#you have to prevent new villains from coming up also!!

[gayspacemonk]

the way nimona explicitly says "get down w the whole system"???????

the way ballister tries to say "no the system is good, we just gotta get rid of the bad person in it"????? and nimona answers with "NO the WHOLE SYSTEM IS BAD!!! we should take it all down!!"

bc like, that's the truth. people often make the mistake of assuming that if you got rid of a few people, bad things wouldn't happen, but if that particular person wasn't doing bad things, someone else would be doing them, that's the way this system needs to work

you can't just get rid of the oppressors and call it a day, you have to also get rid of the system that created the oppressors

[honest-moth-of-silver-grove]

you know how you did bg3 types of yanderes, could you do that for castlevania? Like the trio and isaac, hector, dracula/lisa, carmilla, st. germain??

A/N: For reference, here is the one I did for BG3 villains, and here is the one I did for the BG3 Main Companions. Also, this is unedited as hell so if you see grammar mistakes, no you didn't. 

Castlevania Characters as Yandere! Types: 

Yandere! Trevor: 

Defensive. Calucative. Hardened. Trevor’s seen far worse than you, from humans and monsters alike. He knows the terror and the cruelty that lurks out there. He wants to shield you from it all, for as long as possible. He has this overwhelming need to prevent what happened to his family from happening to you. Even then, he knows your innocence won’t last; it couldn’t possibly. So long as you’re tied to him, you will know hardship. So as much as he babies you, and refuses to grant you complete independence, he is also distant, and frequently unaffectionate. In his line of work, people don’t die of old age; neither of you will be in the other’s life forever. Just let him love you the way he needs, when he asks for it, please. Everything else is so difficult in his life, you don’t want to add to that. Make yourself into the one piece of his life that is easy. And enjoy the easy while it lasts. 

Yandere! Sypha: 

Confident. Feisty. Unyielding. Sypha is always sure of herself. Everything she does, she does with 100% effort and full intent- your relationship is no different. From the moment she sees you, she’s sure she likes you, and she’s certain you like her. Any behavior that suggests otherwise on your part must simply be beginning relationship nerves. After all, she is a scholar and a Speak Magician. Her infectious optimism seeps out of her every pore. Her love for you knows no bounds, and she will not hesitate to throw herself into danger to prove it. I mean, she can conjure fire and ice instantaneously in her own two hands! Who wouldn’t want to be her partner?  Only some sort of complete and total asshole would try and turn her down, or worse, fight against her. She fights for what is right, and what is just. You wouldn’t fight against what’s just, would you? 

Yandere! Alucard: 

Intellectual. Sharp. Melancholic. Alucard is not a stranger to romance nor heartbreak. Losing the people closest to him has left him vulnerable, both emotionally and physically. Instead of processing his feelings, he bottles them up, until he can no longer bear their weight. He feels such pressure to remain composed, remain controlled, not animalistic, to go against the programming of half of his biology. At the same time, he is starving, desperate, and filled with an insatiable thirst for closeness. Such a complicated, disconsolate man, Alucard needs you to stay, more than anything. His life has been so lonely, and so hard; at times it feels like all he knows is loss and the cruel impossible whispers of desire. You need to stay. You need to choose him. He cannot take another heartbreak. It’s quite possible, given his role throughout history, that humanity wouldn’t survive another one of his heartbreaks either.  

Yandere! Isaac: 

Keen. Precise. Self-Righteous. Isaac has journeyed far on his quest for revenge, coming not only into a new land and new role but a new self as well. Gone is the former subservient, sacrificial lamb, who has risen into a stronger, wiser, seemingly benevolent king. Do not mistake this kindness for weakness, however. You must be either admirable or too kind-hearted to pose a genuine threat. Once you’ve caught his eye, prepare for an odd game of cat and mouse, you being the mouse of course. Isaac is not used to having friends, much less romantic companions. You must be patient as he learns the intricacies of your psyche. Surely, you must know he’s been analyzing it since you met? Be an honest, positive presence in his life, and he will keep you safe from all others who may do you harm. Treat him as the wise king he now sees himself as, and perhaps, he will ask you to be his queen. 

Yandere! Hector: 

Reclusive. Embittered. Suspicious. Hector has been forced to toughen up. Too late did he realize at the end of the road, that it is the people, not the zombies you command that can make or break a man. That is where you come in my dear. Following Lenore’s death, Hector’s purpose is up in the air, he is suddenly a puppet, free of its strings. He feels much wiser, but just as lonely. Hector cannot help but latch on to you, the first “normal” person to view him as human. He yearns for a simple quiet life, with a dog (a live one) and a partner to call his own. You’re perfectly plain, or perhaps, you’re just odd enough to make him look normal, and he relishes that. You have to understand that he can’t share much about his past. He can’t possibly tell you about his old life, no, no, no. He’s hiding it from you, hells, he’s hiding from it with you. He loves you dearly, he does. But he can’t trust you, not fully. A man with a history like his cannot truly trust anyone. 

