how it had affected the world.

How Godly remains tainted the earth for far longer than it used to.

How miasma and abyssal energy started to leak forth.

How Leyline disorders became more and more commonplace.

Teyvat was breaking.

It was falling apart.

But perhaps.

With this new chance, it could be fixed.

He could still remember the day the creator first turned their gaze upon Teyvat.

Or well, more specifically, the first time they turned their gaze on him.

He had heard rumors of an outlander from Mondstatdt making their way to Liyue. Tales of their feats and defeating Dvalin with the wayward Anemo Archon were as prevalent as talks about the upcoming Rite of Descension.

He had taken note of it of course, outlanders were rare after all, but he hadn’t expected this one to be quite, consequential.

Not until he met them.

He felt their approach funnily enough, the unbranded aura they carried within them. While he could’ve written it off as an aspect of their outlander status, internally he knew it not to be true.

He was far too young to have ever met the creator, or even the original dragons.

But he has stumbled upon their remnants.

Pure remnants, unlike the gnosis which have been twisted and altered by the time it had spent in the hands of The Primordial One.

It was, indescribable.

Free, yet grounded.

Unwavering yet fluid.

Swift yet languid.

It

It simply was

It was the essence of Teyvat.

The essence of the land he lived and fought and bled and laughed in.

How could he not worship it.

How could he not fear it.

He had felt Childe walk in with bated breath, distracting himself with his cup of tea to settle his nerves.

What did this mean?

Was this the end of Liyue, of humanity, of Teyvat?

Over the centuries people have accepted the creator’s complacency in the affairs of Teyvat.

What does it now mean that they have focused their gaze once more on this land.

Destruction

Salvation

He daren’t hope or guess.

But

Well,

The Traveler was kind.

They had no ill will towards the people of Teyvat.

While it was clear they had their own mission to stove for, they did not hesitate in helping those they can along the way.

If the creator has blessed one such as them, one so kind to humans, one with no ill will.

Perhaps.

A seed of hope planted itself in him, and refused to budge.

As time went on, the seed grew.

Hope grew.

The tiny seed of hope that he tried so hard to ignore and deny could be ignored no longer when he received a blessing himself.

He could still remember it so clearly.

It was a normal day, nothing out of the ordinary. He went to work, had tea, chatted with passersby.

There were no great feats.

No great revelations, or offerings.

Yet he felt it for the first time.

A blessing.

A pure, gentle, powerful blessing.

He could feel the sentiment behind it, weak as it was.

Relief, excitement, apprehension.

He wanted to cry, to pray. To thank them for giving him a chance, for giving the people of Teyvat a chance.

But fear held him back.

It still does to this day.

That’s the problem with gods, their pleasure and their wrath can often look the same.

Even as he compared notes with Barbatos and the Adepti, confirming that many of them have been given blessings.

While some like Ganyu, rejoiced in this blessing eager for a chance to prove themselves worthy of this world.

People such as him were still fearful.

Fearful of what this meant and what they wanted.

The straw that broke the camel’s back was when he realized that xiangling was also blessed.

Not that the girl knew, after all the creator was very rarely spoken of, only ever mentioned in ancient rites and the most descriptive of history books.

But she had the blessing, a human.

From that point he saw so many others, so many humans, mere mortals given their divine blessing and gaze.

An exorcist, an author, a member of the Qixing.

It spread across Teyvat, whispers as people soon realized that there was a god, an unknown god blessing them.

Granting them abilities beyond their visions, oftentimes enhancing them to levels beyond previously known human limits.

No one dared to say their name, they were insinuations, and speculations, but no one dared disturbed the fragile peace that has settled.

It is an understanding between those who have it.

Those who know, know and those who don’t are kept in the dark.

But it seems that the Creator has turned their gaze to Teyvat and to humans.

~~~~

Masterlist | Next Part

~~~~

Tell me what you guys think!

[indie-ttrpg-of-the-week]

Trans made TTRPGs

Due to… recent events that I would rather not talk about, today's post is a highlight of different tabletop games made by trans peeps! These games are fantastic in their own right, of course, but you can also know that they were made by incredibly cool and attractive people

(Also, these are flyover descs of the game, they'll get more in-depth singular posts later, this is because I am lazy)

Perfect Draw is a phenomenal card game TTRPG that was funded in less than a day on backerkit, it's incredibly fun and has simple to learn hard to master rules for creating custom cards, go check it out!

Songs for the dusk is fucking good, pardon my language, but it's a damn good post apocalyptic game about building community in a post-capitalist-post-apocalypse-post-whatever world. do yourself a favor and if you only check out one game in this list, check this one out, its a beautiful game.

Flying Circus is set in a WW1 inspired fantasy setting full of witches, weird eldritch fish people (who are chill as hell), cults, dead nobility, and other such things. It's inspired by Porco Rosso primarily but it has other touchstones.

Wanderhome is a game about being cute little guys going on a silly adventure and growing as the seasons change, its GMless and very fun

https://weregazelle.itch.io/armour-astir Armour Astir has been featured in here before but its so damn good I had to post it twice. AA demonstrates a fundamental knowledge of the themes of mech shows in a way that very few other games show, its awesome

Kitchen Knightmares is… more of a LARP but its still really dang cool, its about being a knight serving people in a restaurant, its played using discord so its incredibly accessible

https://grimogre.itch.io/michtim Michtim is a game about being small critters protecting their forest from nasty people who wish to harm it, not via brutal violence (sadly) but via friendship and understanding (which is a good substitute to violence)

ok this technically doesn't count but I'm putting it here anyways cuz its like one of my favorite ttrpgs of all time TSL is a game about baring your heart and dueling away with people who you'll probably kiss 10 minutes later, its very very fanfic-ey and inspired by queer narratives. I put it here because its made by a team, and the expansion has a setting specifically meant to be a trans "allegory", so I'll say it counts, honestly just go check it out its good shit

https://willuhl.itch.io/mystic-lilies

Mystic Lillies is a game inspired by ZUN's Touhou Project about witches dueling powerful foes, each other, and themselves. Mystic Lillies features rapid character creation and a unique diceless form of rolling which instead uses a standard playing card deck.

https://preview.drivethrurpg.com/en/product/141424/nobilis-the-game-of-sovereign-powers-2002-edition I… want to do a more general overview on Jenna K as an important figure in indie RPG design, but for now just know that Nobilis is good

https://temporalhiccup.itch.io/apocalypse-keys Apocalypse Keys is a game inspired by Doom Patrol, Hellboy, X-men, and other comics about monstrousness being an allegory for disenfranchisement. Apocalypse Keys is also here because its published by Evilhat so its very cleaned up and fancy but I love how the second you check out the dev's other stuff you can tell they are a lot more experimental with their stuff, this is not a critique, it is in fact a compliment

Fellowship! I've posted about this game before, but it is again here. Fellowship has a fun concept that it uses very well mostly, its a game about defining your character's culture, and I think that's really really cool

Voidheart Symphony is a really cool game about psychic rebellion in a city that really does not like you, the more you discover for yourself the better

Panic at the Dojo is a phenomenal ttrpg based on what the Brazilian would call "Pancadaria", which basically means, fucking other's people shit up. Character Creation is incredibly open and free, meaning that many character concepts are available

Legacy 2e is a game about controlling an entire faction's choices across time, its very fun

remember to be kind to a trans person today! oh also don't even try to be transphobic in the reblogs or replies, you will be blocked so fast your head will spin

[science-lings]

okay this has been going through my mind for days and I have to get my thoughts out before I explode

Disclaimer, this is not talking about a specific artist/person and would never condone or participate in anon hate or online bullying for any reason but especially this one. 

I get why people are mad about Link being portrayed as this buff, hypermasculine, tall guy. I am too (again don’t fucking attack people over it though) and it seems like such an infuriating way to change the character just to fit into some ideal of hypermasculine attractiveness or to make a ship fall into a more hetero lense by making him a decent foot taller than whatever girl he’s being paired with. 

The world of video games and action movies and every form of media ever is extremely saturated with male characters that are swole and manly and whatever other descriptors people are trying to push onto Link that don’t fit into his actual character. There are so many characters out there that already fit this male standard and having a clearly androgynous elf guy was like a breath of fresh air. 