Yandere! Dracula/Lisa: 

Nurturing. Captivated. Smothering. Dracula was not keen on humans before meeting Lisa; she bewitched me body and soul. And now the two of them have become enthralled by you. Dracula has learned the ‘other’ humans are not to be trusted, not with you, and certainly not with his wife. Lisa finds it unfortunate how she is no longer able to treat her former patients in Lupu, but she’s also incredibly thankful now that she has you to take care of! Ever the eager student, she still wants to learn so many things, and how wonderful of a practice dummy you are. Dracula is also eternally grateful that his wife will not be completely lonely; he knows how much helping her fellow humans means to her, and now that you’re here, Dracula no longer has to worry about keeping his wife (and by extension, you) to himself for eternity. 

Yandere! Carmilla: 

Prepared. Calculating. Cruel. Carmilla is a sadist at heart, there’s no denying it. She loves feeling the power she wields over all other people, humans, and vampires alike. For you to have caught her attention, surely you must be something special. Either you are particularly gifted in something she’s not (negotiations, necromancy, art, etc.) or you’re just so unbelievably precious, that she can’t help but want to steal you away for herself. She sees you as a possession, as a rare and beautiful gem, not a person. Even if she did ‘hear’ anything you had to say, she’d simply consider it further fodder to be used in manipulating you should it all come to that. She is not a woman who is denied, not by God, not by man, not by Dracula, and certainly not by you. Chin up, pet. Things could always be much worse. You could be thrown in the dungeons and left to rot. How lovely of Carmilla to instead treat you to more luxury than your kind could ever dare to deserve. For your continued safety, may I suggest showing a little gratitude? I mean it’s not like your life depends on it or anything. It does. 

Yandere! St. Germain: 

Wise. Inquisitive. Obsessive. St. Germain is a man who knows his mind. He knows a great deal about alchemy, and that alchemy, at the end of his days, will be his greatest work. That was of course, all before he met you. You opened up a whole side of him that he didn't know existed. Before you, his conquest was kings and courts; his acquaintances were mages and scholars! But now, in his effort to keep you from himself, you have become his conquest; his acquaintances are vampires and demons, all practitioners of dark magic. To him, it’s of little matter, so long as he can secure you, his one true love. To him, it’s the most important to have someone to share all his knowledge with, all that he’s achieved. To bask in the victory alone does not hold the same merit. He needs you at his side, he needs you to be invested in the great work. Without you, without your love, he fears he cannot achieve it. As such, he will do whatever it takes to get you by his side. And I do mean- whatever- it takes. 

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[theresattrpgforthat]

I'm looking for TTRPGs that have... for lack of a better way of putting it, mechanics where like, your character is under a profound amount of stress, and if they don't manage it and additional stress that comes in, they'll break or snap and do something horrible and then have to deal with the consequences. So something that mechanically 'forces' your character to do something they'd normally never do due to external stressors.

THEME: Stress Clocks.

Oh this is my shit. Get ready for a Hall of Fame style of recommendations from me this week (as well as a bit of self-advertising)!

Also a note: this was (mostly) a chance for me to get very excited about a number of games that have specifically inspired me, and I am aware that it means that I’ve kind of neglected certain houses of design as a result. For this post especially, I encourage anyone who can think of a game that fits this request that isn’t listed here to give it a shout out in the reblog and the replies!

Mothership, by Tuesday Knight Games.

Mothership is a sci-fi horror roleplaying game where you and your crew try to survive in the most inhospitable environment in the universe: outer space! You'll excavate dangerous derelict spacecraft, explore strange unknown worlds, exterminate hostile alien life, and examine the horrors that encroach upon your every move.

Mothership inflicts Stress upon you with every failure, and hitting your Stress cap reduces your most relevant Stat or Save, thereby consistency reducing your chances of success with every roll. That’s not all though - your Stress cap also makes it harder and harder to stop your character from panicking, by representing the threshold you must beat every time you make a Panic Check. If you roll less than or equal to your current Stress rating, you must take on a new Panic condition.

You make Panic checks whenever you roll a critical failure, but also whenever you witness something traumatic. These conditions don’t necessarily force your character to do anything, but they represent the toll that being in a constantly hostile environment takes on your mind and body. You have to work harder and harder to prevent your character from attacking allies, giving in to the demands of whatever is haunting their psyche, or going straight-up catatonic.

You can also try to mitigate this stress and panic by resting and doing something that helps relieve the pressure - having sex, taking drugs, praying, etc. There’s even a Shore Leave mechanic for long-term games that allow your character to turn their stress into a character improvement.

In some respect, these conditions remind me of the Morality and Clarity tracks of Chronicles of Darkness and Changeling: the Lost, but with less of the errant language around mental health. The dice rolls also make the consequences much less predictable, so if you want to be surprised by what exactly causes your character to snap, I recommend Mothership.

Urban Shadows, by Magpie Games.

The streets bleed shadows as the supernatural politics of the city threaten to swallow you whole. Will you die a hero—a savior for those who have never had enough—or live long enough to become the villain? Will you fight the darkness…or give in for power?

The choice is yours. 

Urban Shadows is an urban fantasy tabletop roleplaying game in which mortals and monsters vie for control of a modern-day city, a political battleground layered just under the reality we think we know. Vampires, faeries, hunters, and wizards fight to carve out a piece of the streets and skyscrapers, ready to make deals with all those who have something to offer. 

The ‘consequences’ track for Urban Shadows is called Corruption. Each character playbook in this game has a couple of special moves called Corruption Moves, and when you start playing, you start with two Drama Moves the tie into this. The Drama Moves describe specific situations in which your character must mark Corruption. If you fill your Corruption track, you take a Corruption Move. Corruption moves give you special powers that are super-effective, but fill up your Corruption track faster. You can only fill your Corruption track so many times - fill it one too many and your character must be retired, because they’ve just become an antagonist.

I really like how this feels like a slow descent that speeds up the more you lean into it. Your character is consistently tempted to give into their darker sides in order to keep themselves afloat in this unforgiving city - but lean too far and they become exactly the kind of person they were hoping to stop.

Antiquarian Adventures, by acegiak.

Antiquarian Adventures is a pulpy tomb raiding and treasure hunting Blades In The Dark hack in the style of Tomb Raider, Indiana Jones, National Treasure, and The Mummy.

So Antiquarian Adventures is a pulp game. It’s not grim dark in any sense of the word, but I think it introduces a unique use of the Blades’ Stress mechanic in a special “ability” that happens when your character uses up all of their Composure (this is the “Stress” of this gam). Once you’ve used up all of your Composure, you cannot resist anything that comes your way and your dice pools are reduce to 0 until you do something (specific to your playbook) that usually invites a new consequence.

For example, The Veteran’s version of this is called “Not As Quick As I Used To Be,” which hamstrings the character until the player allows themself to be left behind or separated from their comrades. This kind of mechanic has directly inspired one of the projects that I’m working on, and I think that if you tweak the amount of Composure your character has, or makes the reaction harsher, you could absolutely make it work for a game that’s a bit grittier than Antiquarian Adventures.

Last Fleet, by Black Armada Games

The last of humanity are fleeing across space, pursued by the implacable inhuman adversary that destroyed their civilisation. They're outnumbered and outgunned. Supplies are running low. The actions of a brave few could be all that stands between humanity and extinction.

Welcome to the Last Fleet.

Last Fleet is a PBTA tabletop roleplaying game where you play brave pilots, officers, engineers, politicians and journalists struggling to hold the human race - and themselves - together under unbelievable pressure. The game focuses on action, intrigue and drama in this high-stakes situation. You'll fight space battles, search for enemy infiltrators, tackle supply shortages and navigate faction politics. You'll strive against your own self-doubt and sometimes crack under the stress.

Last Fleet has something called a Pressure Mechanic, which can be used as a player resource, but also activates when you take weather harm or get called out on your shit. Hit your cap? Clear your Pressure and take a Breaking Point action, which often puts you at odds with the other characters, making the situation worse. The whole situation is a designed to act as a pressure cooker, making the situation harder and harder to bear until you finally pop. I love it, and it’s also a direct influence on one of my games.

Apocalypse Keys, by Rae Nedjadi (@temporalhiccup)

Unmask your feelings, uncage your ruination… The Doomsday Clock is ticking down and emotions run high as you and your team of DIVISION agents struggle to find the Keys before the villainous Harbingers unlock the Doors of Power and bring about the apocalypse.

As an Omen class monster, you are the only thing capable of holding back the apocalypse. Combat occult threats and investigate supernatural phenomena alongside your team of supernatural agents working for the shadowy DIVISION. But in a world that shuns monsters like you, only your deepest, most heartfelt bonds can grant you the power to stop those who seek to unlock Doom’s Door.

Taking cues from Urban Shadows, Apocalypse Keys gives you a Ruin track to follow as your monsters try to stop the world from ending. The Ruin track gives you a Ruin advance every time you fill it, unlocking Ruin Moves, permanently marking character conditions, and eventually forcing your character to turn into a Harbinger if you let it. Your Ruin moves are powerful and dark, generating even more Ruin when you use them, and in some cases (like with the Hungry’s "Only Hunger Remains" move), your character can actually halt the current mystery as they get close enough to becoming a Harbinger that the entire party will have to work together to stop you from ripping the world apart.

Protect the Child, by Mint-Rabbit (that’s me!).

Humans have always been protective of their young, sometimes overly so. Humans have also always feared that which might make their young strange or different, and so insist that only humans can raise their own young. Monsters cannot raise human young. This is known.

You have a human baby. You cannot find its parents. What is even worse, is that this child has powers, powers that others covet, and so everyone wants it. If you want to prove that you’re not the heartless monster that everyone says you are, that means you’ll have to raise it, at least until you find someone who is better suited to it than you. 

You are creatures of fur, scales and fangs. You have claws that can rend flesh, faces that can crack mirrors, howls that can cause ears to bleed. 