Link was literally designed to be a character whose lines on gender were blurred, ‘a girl with a masculine touch or a guy with a feminine touch’ so that anyone could project themselves onto him. His physical design in botw/totk was specifically made to be feminine enough to wear a certain outfit to pass as a woman (which includes a nearly mandatory cutscene where he puts on the clothes and blushes after being called pretty, like you have to be blind to think that its an experience that he doesn’t like at all) and in totk there are a bunch of outfits made for Link that are blatantly gnc, ones that are practically dresses, include nail polish and lipstick, you can even dye his hair bright and vivid colors and that’s half way to giving him new pronouns. The whole reason Linkle isn’t included in more mainline loz games was because her existence would force Link into a gender dichotomy, if there's a clearly female version of the main hero, that means the main hero has to be a man, and they would rather abandon a potential reoccurring character than make Link conform to a gender binary. 

So pardon me when it feels disingenuous and even malicious for him to be morphed into these clear masculine ideals, where he towers over any female romantic partner (even when in canon he is regularly depicted as noticeably shorter than her) or even in m/m fanworks he’s really beefed up, perhaps to make the scene feel more gay or something. 

Perhaps it’s because his more twink-y/ femboy body type is so heavily sexualized (though obviously when people are sculping abs on him it’s totally not because they’re horny about it) and that’s an issue in itself that bothers me. But it’s just so tiring to see one of the very few popular main characters who is short and feminine and androgynous be molded into just another bland muscle-headed action hero over and over and over again. 

I’m not mad at the creators for portraying him differently than how I like him portrayed, I’m mad because we really do get so few characters like him in good popular media, and to be honest, I really like him the way that he is. I love that he’s tiny and has long hair and has the option to dress any way the player likes. It seems a little distasteful to make him taller than a female love interest just because that’s how straight couples have to be, there’s just never been a real straight couple where the guy is shorter than the girl, that’s just Impossible! (/s) 

[deacons-wig]

I'd prefer if we never got to see the origin of Vault Boy and Vault Tec's branding in the same way I'd rather not get a canon answer of who started the War or how. That's the point of War Never Changes.

Vault Boy is a sinister figure in his cheerful embrace of Armageddon. Giving the Vault Tec brand a face and a name and a backstory feels so unimportant to what is actually interesting about Fallout. What's important to me is the big picture pre war, and the details of what comes after.

What is interesting to me is exploring how propaganda is designed to convince people how close they are to annihilation--or homelessness, unemployment, obscurity, or being The Other and therefore destined to suffer--in hell, in oppressions, being ostracized. Honestly insert any sort of marginalization or suffering here. Crony capitalism uses propaganda to market products designed to manipulate people into buying distance between themselves and that annihilation. Putting themselves "behind the thumb" of Vault Boy, so to speak. Buying a lifestyle. Vault Boy does it with a wink and a smile, inviting those who can afford it to buy their way to safety while using capital and fear to perpetuate the cycle. I don't need the specifics to understand this.

Some ghoulnaysis below the cut:

I'll admit, my initial reaction to pre-war Ghoulgins being the inspiration for Vault Boy was funny! Mr. Cooper Howard, washed up actor experiencing an existential crisis being shoehorned into corporate propaganda that then haunts him for the next 200+ years? Selling manifest destiny, racism, the Rugged Individual, the revisionist history that cowboys were a) white and b) more than a brief footnote in the history of the colonization of North America's west. The commodification of entertainers/creatives/public figures. Selling identities to be packaged into a product that will outlive them? Only to have that person live alongside that role they regret (?) playing... kinda tasty, if we have to give Vault Boy a backstory, though I didn't get a clear sense of his actual feelings about being used as a propaganda guy which I think is a failure of the show to commit to the narrative they set up, which happens with a lot of the show's (lack of) engagement with Fallout's larger themes anyway.

But The Ghoul (stupid name!!! weird and boring choice!!!) is just such an uncompelling and repellent character to me. I love a good bad guy or even anti-hero, but honestly he lacks any interiority. He's an evil karma character (eats people, waterboards and mutilates people, sells people to organ harvesters...like? that literally makes you evil in the games...) but the narrative pushes him as an antihero or someone with gray morality because he what..."likes" dogs? And isn't as decayed or unsettling looking as other ghouls (implying handsome=good or interesting). People aren't afraid of him because he is a ghoul, they're afraid of him because he's evil and will hurt them! Sometimes for no reason! I see the callback to the director telling him to shoot his co-star and Cooper saying he's "the good guy," but is that why he becomes so fucking evil post war? Really?

I don't know why he does what he does other than...the world sucked before and sucks now so he might as well represent the basest of human behavior? That seems to be the thesis of the show--unless kindness and community is engendered (by the vaults, by Management, by a civic government, by corporations) people will descend into chaos.

So why have this poorly executed anti-hero be the origin of Vault Boy? What are the narrative choices being made here? Is it just Rule of Cool?

Personally I would like a pathetic, rotting wet cat of a ghoul, some sort of carved out husk of a washed up movie star either trying to relive his glory days, or avoid them--having given up hope of finding his family after 200 years--being dragged into Lucy's orbit and being constantly reminded of his Vault Boy fame, that she is a walking Vault Girl with her Okey Dokey's and Golden Rule. He'd be a joke, a footnote of the old world. He'd be mean and snarky, even unpredictable and uncooperative--have a public persona of friendly curiosity and a private, cynical one.

Pathetic Ghoulgins would remind audiences of the cost of capitalism and imperialism without resorting to the thesis that war never changes means that people are inherently cruel and will resort to violence, rather than existent corporate and political power structures intentionally create the conditions in which people accept perpetual cycles of exploitation and harm for the sake of their own safety and comfort, despite knowing the cost of maintaining the status quo, and not seeing or believing that distance between the status quo and total annihilation is measured by the smiling thumbs up of a cartoon mascot.

I'm sure there are other ways The Ghoul could have been a successful character as well but.... That's satire. That's interesting. That's Fallout.

[bikiniarmorbattledamage]

So recently Square Enix launched a new game where the premise is that the protagonist is the reluctant hero of a fantasy world they find themselves in, having been born and raised in New York. It recently got some loud pushback from people who were upset that protagonist... lemme check notes... sounds like a sassy New Yorker.

Fortunately, the actress has had the perfect attitude toward it:

Now, the game has not been getting spectacular reviews, and the reasons for that vary but I'm not here to talk about trend of critics (well meaning or not) raising standards for products say... starring a black woman and having a mostly female cast, or even about problem of Sacrificial Trash.

I want to talk about this as a good example when we talk about "protected by magic" outfits.

Frey is a New Yorker now blessed with magical power, she has never been trained in armor use, doesn't own armor and so... wears comfortable and practical clothes like you would expect. The whole look conveys an interesting look of a modern person with practical sensibilities in a fantasy world.

She has two main kinds of magic items - cloaks and necklaces. Both items that can be worn over clothes without sacrificing practicality.

She also has a unique, widely considered feminine option for store her magical powers - her nails.

As well as being one of the most innovative expansions into fantasy magic I've seen in mainstream for a while it really also goes a long way to showcase what, so often, is the actual crippling flaw with the "doesn't need it because magic/badass/etc" rhetoric.

Not because you can't have an interesting design that avoids armor etc, but because it's pretty much always the same nonsense with going overboard with designing pseudo-porn and then trying to justify it after the fact rather than exploring possibilities and playing with ideas about what x would mean for y.

Also can we please have more games with character designs like this in them, I'm still thinking about how cool this boss intro was:

-wincenworks

[unseemingowl]

Saga Anderson, and Nordic rep in Alan Wake 2

Early on in Saga Anderson’s exploration in Alan Wake 2, she runs into Ilmo Koskela. Fiercely proud of his Finnish heritage, Ilmo gregariously makes note of Saga’s Nordic sounding name and the familiar design of her knitted sweater. Perhaps a fellow Finn?

Alas no, Saga’s mom is Swedish she informs him. Immediately Ilmo’s face falls. I’m not sure if it’s actually just the animated character defaulting to his resting face, but either way the timing is too perfect. Cue uproarious laughter from me. People in the Nordics are on friendly terms of course, but we gotta have the tiniest bit of… scornfor each other. All in good fun of course. It’s traditional.