And your charge wants a blankie.

Protect the Child is a Forged in the Dark game about monsters caring for a young human, a human who contains strange and mystical powers that make them a valuable asset in any monster crew. The setting and factions present in this game are flexible: you might be aliens in a far-flung future galaxy, fantasy monsters from rival kingdoms, or even everyday wild animals that fear human society. 

Alright, so this is my baby and I can tell you exactly how to push your character towards some really unhealthy coping mechanisms. In Protect the Child, your character is constantly battling the stress of being a parent. Stress, like in other Forged in the Dark games, is a player resource, but it’s also inflicted on you when you resist consequences, and when the kid has an emotional breakdown.

Should your stress clock fill up, you’ll have to take a reaction from the list attached to your playbook before you can take more Stress, and these reactions range from doing something for selfish gains to lashing out to your fellow monsters to being fully monstrous at exactly the worst time. Your tools to manage this stress are also limited - you have to be willing to confront your fellow monsters and be honest about your relationships with each-other if you want to stop your emotional kettle from whistling all of the time. If you want a game where building relationships is the only way to deal with the pressures of monster-parenting, then check out Protect the Child!

[yjcorefourenjoyer]

Photo evidence part 6

Tim’s life is officially over!

So apparently, the new Robin is not, in fact, fine! He’s dead! Gone! Went BOOM, if you will! And now, without Tim being able to grieve AT ALL for the Robin he had bonded with and probably spent more time with than his actual parents,

Tim had to pick up the pieces of the mess Jason left behind. (He’ll have a breakdown later)

Batman has been going off the rails, beating criminals to near death (they would’ve been dead if he hadn’t called the ambulance), hurting civilians, breaking more laws than ever, pushing everyone away, and letting injuries get worse and worse and worse…

To put it simply, he was killing himself! 

It was like he wasn’t even the same person, especially after Jason’s funeral, and Tim had a front row seat to the destruction.

Some villains thought that Batman being in this state would make it harder to enact their plans and went into hiding. While the others (the more powerful or the idiotic) decided it would be easier! 

Almost all The Cameras either stopped taking photos or would only send pictures about Batman. All of them had horrible content. Just bloody alleyways, or people running away in fear. They were sent in with the hope of Photo evidence doing something about it.

That is what he does, right? Take corrupt people and either blackmail them or report them to the police…

There was no way that he could get the police to arrest Batman, that would do more harm than good. And the only meaningful thing he has against Batman is his identity. Either way, he can’t go after The Batman! Photo evidence doesn’t fight the good guys!

But... Batman isn’t really a good guy now, is he? It’s like Robin took all the good with him when he died. 

And even if he did blackmail Batman, B might just let it happen! He’s already shown that he doesn’t care what happens to himself now that Jason’s gone.

Which is really surprising, considering he has a perfectly good, alive son and friends!! Like, shouldn’t Superman or Nightwing be showing up to try and stop this?

Oh wait that’s right, Nightwing is mad at B for not telling him that Jason died and that he missed the funeral…

Like okay… Tim understands that not being alerted to your brother’s death while you’re in space can make you mad enough that you don’t want to talk with the person who was supposed to tell you that info to the point where you don’t want to be in the same city as them.

And in Superman’s case he stopped B from killing Joker, which probably started this whole “I’m gonna go punch out my anger cuz I can’t kill the guy who murdered my son,” thing.

Superman also probably thinks that he’ll get killed in Gotham for preventing Joker’s death in the first place, whether by Batman or a Metropolis-hating Gothamite who somehow sensed that Superman stopped Joker from dying, and that probably makes him not want to be in Gotham. 

However, that doesn’t mean they shouldn’t be helping!!

Seriously, Tim doesn’t understand why out of every. single. person. who actually KNOWS Batman, HE has to be the only one to actually do something.

Aren’t heroes supposed to help? Why does he, a child, have to be the only one who cares? The only one to step up? The only one willing to try and help?

Doesn’t anyone realize if Batman dies on patrol, Gotham is going to go up in flames!?

Oh come on! This was supposed to be his debut! To show the world that he could protect Gotham! But not in a vigilante way… He was supposed to go after the people outside of Gotham. The bats do the actual fighting, not him!

Ok ok, that’s it. He has to plan! Maybe contact a few people before he (or Batman) does something rash… after all he’s The Photo evidence! Timothy Jackson Drake! He doesn’t put himself in danger, that isn’t how a Drake works! So If he’s gonna have to save Batman on his own he’s gonna make sure that it’s the last option before he does.

But like what could he even do?? He can’t just bring back Batman’s hope and light, he can’t just bring Robin back! (Photo evidence blackmails people not resurrect them!), The only way to do that is to have someone become Robin, But the only options for that role are Jason, Dick, or well..… Tim.

And since Jason is dead and Tim really doesn’t want to be stuck in a life that’s gonna kill him (cuz it would kill him eventually), he’s just gonna have to find a way to get Dick back into the Robin role…

Maybe visit him in Blüdhaven? Maybe he could tell him what’s going on with Batman in Gotham? How is he even gonna get there? He honestly has no idea. But if this is the only way to help Bruce, he’ll do it.

He just really hopes that Dick will agree so he doesn’t have to save Batman alone…

[ceilidhtransing]

In light of recent and ongoing UK fuckery, I am so sick and tired of the idea that extremely transphobic things “aren't really transphobic” because they are coming from people who “probably mean well” and “don't hate trans people”.

Yeah, because bigotry can only be perpetrated by people who are actively, consciously hateful, sitting in their villainous lairs and dreaming up new innovative ways to be evil. (Obvious sarcasm.)

Transphobia is not just “when you actively and knowingly hate trans people”. Transphobia is also

A paternalistic attitude that says that trans people can't really be trusted to know themselves or what they want and so need to be gatekept from healthcare by cis “experts”

A refusal to listen to and take into account trans expertise; hell, a denial that trans expertise even exists

The idea that while some trans people existing in society is fine, ideally we should be limiting that number as much as we can

The idea that transition - social or physical or both - should only ever be a last resort after all other “possible avenues” have been explored, because being trans is fundamentally an undesirable inferior state and ideally we should be protecting people from transition for their own good

An attempt to clamp down on the use of “dangerous unregulated private healthcare” and an insistence on “safety” and on “doing things the right way” that manifests in reality as a denial of care because no viable alternatives to such “dangerous” options are actually provided

A carving out of exceptions to the basic principle of bodily autonomy whenever a body happens to belong to a trans person

A total dismissal of the concept of harm reduction when it comes to trans people; the only harm reduction that really matters is making sure no cis person accidentally does anything trans, and that end should be doggedly pursued no matter how many trans people it will harm along the way

An expectation of ludicrously unattainable standards of evidence and success for any healthcare involving trans people, that you would never demand of “normal” healthcare - a >15% regret rate for some common surgery is fine; a <1% regret rate for something trans-related is a national scandal that calls for an immediate inquiry into care standards

The refusal to change policies and approaches that have been demonstrated time and time again to harm trans people, because you view the status quo of cis authority over trans bodies as more important than the survival of the people those bodies belong to

The demand that cis people as individuals, and cis society at large, deserve to have their opinions taken into account regarding how a trans person chooses to live and what they choose to do to their body, and that trans freedom should hinge on cis approval

An assumption that segregation between “normal healthcare” and “trans healthcare” is just natural and necessary, even when it is literally the same procedure or treatment

The welcoming of openly trans-hostile voices into conversations about trans issues to the exclusion of actual trans people, because “it's really important that all views are aired” (apart from the views of trans people, obviously)

The attitude that, no matter how ignorant of, detached from, irrelevant to, and unwilling to learn of trans people's lives you are, your personal consent and satisfaction must be obtained before any progress around trans equality can be made, and trans people must only move at the pace of your willingness to understand and get on board

An insistence on endlessly rehashing the same basic points again and again and preventing any forward movement by repeatedly dragging the conversation back to square one, forcing trans people and their allies to debunk the same nonsense again and again and defend the same well-proven, well-established truths again and again

The denial that transphobia even exists or is a significant problem that needs to be addressed - it's not bigotry, it's just conflicting views! After all, gender identity is a polarising issue!

and so much more besides. Transphobia is a social system, a way of thinking, a set of baked-in assumptions, an institutionalised bias. Conscious, active “hatred” is not a prerequisite for anything listed above, but they are all transphobia, and at the root of all of them is a casual indifference to trans survival, a prioritisation of cis comfort and cis interests over trans lives, and an instinctive valuing of cis existence over trans existence. A lot of cis people don't even recognise these things as transphobia because they themselves hold those casual prejudices and therefore see the extensions of them as natural.

And at this point, I don't care about “good intentions”. These things are all manifestations of the insidious and deeply evil web of transphobia that prevents trans people from living full lives as equal participants in society. People who keep holding these attitudes and doing these things aren't “basically well-intentioned”; they're just bigots who don't know or care that they're bigots.

Transphobia is not just “when some hateful fanatic says they want all trans people dead”. Transphobia is all around us. Start seeing it.

[vampire-wizard-solidarity]

@your-local-ruebit-hole-detective ok i’m sorry but. i will answer your question.

age of calamity advertises itself as a prequel but in reality it’s a fix-it au with slight differences and writing that’s pretty bad but i have grown to appreciate it for how insane it goes sometimes.

the actual plot is that as a child zelda used to have a little egg-like guardian robot that she was forced to leave behind as she grew up due to her father’s pressure etc, and when the calamity happened this little robot saw it and traveled back in time with the goal to prevent this and protect zelda, creating a branching off timeline. there’s also an extra villain who is this prophet (???? this games writing isn’t good enough for me to tell you what his deal is exactly) who worships ganon and for most of the game works with the yiga to bring him back, except he’s more insane than them and works directly with malice and also sucks at his job because when he finally gets to ganon he unceremoniously dies and everybody’s like “yeah we have no idea what this guys deal was”.