Now, I’m Danish, not Finnish, but still, I feel right at home in the towns of Bright Falls and Watery in Alan Wake 2. All of the little nods to Nordic culture and mindset feel so wonderfully familiar to me. The melancholia, the irreverent sense of humor, the affection for the Finnish and Swedish quirks of the characters. The game feels all the stronger in tone and narrative for Remedy embracing the Finnish roots of the studio.

Which is exactly why it sucks that I almost immediately saw the charm of those narrative decisions weaponised against Saga.

I first watched the scene between Ilmo and Saga on a lets play when I was trying to figure out if I should finally dip my toes into survival horror and buy the game. Delighted by the writing I took a look into the comments to see if people were vibing as hard with it as I was. They were. But I also saw a comment that made me frown.

Paraphrasing, it basically went, come on, like hell a guy like Ilmo would make the assumption that a black woman is Finnish. There are a multitude of reasons why I think that person was wrong, mainly that Nordic people love it when we run into each other in other countries, but it also just made me sad.

Saga being black does not negate her Swedish heritage. Formally, she is American, sure (I assume, not sure how that works in the US), but she’s raised by her single Swedish mom, of course she’s going to identify heavily with that part of her herself. It’s a profound and essential part of who she is.

But hey, I’m a white potato Dane, so I’m not gonna argue that I know much about the experience of being biracial. I’m gonna stick to what I know, which is that Saga is a very moving and beautiful example of something that I’m actually not used to seeing much of - a story about connecting with your Nordic heritage and roots. And it’s part of why I love her so much.

When Nordic people show up in big, international productions, it’s usually as Vikings, and sure, it’s fun to see our wild ancestors, but contemporary questions of Nordic identity and heritage is not something I often see explored. Not even in our own productions.

So much of Saga’s story is about family. Fighting for her current one, Logan and Casey (and sure, David too, lol), and rediscovering her first one. Tor and Odin.

Her discovering her ties to Tor and Odin is profoundly moving and made me teary-eyed several times over. And sure, a lot of those ties are fantastical in nature, but they still feel very much grounded - and what makes us Nordic if not the ties to our myths and legends that Tor and Odin have made themselves the living avatars of.

While Saga’s mom, Freya, had good reasons for leaving the Anderson seer magics behind, seeing them as part of what made her family fucked up, she also cut Saga off from the fullness of her capabilities. It is only through Saga reforming her family, healing its scars and fully embracing the Anderson heritage that she becomes as powerful a parautilitarian as she is at the end of the game. That’s beautiful.

And in fact I think Saga being black only deepens the richness of those themes rather than negate them or make them irrelevant. Because yes, Saga’s story would have been moving if she was a white character too, but I am very well aware that a lot of biracial people of Nordic ancestry can feel alienated from that part of themselves. Not least because questions of who gets to claim a Nordic heritage can get pretty ugly around here. There are most definitely people who share the racist mindset of that commentator. It adds an extra dimension. Which is why seeing Tor and Odin’s eagerness to claim Saga as part of the Anderson heritage is all the more moving. Through her magics, she’s just so obviously an Anderson, and they’re so damn proud to call her theirs and fight alongside her. Because they all got that wild Viking blood in them. They’re part of her and she’s part of them.

Roger Ebert, the film critic once called movies empathy machines. I think games, when they’re at their best, can be an even more intense variation of that. Which is exactly why it baffles me that some people can play through Alan Wake 2 and still think Saga is a stunt-woke character rather than someone fully and beautifully integrated in the narrative. A narrative which, at its most basic level – in my opinion – is about the mystical bonds we form with each other and the rest of the world through art and love and blood and family and heritage. All the great horror doesn’t negate that either, it amplifies it. Kind of like that clicker.

[creature-wizard]

Toxic Individualism In Modern Witchcraft

The modern witchcraft movement is very much a product of the 20th century, and one thing it picked up from that was a pretty individualist way of thinking. This isn't all bad, since it helped normalize people being allowed to do spirituality in a way that truly resonated with them, rather than following whatever an institution prescribed for them.

But as many of us know, western individualism comes with a lot of really toxic shit, encouraging and even enshrining apathy, cruelty, and social Darwinism. This, unfortunately, is very much an attitude you occasionally see within modern witchcraft.

This is sometimes expressed through a "let 'em sink or swim" attitude. For example, you might see people bristle at the idea of warning people about dangers such as toxic plants; "well, they should know to just research this themselves, if they get hurt, that's their own faults." Never mind that most of us live in a socioeconomic environment where "natural" tends to be equated with "safe," and few people were taught any real amount of research skills. (Most people don't know how to research beyond "type a thing into Google and click the first link" or "watch a video on YouTube and follow the algorithm.")

There's this sort of idea that witchcraft and the occult is this kind of Darwinian proving ground. You're either just born having what it takes, or you're not. Supposedly, there's no need to warn people about red flags, fascist rhetoric, pseudohistory, or anything, because supposedly, the "worthy" will just be able to find their own way on their own. Anyone who doesn't make it? Anyone who ends up poisoning themselves or falling down the alt right pipeline or abused by a predator? Couldn't be helped; they were never "meant" for this path anyway. It was simply too much for them. Why, if you really think about it, it was their own faults for daring to reach above the station they were born for, anyway.

This is a completely irrational view, because it's simply not how things work. People aren't born having research skills, critical thinking skills, or knowing the difference between real history and pseudohistory; they're taught these things. And some people are statistically much less likely to receive a good education than others. There are a few people who beat the odds and end up better educated than most people in their socioeconomic status, but this doesn't mean that they were born with inherent greatness; it just means that they were curious and lucked out in finding the right materials.

As many of us also know, Victorian-era eugenicists believed that members of the upper class were just inherently better. They had the genes for intelligence and strength of will. (Yeah, that whole modern occult fixation with willpower has some dodgy origins, too.) They just ignored that whole thing where they lived in a socioeconomic system designed to keep most people in poverty. If they ever saw someone beat the system, they attributed it to that person being born exceptional for some reason. I would highly recommend that anyone who hasn't done so already watch Shaun's video, The Bell Curve, which criticizes the book by the same title that effectively tries to argue for Victorian-age eugenics, to get a better picture of this whole thing.

Toxic individualism also encourages thinking of individuals as main characters on some kind of hero's journey, where every pain they suffer and every mistake they make is a vitally important part of their journey and growth; so much so that any effort to prevent them from making mistakes or suffering harm is hindering their personal growth.

Sure, people do often gain valuable insight from their mistakes and suffering. But it's absurd to claim that this is always the best way for people to learn and grow, especially if there's a risk of serious harm for themselves or others. Certainly it's much better to learn from a friendly Tumblr post that essential oils can give you chemical burns or harm your pets than experience it first-hand. And it's much better to learn what far right rhetoric looks like beforehand so you can recognize it when you first see it, rather than get drawn into some far right belief system and perpetuate harm on vulnerable minorities for any amount of time. (This whole thing of acting like you're life's main character and other people are basically just NPCs on some hero's journey that you imagine yourself to be on is so immensely fucked up.)

And finally, if anybody out here finds themselves thinking, "but nobody should expect help from others; after all, I didn't get any!", I'm gonna tell you: it shouldn't have been that way. You didn't not get help because that's just how the world works; you didn't get help because that's how modern western socioeconomics are created to work. Toxic individualism is a construct, and it's one that we can dismantle and replace with something better.