the one significant change that doesnt have to do anything with time travel shenanigans is the fact that link doesn’t find the master sword as a child, but instead gets appointed zelda’s bodyguard for his genuine skill and then finds the master sword during one of the in game missions. despite this, revali still hates him, and often times when justifying this revali cites reasons that are literal complete opposites of how his grudge was characterised in botw, cementing revali’s characterisation as just a cunt for no reason. it’s great.

the significant time travel related change is that when all the champions go into their divine beasts and fight the blights a portal opens and the new champions (teba, sidon, riju, yunobo) get teleported in and help defeat the blights. zelda also doesn’t get her power by protecting link from a bunch of guardians, the scene still hits the same beats of link fighting things off so zelda can run away except in this game how it happens is that the insane prophet shows up and literally summons all the blights against link which makes the scene ten times more insane.

throughout the game the yiga show up regularly, often times with master kohga himself showing up and being the overall goofy guy he is, except he also has a hunk of a body guard who’s name i genuinely can’t recall. multiple times in the game kohga gets defeated and said hunk of a body guard throws him over his shoulder says “it’s not over yet” and walks off carrying kohga like a sac of potatoes.

in the original game, when shit starts hitting the fan the yiga stop showing up as enemies and at some point in the story kohga shows up without said hunk of a body guard, says “the prophet is insane and the calamity actually isn’t a good thing as we’ve discovered”, highly implies that the reason for his change of heart is because said prophet killed his hunk of a body guard (who literally. doesn’t show up again for the rest of the game mind you. he legit died), and is like “yeah the yiga will help you. after this whole thing is over we’ll go back to being bitches to you but rn let’s just kill this ganon guy and then walk our separate ways”. the fact that the calamity being a bad thing throws the yiga’s whole ideology and purpose into question is never addressed.

the dlc makes the death scene explicit, also making it a parallel to zelink by, again, making the bodyguard fight all the fucking blights so that kohga can escape. the scene literally opens with the body guard limping as they try to escape. it’s so much a parallel to zelink it’s insane. im afraid do not know what the hell they were cooking.

some other choice moments from this game that go insanely hard for no reason:

1. the first portion of the game is dedicated to zelda recruiting all the champions, and when it comes to recruiting revali he for some reason assumes it’s an attack, and sends all the rito soldiers to fight the intruders off. the rito do not question fighting some random hylians one of whom is literally zelda. the mission ends with a boss fight of link vs revali, which only ends without them killing each other because zelda runs in and goes “stop???? the fuck ????”

2. the entire game has cute bonding moments with the botw champions meeting their idols and getting to spend time with them. that is, except for sidon, who spends the game saving his older sister in a parallel universe which he has to leave by the end of the game, meaning every scene involving him has him on the brink of eleven hundred simultaneous mental breakdowns. the dlc adds a scene where the little sidon who is native to said parallel universe gets to interact with botw sidon, and botw sidon tells him that he’s going to grow up big and strong and will protect his sister, and the entire time he tries really hard to not acknowledge the fact that they are the same person, and that mipha is his sister too, presumably because nobody wanted to animate sidon ugly crying. in that scene you can literally see his soul die in his eyes it’s great

3. the dlc features tulin, god knows why. i don’t know how he got there or what he’s doing. he’s just there.

4. you can make noble pursuits in the game and drink them before missions for a buff. pre-gaming defeating the calamity is a thing, i cannot stress how much it is a thing in this game.

5. there are two separate animated cutscenes where link eats rocks on screen. only one of them involves the gorons, the other is a scene where link is being discussed and as the characters talk about how great he is in battle the camera pans to him eating rocks, seemingly on a dare from the other soldiers, who all surround him and are immensely excited by the fact that he is actually eating rocks.

6. the dlc features a scene where zelda gets to cook. link is horrified the entire time. she does not belong in the kitchen. she belongs anywhere outside the kitchen. the dlc also gives her the master cycle as a weapon. she commits vehicular manslaughter

7. the king gets a redemption arc, where he apologises to zelda only after she unlocks her power. the reason he realized he was wrong was because a sheikah relic that he confiscated from zelda turned out to be an ancient shield and it saved his life from a guardian blast. his apology is literal dog shit and right after it the game forces you to play as him for a mission. it almost made me rage quit.

8. thunder blight has an attack where it just swings its hair at you

9. when you finally fight calamity ganon he doesn’t have the form of the spider ganon from botw or even the boar, he is instead a buff guy made out of malice. literally just the shape of a buff non descript guy made out of malice. his boss fight is endless and the entire time you’re just beating the shit out of a non descript buff guy shape with a stick.

10. there’s a cute little side mission called something like “girls beauty contest” (in reality they all beat the shit out of each other for the title), where you’re only allowed to select female characters. that is, female characters AND gorons. think of that what you will

[hadesisqueer]

I like Zaheer as a villain but he is so overrated tbh. Not only because he's not as smart as neither him or people think he is —if he were, he wouldn't have prevented facing Korra in a fair fight only for at the end being like "Oh, Korra, we're poisoning you so we can force the Avatar State and kill you in it; I'm sure that straight up telling you that and therefore giving you a heads up instead of taking you by surprise —like Azula did with Aang— will not matter at all because you totally won't be able to defend yourself after we trigger a literal defense mechanism that gives you the power of a God. Yeah the chains will totally stop that from happening because they're platinum so you totally won't break free even though the Avatar State also enhances your already impressive physical strength." Definitely that was not his smartest move.

It's because they put him as one of the top Airbenders in the franchise and like. That's not true lmao. Zaheer was a good Airbender compared to most of the New Air Nation but tbh you can't compare a guy who was already a skilled martial artist and who was adapting his skills to Airbending to a random guy from Ba Sing Se named Wang who's 38 years old who just got Airbending and hasn't done any martial arts before in his life. Most of Zaheer's advantage in fights comes from 1) him being already a skilled figher 2) people being taken by surprise because they didn't know he was an Airbender 3) people not being used to fighting Airbenders 4) him not holding back unlike most Airbenders. You think he's impressive for suffocating the Earth Queen? All Airbenders with a bit of training probably have the ability to do that (Gyatso literally did that against a whole battalion of Comet Firebenders), they simply choose not to because it goes against their ideals.

Airbending Zaheer could deal with average and a bit above average-good benders/fighters (like White Lotus members or Kya; Kya was a healer, not actually a fighter, and the White Lotus are talented and all but you can't compare those guys in Korra to the main crew lmao) due to his martial arts skills that adapt well with Airbending. He was talented, okay. He defeated Tonraq on top of a mountain while Tonraq had a limited access to water, cool. Now, him being one of Top Best Benders of the franchise? No lmao, most actual Top Benders TM like Iroh, Jianzhu or Amon could probably deal with him pretty easily. The rest of his Red Lotus pals could beat him. He is not even one of the best Airbenders, so don't put him in that top; he just got Airbending, he's talented but there is no comparison. You really think this guy is anywhere close to Gyatso? Kelsang? Aang?! Zaheer wasn't even at Book 1 Aang level. Zaheer needed to gang up with the rest of the Red Lotus against Tenzin because he was kicking his ass and Tenzin wasn't even breaking a sweat while doing so lmao. You put him against an actual Master and he gets bodied. Book 3 Korra would mope the floor with him with Waterbending and she could probably deal with him with just Airbending. Post Book 4 Korra could probably mope the floor with him with just Airbending. The only thing Zaheer does that makes him stand out against any other Airbender with more experience than Random Guy Wang or literal children is that he doesn't hold back like most Airbenders and that he learnt how to fly. And the flying thing, as impressive as it was, was less of a talent thing and more about that he could do it because he didn't have any earthly attachments anymore.

Zaheer was a great antagonist. I really liked him as a character, he was very interesting, his philosophy was interesting, to me he was the best antagonist in all of TLOK along with Amon and just behind Azula and Yun as my fave antagonist in the franchise. And he was talented and skilled, and a threat. But he is just not as powerful as some people make him out to be imo and that's it. Actual Top Tier Benders could eat him for breakfast.

[pianokantzart]

I am very hyped for BrotherShip, and you seem like someone who is also hyped. Please vent about everything we know so far, so I can live vicariously through your rant.

Uuuh jeeze where do I begin.

Love how hard they're going with the "brotherly bonds" angle. I don't think I've seen a game synopsis that focused this hard on the bond they have. Then there's fact that their physical touch seems to literally generate some sort of interdimensional power!?

How? Why? What's going on? I want to know. I want to know so bad. The world they get teleported to is called "Concordia," which means harmony/agreement. There's also the fact that the aesthetic theme of the game is centered around electricity, so maybe all powers revolve around flow/connection, which would be in line with introducing a mystical power generated by the brothers' emotional bond.

Speaking of electricity! I've seen these goons for five seconds and I am intrigued:

It looks like they're going to be reoccurring foes. And while the allies are plug/socket themed, these three enemies are wire/plug themed. The purple guy at the front has a stereo plug for his hair piece and a jack for his hand, and their hands are designed based off of fork spade wire connector.

So I'm going with a theory that the friendly residents are generators/guardians of a strong source of magical energy, while the Extension Corps and their affiliates are out to harness/steal that energy.

Then there's who I'm presuming to be the big bad in this game:

He was in the trailer for half a second, so I assume Nintendo is trying to keep him mysterious for now, but from the little I saw of his design two things stuck out to me: He's equipped with what looks to be a stylized pair of electrician pliers, and his hat has a green and red wire sticking out of the top.

So THAT doesn't bode well

Bowser's going to be there too, but I'm not yet sure if he's going to be a hesitant ally, a small-scale villain, or a final boss who takes advantage of the new villain's failures like in Mario & Luigi Dream Team. At this point it could be anything.