[laundryandtaxes]

I think that maybe the worst impact that Trump's presidency made on the American landscape is that Trump Derangement Syndrome was 100% real and millions of American just never recovered- millions of liberals fully lost their minds and became incapable of reasoning along the lines of their own principles rather than according to sheer partisan reaction. They believed by the millions, and their serious journalists and talking heads regularly claimed to believe, that it made more sense that Vladimir Putin was holding a sex tape over the head of the US president than that liberals ran an election campaign against an embarrassingly bad candidate and lost. They became so allergic to disagreement itself that they regularly attacked the character of people generally on their side over minor and inconsequental political differences. They became so allergic to thinking and to the marketplace of ideas that many of them now legitimately believe that support for freedom of speech is itself a dogwhistle. They became so weak in their principles that they argued that any American, especially any conservative, who took issue with sending billions of taxpayer dollars into the black hole of a meat grinder of a war in Eastern Europe was a traitor and a lover of Vladimir Putin- being anti war, long one of the single best traits of American liberals, was tossed to the side largely just in reaction to Trump's personal desire to avoid new wars. They convinced themselves that feminists speaking up in defense of the ability of women to even discuss wanting to maintain some designated single sex spaces, facilities, groups, etc for women were not just similarly-principled women with whom they had disagreements on the definitions of basic terms, but actually fascists, purely in reaction to conservative dislike of gay, bisexual, gnc, and trans people. They became so accustomed to simply making the truth by speaking it into existence with their media heads and their factchecking bodies that mainstream media all but pretended there were no riots in the summer of 2020 when people could walk around and see them for themselves. They became so nostalgic for the platonic ideal of a president that they rehabilitated the image of George W. Bush despite his being a war criminal who outright lied to justify the illegal invasion of a country for oil that led to unthinkable amounts of destruction and death, and who grew the tendrils of the American security state until they reached into the personal email accounts of American citizens. They straight up forgot how to think and reason and even how to look at the world as it actually exists, and that's what we are stuck with.

[robogart]

no you're SO right about the baldurs gate writing & design. I feel like everyone played a different version of that game where the characters were actually interesting and not just like. poorly written twig people. literally none of the party members have any meat on their bones, even the fuckin "muscle lady" who looks just as twiglike as everyone else its so grating

YES the "it feels like everyone played a different version of that game" is definitely where we're at right now! I'm glad you're in the same boat, it's nice to know we're not alone!! ; w ; 🙏💖💖

It's hard with the writing, because on one hand, I'm here for classic character types and tropes - I'll eat the same ones over and over! But of course, it's always with the caveat of if they're executed well (in MY opinion, it's always subjective). For example, we LOVE Astarion in this house (and Gale has been a surprise like for us too) - but SO much of that is because how the actors delivered the characters. And Astarion in particular feels SO well done - Neil Newbon is such an excellent character actor and he FEELS like a character because the actor brings a lot of nuance to the delivery. But if anyone else voiced him, it would feel lackluster. And that's because the writing is not as strong and intentional feeling. Even the way conversations are paced feel rather clunky - and the most "succesful" dialogue is because the actor is setting better breath and pace and emotion than the dialogue and story gives on its own.

So much of the actual character depth to me feels like it is largely aided by the actors rather than the writing itself. Which I know writing that, it feels a bit DUH that's what the actors are there for. But both things can exist at the same time. And I feel bad for always pointing at Dragon Age, but it's an adjacent game in this field and it's crafted Very Well where both the performances from the actors add depth to the already solid writing. Even looking up Dragon Age writers, you can easily find who the main writers were for each character, which is what gives them SUCH a clear voice and point of view. (And I think there are some characters who are weaker in Dragon Age, but I can't argue that they don't ever feel consistent to themselves despite my opinion of their writing). Whereas so many of the characters in bg3 just feel like they were made in an aimless gamer-bro echo chamber without any direction and the only saving grace is by the performance of the actor.

But!! Rambling!! I'm so sorry @ w @;;; I'm just very impassioned by this right now = w =;;;

[summitclan-chronicles]

SUMMITCLAN CHRONICLES (SCC) is an 18+ roleplay inspired by xenofiction like Warrior Cats, Watership Down, Ratha's Creature, Zorba and Lucky, and the New York State Adirondacks.

Life is hard in the mountains. Creatures fight for every mouthful - for every birth is a death.

But does it have to be cruel forever, always? The cats of Summitclan came together not for battle but for the color of the leaves, the shine of the moon, the hush of fallen snow; together their ancestors brought forth a world where cats have carved a gentle soul into the slope of the harsh mountains. Where food is hidden away to feed the sick when the cold times come; where there are plants that quicken the healing of splintered bones; where one's newborns are always safe and loved. A kitten of Summitclan is a kitten that was told through act and word how wanted they were - and an elder never passes alone.

Life was hard in the mountains. So they changed how life was lived.

Could Summitclan be the perfect refuge, high on those wooded mountain peaks, in the eye of those ancestors who cared so deeply?

We offer you..

• A calm, loving, adult Warrior Cats community that assumes the best in you & others.

• A unique single-character model where every member has one cat with whom they experience Summitclan - in birth, through life, and in death.

• Exclusive lore and worldbuilding that must be taught to new generations & incomers.

• A system of real-time years and seasons with extended days and nights for extra roleplay time, with weather reflecting the Adirondacks themselves.

• A slow-burn style experience where characters are expanded upon as if they were living beings, evolving as they experience, conflict, learn, reflect and adapt.

• A series of unique festivals year-round to bring the community and clan together as a unit, each themed after a season and its associated needs.

• Resources and prompts members can access to give them ideas for interactions & relationships during slow periods or writer's blockages.

• Staff with high expectations and explicit instructions on how to settle disagreements and keep members lighthearted.

• A support system for less experienced roleplayers to learn from more experienced members.

• A stable design made to last beyond any single member, easily passed down so that it does not abruptly die.

And before you join, I want to inform you ...

This roleplay features feral cats living wild in the Adirondack Mountain Range. Everyday activities including hunting small to medium animals, possibly fending off small to large threats, cats being born + possibly not surviving long after, and cats recieving varying injuries, contracting varying sicknesses, or even losing their lives in tragic ways. All things will be handled with grace, and the roleplay is designed to be balanced rather than leaning toward good or bad events, but you will not be able to avoid these themes upon joining.

Who Are You Looking For?

We are looking for people that are creative, gentle, patient, open-minded, friendly and considerate. If you're someone who indulges in lightheartedness just as often as you do the dark side, and can see the gentle edge in everything, this might be for you...

Our Application:

Grand Opening applications have closed! This area will soon have a link to an app for kittens & loners.

[richea]

Arise review

After buying the game at launch, I finally, finally finished my playthrough of Tales of Arise. Normally I would just write a few thoughts on Twitter and leave it at that, but I found I had a lot of things I wanted to touch upon with this game. With the prior two entries in the series, I kind of just rushed to finish them and then let them collect dust in my brain afterwards. However, back then I had other Tales games I wanted to try for the first time, so part of it was I was itching to get to ones I knew I would enjoy more. I got all caught up with the series before Arise was even announced, so there's no excuse this time!

With Arise, I took my time (well, maybe too much time), and let myself really process the game before I let myself finish it, in order to give myself a more solid basis for how I will feel about this game going forward. To that end, I wanted to really write down my feelings on the game in depth, touching upon all the various aspects of it and how everything made me feel.

Quick warning: if you don't accept criticism of Arise well, this isn't the review for you. I am approaching the game from the perspective of somebody who has played every other entry in the series and ruminated on all of them for years on end. I will be critical of the game in this piece. I'm not trying to tell people how to feel on the game, this is all purely my own thoughts and feelings, from the perspective of a long time Tales fan who deeply cares about the direction the series is going, and more importantly, its rich history.

I am also not looking for people to change my mind on the game, so please do not try to tell me my feelings are "wrong" or that I'm not appreciating certain things properly. I'm not looking for discourse.

That said, if you are someone who is interested in my perspective, then by all means enjoy the essay that is to come.

―――

In this post I want to dive into all the different aspects of the game and talk about each in depth, namely the story, characters and gameplay. I think it's more interesting to judge a game by balancing all these traits rather than just pinpointing one specific thing and basing my entire view of the game on that one thing (for instance, I tend to value interesting characters first and foremost when I indulge in media).

That said, for a quick TL;DR of my feelings on various things, when compared to other entries in the series:

Story: 2/10 Characters: 1/10 Character designs: 3/10 Other UI designs (such as monsters/menus/etc): 0/10 Battle gameplay: 4/10 Other gameplay: 4/10 Music: Undecided, which in its own right may not be a good indicator of how I feel about it Graphics: As a video game it's a 10, for Tales specifically it's a 9/10 for the graphics themselves and a 1/10 for the lack of anime portraits and the portraits we got just look awful (how does Ufotable only get worse with its Tales designs?)

Visual presentation

I want to start by acknowledging the graphics, as it's something that has zero relevance to how I feel on video games. Arise is a very pretty game! There is no denying this. I found myself stopping and just moving the camera around to admire all the pretty landscapes and views in the game. The character models are also very nice.

That said, like all modern Tales games, the battles are a bit overly stimulating on my eyes, because there's so much going on and lots of flashing lights. The actual effects were very pretty though.

The skits are absolutely horrible to watch. Even setting aside how I feel about the lack of skit portraits, the thin white text on top of the off-white backdrop was a horrible design choice. I think this is probably my least favorite aspect of the game. I get headaches very quickly from playing video games even just normally, and watching a ton of skits with intense eye strain did not help! There's also way too much movement with the skit... boxes? as well. Were they thinking about accessibility at all when coming up with them?

On the same topic, the subtitles for general cutscenes were also awful. The outline around the text needed to be much thicker. I could probably read 30% of the dialogue in the game. Thankfully I know a decent amount of Japanese, but still, I was interested in reading the actual translation of the text and I was having a really hard time. I feel bad for people who wanted to play with Japanese voices and don't know as much as me.

The menu UI was also very disappointing. It felt really barebones and had next to no personality to it. The big portraits drawn by Iwamoto were a nice touch (though if you're going to make such massive paintings, at least make the art itself more interesting to look at?), but it wasn't enough. They just felt like something to fill in the empty space which there was a lot of; the menu layout really did not utilize the space on the screen well, and it's double annoying when you consider how microscopic the font in the game is and how they could've used that space to make things more readable. Everything was hard to read, and again the lack of portraits was just utterly disappointing. Every time I opened the menu I just felt sad at how lifeless it felt.

Gameplay

My feelings on the gameplay are mixed. I'll start with the elephant in the room: the gald system in this game is not good. Only getting gald from chests and sub events is just a massively poor game design. Fishing helps but it's more time consuming than doing battles would be and there's really no other incentive to even doing it (at least battles would work towards EXP and getting battle proficiency things!).

The owl system was fun and was definitely a highlight of the game for me. It took me back to looking for attachments in Xillia, which is something I really enjoyed in that game as well and made the long traversing in the game more bearable. I just went from point A to point B in both Zestiria and Berseria, so this was the first game since Xillia 2 that I actually touched every corner of the map.

The battles are also a mixed bag for me. I will be completely transparent and state here that I mostly only played Shionne and Rinwell, so my feelings on the melee gameplay is very limited. My committed team was Shionne, Rinwell, Dohalim and Kisara. Between them you could hit every element weakness, on top of Kisara's high defense (and the fact that I just liked her more than Law and Alphen). From the perspective of a caster main, the battle gameplay was fine. Like other entries, you could do fun manipulation strategies to speed casting time. By the end game I was just spam casting Rinwell's highest tier spells instantly which was fun.

The healing is definitely... not great. There were a few times where I would run out of Orange Gels and then have to do a story progressing map action and it would eat the rest of my already gone CG bar. It was really infuriating. I only used First Aid the entire game, never anything else, because why would I use a better healing arte when it would just drain my gauge faster? It was a mess.

The monsters I did not enjoy. It felt really hard to stun them so it never felt satisfying fighting anything. Their movements felt WAY too grand. If every single boss is huge and epic and has moves that hit the whole map, the whole game starts to lose its impact. I also feel like they did way too much damage in a single hit, which made the healing issue even worse, and it felt more like I was trying to perfectly dodge every attack than it did managing my health in a natural way.

The skill system was just fine, no real commentary to make there. I wish there were more titles in the game however, and that they would display on the status screen (even Graces did this despite them both having the titles and skill systems merged).

Some quick other things

The campsite system was fine

I liked that the sub event indicators were really obvious, as someone who's really bad about doing sub events especially on my first playthrough (the actual sub events themselves are a different issue)

Like with fishing, I never really understood the point of the ranch

Did this game even have minigames?

I actually really liked the weapon skins system, that was super fun

Story

This is where I will start to nitpick things because I play Tales games for the story and characters first and foremost. And, having played every other game in full, my feelings on the story and writing in this game are... not very high.

To start, I do at the very least think Arise had some interesting starting concepts going on. Namely, a protagonist trying to figure out his amnesia and a girl who zaps everything she touches are pretty cool concepts! However, even from the first promotion trailer I was concerned about Shionne's story hinging too much on Alphen. The "he can't feel anything, she hurts everything she touches" plotpoints felt really, really convenient to me from the first trailer, and was a setup for having all the impact on the game being reliant on Alphen being a decent character (as well as, well, almost forcing him to be Shionne's hero, rather than him gaining that honor through actual hard work and emotion), but I was more than willing to give the game the chance to prove me wrong on that aspect.

I have too many feelings on the character writing so I will be giving them their own section below.

Anyway, sadly, I think those are the only two interesting and unique things in Arise's narrative. Everything else the game has done has been done in a prior Tales game but better. Let me go down the list (non-comprehensive as I can't remember every single theme from every single game, but I will name games that at least have these as the major theme that I can recall):

Two worlds vying for power (I could name games that don't have two worlds faster than I could name ones that do), and one world is trying to suck power out of the other one (Symphonia, Hearts)

The plotpoint about "when humans lose all their power they turn to dust" is literally exactly what happens in Hearts, while the "making people feel strong bad emotion to provoke them into our gains" is what Zestiria and Berseria's entire lore was about as well as Rebirth

Racism, oppression, slavery and colonialism (Phantasia, Destiny, Symphonia, Rebirth, Legendia, Tempest, Hearts (R removed this but there's literally an NPC who flaunts about enslaving the "lesser beings"), Berseria)

First half of the game is fighting a series of specific enemies, second half is focused on lore, especially figuring out stuff with the second planet (Destiny, Eternia, Symphonia, Vesperia, Hearts)

Do I think Tales rehashing tropes is a bad thing? No, not at all. It's something they have been doing for a long, long time. But what made it work in other games is that each game had at least something completely unique to it to balance that feeling of repetitiveness out. For instance, Hearts shows up a lot on this bullet list, but it is the only Tales game to have lore based around entering people's hearts, and the whole story is based around a fairy tale. Even the fact that it has a robot as a playable character was a first for Tales. Legendia rehashed a lot of plotpoints from Rebirth, but it had its own unique spin on things and the worldbuilding in it is completely unique with the focus on marine themes and the story structure being unique from any other game. Symphonia even keeps the same worldbuilding from Phantasia but the feels of the games are completely unique from one another due to how different the themes the stories tackle are. The issue with Arise is that I cannot think of anything unique in the game, aside from Shionne's thorns, that wasn't done in another game. And even then, all of the writing regarding her thorns is a big rehash of heroine tropes and situations in the series' past. I will go over that when I discuss her though.

Another glaring issue with the game is the skits. Normally, Tales skits have roughly 4 purposes. In order of prevalence: fun skits to show off the character's personality that the story can't showcase, the characters discussing story events to showcase the full depth of their feelings on the events as they happen, skits going over worldbuilding to explain in better detail if you didn't catch it from the story scenes (or just giving more information!), and navigational skits. Skits were always meant to be lively and engaging, even if things felt dull in the story, skits existed as a pick-me-up, and as a way to show how the characters were having fun. Skits are one of the most famous parts of Tales storytelling, specifically for this reason.

What's wrong with Arise's skits? In a franchise where the fun:dull skit ratio was 6:4 give or take, Arise changed those numbers to 2:8. Most skits were dedicated to rehashing events. Even in those rehashes, the characters were near constantly bringing up plotpoints that happened 30+ hours ago in the story. Over and over! Alphen was still talking about the first 5 hours of the game when you're on Lenegis!

Watching the skits, it genuinely felt like I was having constant deja-vu. I think I actually was worried I was going crazy at some point, because of the sheer extent of times they would have the same conversations over and over and over again. It got to a point where I would joke about Alphen and Law being on the screen together and I would say "countdown to them bringing up Zephyr" and every single time I would say that, the convo would turn to him. This was 55 hours into the game!

It's not bad for characters to reflect on the past events, but when that makes up the vast majority of their conversations, and one singular event makes up the entire personality of the character, the game feels dull very, very quickly. Skits transformed from a thing that I would usually open to find fun shenanigans between the characters and silly banter into me sighing about having to hear about Zephyr's death for the 200th time in the past 5 hours. It was very exhausting. Can we talk about something else now? My rant about this could be endless, but I genuinely want somebody to do a study on just how many times Alphen and Law bring up Zephyr throughout the game, and how many lines in the skits were dedicated to things that weren't just recapping events.

(Even then, there were cooking skits! However, I can only hear so many conversations about preparing food before I start getting bored. I know that eating and food is a BIG cultural point in Japan, but did every single "fun" skit need to be about eating? No.)

Speaking of, let me go over my feelings on the actual story and its events.

While the game did have a slow start, it wasn't that bad. The game eases you into what's going on, with the slavery and meeting Shionne. Nothing really of note to mention here. Rinwell and Law's character introductions were nothing special, but that was fine, it was still early in the game. My first major issue with the game is Zephyr's death. As it may be obvious from my above rant, the game places way too much importance on him as a character. A game mourning a character is nothing new. For instance, fractured Milla's death was a big turning point in Xillia 2. However, the entire game, as well as two entire characters, did not revolve around her death. Arise's issue is that Zephyr is barely a character, and yet the game constantly reminds you of how great and wonderful he was. We barely saw the guy, and no number of skits dedicated to Alphen and Law talking about him changes the fact that he is no more memorable than any other random NPC in the game. His death is unceremonious and was one of the most predictable deaths in the series to date.

(As an unrelated note, I am someone who loves a lot of NPCs in Tales. I love a lot of characters who have very little screentime. Two of my favorite Tales characters are Stella and Marian, who actually have a lot of similarities with Zephyr in narrative importance! The difference, however, is that you are not constantly having it drilled in that they are the epitome of nuance and the stories are not dictated by either character's morals, of which we never got to even see. Arise has Alphen claim Zephyr has the best moral views in the world and his entire life is dictated by those morals he was taught, and he pushes them on everyone else. Including the player.)

Zephyr's death aside, the other non-party characters are barely characters. I don't even remember any of their names. Especially the lords. To sum up my feelings on this instead of subjecting you to a long tangent on the lords, let me just drop these posts I made while playing:

One of Arise's lowest points however is how it handles its themes of racism and colonialism. I have a distinct memory of Alphen telling Rinwell to shut up when she brings up Renan oppression to him, Law tells Rinwell she's not allowed to want revenge due to her oppression, and there's this not-so-great scene on Lenegis where the party reflects on how... one of the lords was "only human" for wanting to enslave the Dahnans and how they can "see" his point of view? NOT GOOD! One of the comments I made while playing the game was "Alphen would stop Cless on his quest of revenge and he would also tell Velvet she's over-exaggerating is kind of my feelings on him at this point" and I still stand by it.

In general, the story is just very predictable. At no point in the game was I surprised by what was going on. Well, no matter, there's other predictable things in Tales games! ...But the difference is that other games, I at least was compelled by the characters and their reactions to those predictable events. Or, their personalities alone would carry me through plotpoints I otherwise found boring. Arise never endeared me to its cast, yet it expected me to find shock value and importance in its very predictable storytelling. I remember when the party takes on the lord who kills Rinwell's family, they said "we'll spare her life" (which is its own long rant but I digress) and I went "oh well someone DEFINITELY won't kill her one second later" and then Vholran showed up as I was saying it! Then, Alphen JUST so happens to get his feeling back in his body after Shionne walks right into Vholran's arms! This was truly the point in the game where I completely gave up on enjoying it and I started to only push myself to beat it just so I could get it over with.

The story sadly saw no improvements after that point either to remedy my soured feelings. The only two things I enjoyed after that point were the little bit with Dohalim's past and him making the speech on Lenegis, and Rinwell touching Shionne's hand in the final scene in the game.

I could go on forever about the story, but I will leave it at that.

As for the sub events, you couldn't really call them "events" when they were just one or two lines about defeating monsters. I did every sub event in the game up until before the final dungeon. I was very unimpressed by them.

Characters

This is absolutely my least favorite part about the game. As I stressed at the beginning, what I go through media for is for the characters. Good characters can salvage just about anything for me. When I watch story scenes, I'm always thinking about how it makes the characters feel. I went into Arise thinking "even if the story doesn't cater to me, at least I can fall back on enjoying the characters and their banter".

As you can already tell, I was utterly disappointed with the cast in Arise.

Alphen

He is easily the contender for my least favorite Tales protagonist, hands down. The issue with Alphen is he never has any original ideas at any point in the game. He always attributes any of his morals to Zephyr. He would go on tangents, explaining how other characters should feel about things, but when asked he got all of his ideas from Zephyr. It seriously felt as if he never thought for himself.

Making this worse is the fact that he would explain how everyone should feel. He would tell Rinwell to stop being mad about her oppression, he would tell Law to listen to his feelings on Zephyr and change his view on him based on his view of who Zephyr was, he would tell Kisara how to feel regarding her place as a woman.

Worst of all, however, was how he would talk to Shionne. Any time she would have an issue, he would make it about himself. In her most important scene in the game, where she's talking about how her thorns make her want to die, he made it about himself. She said what she wanted for herself and he said "whether you like it or not, I'm taking matters into my own hands". Yes, Tales has done this before, with the heroine wishing to die and the hero telling her he won't allow that, but it's infuriating in this case when he never lets her think or act or move or do anything without his input. There's countless scenes in the game where she would be upset and want time alone and he would force her to talk to him about her feelings. Shionne was not permitted to ever exist without Alphen forcing her to talk to him about it and expecting her to go along with what he wanted, and his feelings about her situation. Again, past Tales game have had this, but when it's so constant and so prevalent, and is the only thing the character has to them, it becomes exhausting and annoying.

Also, his only "unique, fun" trait was that he likes armor, but this dialogue only ever showed up... when you made armor?

I was really disappointed with Alphen. Which is really not good when he is the protagonist, and Shionne's entire character also hinges on him. Especially given the grand finale to the game was their wedding, when I saw no romantic tension between them, because all he ever did was explain how she should feel. He was such a mess. I have more I could rant about with him but I need to leave it at that.

Shionne

Shionne is a big bundle of wasted potential to me. That said, she is probably one of the only characters in this game who felt like a character.

Like I said above, her thorns are an interesting concept. However, the handling of it really was standard Tales heroine tied to a cursed fate. The damsel scene, the way she wants to die but the protag talks her out of it, etc. That said, I did think her trauma with never being touched in her life was interesting, and it did make me emotional at points, even if the execution was poor.

I just really, really wish she could've been a character separate from Alphen. Her writing truly was doomed from the start with him being the only person who could touch her. Again, it felt like she bonded with Alphen because he's the only person who can touch her, rather than them actually making a proper bond as people.

Rinwell

Rinwell is... fine? I honestly don't have a lot to say here. I think it was nice that she got importance as the spiritual person in the party, and her banter with Dohalim was nice. I really disliked her relationship with Law however, and again, I hated that Law and Alphen tried to talk her out of her revenge. She was in the position as a "spiteful" person who "needed to grow out of it" but... her family was massacred? Why is Law allowed to be furious about his dad dying, but she's not allowed to be mad about her family being killed? The hypocrisy in regards to Rinwell seriously infuriated me and I felt really bad for her.

Law

Hoo boy. I really do not like Law either, for many of the reasons I don't like Alphen. He does with Rinwell what Alphen does to Shionne. What is with Arise men and mansplaining everything to the girls and refusing to let them have any agency or thoughts without their input?

He was also supposed to be the "mood maker," except his only mood making scenes were Hootle pecking him in the face or him saying something dumb and Rinwell calling him an idiot. It really wasn't that funny and felt like borderline bullying.

Law falls under a Tales archtype I normally really really like (Tytree, Spada, Hisui, etc), so I was expecting to like him quite a bit, but sadly I just... do not. See my Zephyr rants above as well.

Kisara

Kisara is probably the most unfortunate character in the cast. In theory, I really like Kisara. I'm a big fan of knight ladies, and I always enjoy the older woman character in the party (even if only in her 20s). In practice however she just... completely misses the mark. All of her scenes are dedicated to one of three things: working (or not working) under Dohalim, her brother, or how she can be a proper woman. Yikes! It's not good when a female character's entire character revolves around what she can do for men! There's many skits where she asks "what can I even do if everyone cooks for themselves" and her conclusion is... to follow her brother's dream? Kisara, can't you find your OWN dream? And no, bringing up how she can help Dohalim also doesn't count here.

I don't hate Kisara for being who she is, but I really just want to have a stern talking to with whoever wrote her. A female character should not revolve around men and being in the kitchen. Seriously. This game came out in 2021, you should've known better.

Dohalim

While I didn't like his introduction scenes much, he grew on me a lot throughout the game, and he definitely felt the most like a Tales character to me. There was a lot of humanity and nuance to him, and he had the honor of actually having his backstory shown on screen. He had a lot of facets to him: the part of him that was a Renan leader, the part of him that supports the party, his own goals, his own motivations, interesting relationships with other characters, as well as (and maybe most importantly) fun things about his personality via his breaks from seriousness as well as his fondness for music and artifacts.

Overall he felt very fleshed out, and I really wish he had been put in another game. I came out of Arise quite content with the character that was Dohalim, which I cannot say for anyone else.

Closing thoughts

Overall, this is probably the most disappointed I have been with a Tales title. Of course, I don't think every game is perfect, and there are games that I will admit just don't click with me personally that others adore, and likewise there are games that I think fall flat in some regards but resonate with me for the characters.

For instance, I think Tempest is a perfectly fine and even charming game, despite it being more on the barebones side of things. I do not hold Tales games to unrealistic expectations when it's not necessary, and I always think of a lot of things when I base how I feel about the game: crunch time, what the creators had in mind when making it, what heart was put into the story, what fun I am able to find even in the game's flaws. Things to that effect.

Where Arise differs for me is that many of the decisions I dislike about the game were intentional. The lackluster, yet overbearing monsters were intentional, the lack of skit and status portraits were intentional, the story not being that compelling, but taking itself way too seriously and acting as if it's the pinnacle of Tales writing, is also what the producer of the game flaunts when he discusses it. All of these things negative attribute to the quality of the game. Arise scratches away the charm that Tales games have, yet it is flaunted as being something groundbreaking when the story never attempts a single new trope.

It's not one deviation from series staples, it's a whole cluster of them. Why was there any reason to remove post battle dialogue, when that is something everyone absolutely LOVED about the series? Why are skits, which are part of what brought Tales to fame, boiled down to recaps of story scenes and not fun moments, which is what everyone is excited for when they go to open a skit? Why are the cute and iconic monsters completely gone, when every single game used the same designs? Why does the producer for the series actively hate the things that the fans love about Tales?

Arise is essentially a long laundry list of bizarre decisions made by the producer with awful execution, and then sadly the writing does the game absolutely zero favors. I came out of playing it feeling hollow. I've been revisiting some older games after playing it, and I've been getting legitimately emotional at how the characters in these other games actually talk to each other like people, and don't just bounce recaps of events back and forth to each other. Other games know how to have fun, and they have compelling characters, which is really what has always been the thing bringing people back to this franchise.

Would I like Arise more if it wasn't labeled a Tales game? Honestly, no, given I only ever played it because it's under the Tales branding. And I shouldn't have to even ask myself that, given I play Tales to enjoy Tales, and its tropes, and all the fun little things these games provide that no other series can give me.

If and when the next Tales game comes out, I will still probably play it. But so long as it is under our current producer, I will go in incredibly cautious, given he seems adamant about hating all of the things I love most about Tales. At the very least, I hope the next game is more innovative with its writing and characters, and brings back some of the charm that even Zestiria and Berseria had.

[artofkhaos404]

Hobie Brown is a fantastic character.

His design, concept, uniqueness and how HOT he is make him altogether very likeable. But all these things are not why I love him so much; it's what he represents that gets me.

The symbol in modern media he is for many different types of people. For one, he's pretty awesome for people of color to enjoy. Another black hero who can get down to business is always welcome, though it's nothing new for the Spiderverse universe with Miles Morales being our main protagonist. Having a British black character makes it all the more fun, diverse and interesting!

All that being said, the thing that warms my heart about Hobie Brown is what he means for the alternative community.

Im a punk. I'm also an anarchist.

Like anyone, I look for people in media who represent me in both appearance and ideals. As a plus sized person, finding people in media who look like me and aren't part of the toxic stereotype for fat people is uncommon. Chubby characters who don't make their weight part of their personality is unheard of.

Finding characters who properly represent my beliefs and ideals is nigh impossible in my experience. Seeing a punk in modern day popular media is rare. And when I say punk, I'm talking PUNK RAWK. Musicians with colorfully laced boots and symbols painted sloppily all over themselves. Gritty political activists in homemade clothes and piercings, fighting tooth and nail for what they believe in. In truth, I don't know if I've ever seen that in popular media; not authentically.

What do we get instead? Punk coded teenagers who don't really believe in anything, pissing people off for the sake of it. That ain't us. We believe in respect, love and morals. We believe in doing whatever is necessary to achieve the perfect world, whatever each individual believes that is.

The representation is even more insulting for anarchists. Everywhere are both mature antagonists and cartoon villains parading around preaching "anarchy" and completely misusing the word. Its to the point that my political belief is now more closely related to dictatorships (the literal OPPOSITE of anarchism!) or simply death and destruction rather than the true definition: no institutions, just people.

That word has been defiled. I've had people laugh at me and ridicule me when I share my political stance with them due to this stereotype. I've had people tell me I believe what I do just because it "sounds cool."

People that were uneducated to the concept in the first place have now been reeducated by an overlord walking across a battlefield of dead bodies in some movie screaming about "anarchy." Thanks Hollywood. Really appreciate that.

But Hobie is a punk. And he's an anarchist.

He's a hero. He's intelligent. He knows what he fights for and he fights well. That alone is revolutionary for the anarchist movement.

And in a MARVEL FILM. Millions of people watch Marvel films across the globe. Across the Spider verse has pulled in 1.35 Billion dollars. This is exactly what we need.

So, as a representative of my community, thank you Sony Pictures for this gift. I hope to see more like it. And while we're at it, thank you for all the diversity in this new film between all the ethnicities shown onscreen to putting someone my size in the mask!

Thank you, thank you, thank you!

(also if anyone has any recommendations for realistic punk characters in media I'd love to hear em)

[eriochromatic]

I am in love with the wha cross guild designs. Can you say something more about them? Like the thought process behind them and stuff.

sure! What I focused on first is how Mihawk, Buggy, and Crocodile's motives and personality would translate into the WHA world (I need a loose story first to be motivated before delving into the design!)

tbh I think with one piece's characters so focused on freedom and living without constraint, all pirate characters would technically be brimhats LOL (and Coco's arc of realizing the flaws of the current insitution is quite similar to Koby and the marines).

Devil fruit powers are easy to translate into seals tattooed on the skin (hence wha!Buggy's seal on his chest letting him split his body and wha!Crocodile's on his hand giving him sand manipulation). Mihawk is more interesting since he doesn't have a devil fruit, so naturally wha!Mihawk also doesn't have tattooed seals. Another way for a witch to become a brimhat is dabbling in forbidden seals, so wha!Mihawk has cursed seals on Yoru instead (which makes him a brimhat without modifying his body)

As for cornerstone character traits in the original: Mihawk is the greatest swordsman, Buggy is… just vibing LMFAO, and Crocodile is ambitous/power hungry/looking to rule his own kingdom. Obviously the greatest swordsman title means nothing in WHA, so wha!Mihawk instead is a great artificer, with Yoru being the strongest magic imbued weapon in existence. I'd like to think Yoru's seals were initially within guidelines, but Mihawk felt those rules were suffocating Yoru's potential, which is when he started using cursed and forbidden seals instead, all for the sake of Yoru becoming stronger.

Buggy I'd imagine is kind of like how Iguin is introduced in Coco's past- as a solo traveling witch mingling amongst common folk rather than being in a community of fellow witches. I think he'd be addicted to that feeling of superiority he'd get from being a revered witch in the eyes of the common people, so he's probably the head of a traveling circus troupe (where he's the only witch) touring the countryside (keeping a relatively low profile in the realm of witches, never staying in one place too long so the Knights Moralis don't go after him). Buggy's definitely not as altruistic or eager to help those in need as witches are supposed to be in WHA society, but of course he'd put on a good show to entertain the masses.

Eolio mentioned something interesting in chpt 53 ("We can be as in the tales of yore. King and witch, side by side"). There might've been more references to this concept of a monarch/person in power with a witch as their advisor (I just can't find it at the moment a;sldkfs) but I'd imagine that's what Crocodile would be doing. Like Buggy, I think he also gets a sense of superiority by being alongside commonfolk (vs Mihawk who's goal is to genuinely just make the strongest weapon possible and not interested in mingling with others). But instead of Buggy's route of mingling with commoners, Crocodile would definitely go the more sinister route- find some easily manipulated king or high lord and get into his good graces, eventually becoming the witch operating in the shadows and whispering machinations in his liege's ears. We don't know much about the pennisula yet and how far the witches' institution reaches so I don't know the exact position of power Crocodile feels safe aiming for without the Knights Moralis coming for his ass (a ruler might be too obvious lol but then again Crocodile tried to take over Alabasta right underneath the World Government's noses so who knows).

As for the designs themselves: Mihawk's fluffy plume being reminiscient of a brushbug is what started this entire idea for me, so I knew I had to add that in somehow. For each character I picked an overarching motif/theme I wanted in the character design, as well as adding in WHA design elements. WHA characters all tend to have large cloaks to cover their body while writing seals, and even though Cross Guild is all brimhats, nobody starts out as a brimhat so I'd imagine a large cloak or something top heavy would still be familiar to them even if they don't care about covering seals anymore.

For Mihawk I leaned a bit more into the vampire theme than his usual (cloak silhouette is bat like, plus the additional crosses everwhere. His sleeves aren't exactly attached to his jacket (like OPLA) and I also added that detail in the pants haha. I think Yoru is the real star here with all the seals on it, the two big ones are actually modified seals from the Ars Goetia (since they're supposed to be cursed after all); the top one is Glasya-Labolas (manslaughter and bloodshed) and the bottom one is Ronove (taker of old souls). The flower pattern on his sleeves is also not as paisley looking since it doesn't fit with the WHA artstyle, but there's so much hatching that at the end of the day I don't think it mattered lol. His cloak is the least cloak like since he needs to be able to swing that sword HAHA also he's not interacting with normal humans much anyways, usually he only interacts with witches that try to challenge him. Personally I think wha!Mihawk is quite bad at drawing seals on the fly- his specialty is being able to carve complex ones on metal perfectly so they'd be suitable in a fight later.

Buggy I went full medieval jester mode (I always tend to lean toward that aesthetic for Buggy rather than Joker Batman anyways haha). A couple of star motifs here and there, as well as slashed sleeves to reinforce the slicing and dicing of his body. Overall there's just a lot of vertical and horizontal lines on his body for that purpose. I really wanted to let Buggy's beautiful hair down since WHA's style is lovely with that kind of flowing hair. Oh all three of them are also wearing slyph shoes!

Crocodile's coat is directly inspired from Iguin's (esp for that scale motif); overall I wanted to incorporate flowy ornaments for him since I'd be drawing a lot of flowing sand; hence all the tassels on his cloak and sleeves. Cutouts are there for him to use sand manipulation more effectively. I know in canon both for him and Buggy the clothes also are affected by devil fruit powers but I don't think that would be the case here- Buggy's clothes also probably have seals in them and no one would be able to see if he's on stage but I think for Crocodile, since he'd be working with normal humans more he does have to be more cautious about things (hence why he also has a more traditional cloak compared to the others). Sand hat for coolness also for convenience bc he can just dissipate the sand if he's trying to disguise himself (like how Ininia's ribbons can appear normal instead of brim shaped). I also gave him a smoking pipe instead of a cigar because the pipe can be used as a red herring of sorts- to outsiders it might appear the pipe being the source of power (like for Mihawk's sword) but Crocodile's sand manipulation ability has the same scope as canon.

ANYWAYS that's probably a way more detailed response than you expected but hopefully that was interesting to read my thought process behind things! even though i captioned it Cross Guild I guess it ended up being more East Blue/Alabasta saga personalities than actual post Wano Cross Guild dynamics haha

[likealittleheartbeat]

hey there! can i ask you to elaborate on something?:)

when you reblogged the scene from 'the firebending masters' ep where aang and zuko are judged by the dragons, you said that "now they stand beside the person they thought had what they most longed for" in relation to their yin/yang dynamic.

i remember zuko's monologue in 'the siege of the north' about how aang is like azula and things come to him easy - something that zuko may feel jealous of and long for. but in what sense do you think zuko has what aang longs for the most, and does he acknowledge this?

Such a good question referencing this post and these tags:

First, I’d say that when I talk about longing here, it’s not conscious longing, it’s a deeper subconscious longing for that which will resolve their inner conflict but the character has not necessarily articulated it for themselves or even come to the conclusion themselves. @avatarsymbolism has a nice little post about zuko and aang’s wants and needs. And while I don’t agree whole-heartedly with the wants and needs they land on for the characters—Aang’s need to “mature and step into his role as Avatar” is clearly more nuanced since the Avatar state he masters at the end of season 2, as mentioned in the post, ends up getting him killed rather than serving as a narrative culmination—the framework of wants and needs with the initiator of a characters’ “lie,” which might be better understood as a character’s misunderstanding, is a nice way to discuss it. What I’m talking about with longing is their need.

Therefore, Zuko’s longing is not for the prodigiousness of Azula and Aang. That’s his want. What he needs is restraint, patience, and openness. What the framework of wants and needs hides, however, is something atla does incredibly well. The characters already possess and have demonstrated the features they need, just as an aspect of yin exists within Yang and vice versa. It resists the theory that desire is created by a lack. The problem is not in the characters’ ability but in their awareness of themselves and the bigger picture, the grand design. “Destiny? What would a boy know of destiny?” Jeong-Jeong asks in the episode that directly follows the Storm and the Blue Spirit which have paralleled and intertwined Aang and Zuko. “If a fish lives its whole life in this river, does he know the river’s destiny? No! Only that it runs on and on, out of his control. He may follow where it flows, but he cannot see the end. He cannot imagine the ocean.” The understanding Aang and Zuko reach in the dragon’s fire is their ocean. Zuko finally understands that his dogged pursuit of the avatar and his honor and all the failings to be self-disciplined towards the rules of his father’s court were related to his own values of restraint, patience, and openness to others’ lived experiences. He can finally see a vision of himself that is integrated rather than lacking.

Aang longs for an inner drive, a motivating force, a reason to live and, most importantly, to act decisively that belongs to him rather than the expectations of others for him. Zuko’s clarity on his desire for his honor provides such a stark contrast to Aang on this point. All Aang can manage to do is try to avoid and escape the mantle placed on him while barely even receiving a chance to consider self-determination. The lack of a motivating force is compounded by his survival of the genocide—why go on if no one remains who can understand you? why do anything if it can’t undo the loss?

He is teased by Bumi: “Typical airbender tactic: avoid and evade.” It haunts Aang’s arc as a criticism of his approach to life. He blames himself for running away and leaving his people to suffer the genocide without his protection. He is criticized for fooling around rather than being more direct in mastering the avatar state. He is told to stop thinking like an airbender by Toph in order to master earth—“there’s no different angle, no clever solution, no trickity-trick.” And then he doubles down on himself when he dies and feels that he’s abandoned the world again.

When he reawakens on the ship, we get another parallel to Zuko as Aang asserts a desire for honor, but the goal collapses into the stormy ocean with Aang before the end of the episode. Aang would like to be determined in the same clear way as Zuko, but he keeps having to face his inability to embody that the way Zuko does.

In “the firebending masters,” Aang finally starts to understand that his fleeting nature has an underlying motive. The nomads philosophies resisted the pressures of honor and productivity important to others in order to emphasize the illusion of separation, the potential for unexpected joy, and the inherent value of life. This openness is a drive itself, Aang realizes finally, though its action seems like inaction to others. All the dodging of attacks and duties Aang performed had a greater purpose to render freedom and reconnection, as if an invisible thread had been trailing behind him stringing all the places and peoples he met back together, across distances and even across death and time. He is finally allowed to find his own reason.