I DO like that Princess Peach is having more of an active role! In the past few Mario & Luigi games she's either been captured to move the plot forward (as is tradition), or has been quietly pulling strings from the sidelines to help out, but it'll be fun seeing her running around and exploring with her own group of misfits.

Also!!! The Luigi "L!"!

My main theory is that, every so often, Luigi is going to come up with a new mechanic depending on what we've encountered over the course of the story, and these new mechanics will be used to overcome obstacles and get into secret areas.

Then there's the central hub world!!! Of all the Mario RPGs I've played (two of them) that's usually my favorite aspect: having a main area where you can hoard all the random nonsense you've stumbled across and get a few extra perks. Looks like we're going to have that same thing here, and they aren't going slouch on the "exploration" angle of this game

I'll stop now, but I've got one last quick theory I'm gonna scream about: Apparently "electrical bonding" is the process of connecting multiple conductive components that are not intended to carry a current to a grounding system, so that if something goes wrong (like an electrical surge or a lightning strike) there's a lower risk of someone getting electrocuted.

So maybe Mario and Luigi are NOT meant to be conduits of this sort of bond-power, but they're unwittingly connected to it in order to prevent tragedy and create stability? (I may be looking into it too closely. I am not an electrician, but that's my theory until I see evidence suggesting otherwise.)

[karaspal]

here is a reading guide for post-age up jon, including the good parts only so you guys could appreciate him more.

THE UNITY SAGA

superman (2018) #7 - 10 this is the story that started it all. jon goes on a space journey with his grandpa and comes back seven years older with enough trauma to last him for the rest of his life and more.

THE ONE WHO FELL

superman #29, action comics #1029, superman #30 - 32 during his time in the future, jon discovers his father might not have much time left in the present. worried about his dad, jon tries to warn him and prevent the inevitable. this story is cute and shows clark's love for his son and how proud he is of the man jon has become.

WARWORLD RISING

action comics #1030 - 1035 follows up the pervious story. clark and jon find refugees who escaped warworld. while clark is ready to help 100%, jon thinks it's a trap to lure his father and is vocal about his suspicions. this story lets jon have flaws, and they make complete sense for his character. while he isn't the main main character, it's a great read to help you understand his character.

SON OF KAL-EL

superman: son of kal-el #1 - 6, annual 2021, #7 - 8, nightwing (2016) #89, superman: soke #9 - 18, action comics #1050 after clark leaves for warworld to help the people there, jon is left in charge as the main superman on earth. with his dad gone, his identity being public and the weight of the world on his shoulders, jon tries to figure out the kind of hero he wants to be. this series also introduces jay nakamura, a journalist and a freedom fighter jon falls in love with. the final three issues is jon's reunion with his dad.

DARK CRISIS ON INFINITE EARTHS

dark crisis #1 - 7 with the whole justice leauge dead, jon tires his best to keep the world spinning and the people in it hopeful. he goes around, trying to form a new justice league. this story shows how jon truly is his father's son and that he deserves the title "superman", as well as his strengths, and his undying spirit.

RISE OF METALLO

action comics #1051 - 1056 clark comes back from warworld with twins, whom he and lois later adopt. jon struggles seeing his parents raise the kids in a way they couldn't raise him because of the time they lost. still though, jon tries his best to be there for his new siblings.

this is jon's main timeline since he came back from his space trip. those are the required stories. bellow, i'll list some comics that aren't necessary to understand him, but are nonetheless good.

THE SUPERMAN OF METROPOLIS

future state: superman of metropolis #1 - 2 this is a future state story that isn't canon. jon bottles the city of metropolis in hopes of saving it. the story follows the consequences of his choice.

OUT THERE

dark crisis: worlds without a justice league - superman #1 do you wonder what would've happened had jon grown up with his folks? do you wonder what he would've been like had he not spent his formative years in a volcano prison? well, this is a story for you. this is clark's perfect world, and in a perfect world, he gets to see his boy grow into a man.

NIGHT AT THE CIRCUS

nightwing (2016) #101 - 104 (back up story) nightwing investigates a mystery in the circus and calls jon for help. the story is a cute team-up between the two.

A HEART IN METROPOLIS

action comics #1059 - "a heart in metropolis" (back up story) jon and jay struggle to find time to spend together, with life getting in the way. finally, the boys find the time to go on a date.

MAGICAL MYSTERY CUBE

superman & robin special #1 cute jon and damian team-up. if you like the super sons, this is a story for you. it shows that their friendship can still work, even with jon being older now.

ELECTRIC

lazarus planet: assult on krypton #1 - “electric” during the lazarus planet event, a common criminal gets powers and decides to join jon in helping people. their dynamic is fun: a righteous hero and a flirty villain. even though i don't particularly ship them, i still enjoyed their interaction.

this is it, guys. this is the list. happy reading! :)

[icaruskeyartist]

Fuck artist statements let's have some time loop and dangerous Moon @pillowspace

(coming back to this two days later and I'm still using this to avoid editing my artist statement rip)

Uh let's see, there's death again. This time it's not so explicitly written out but it's also suicide-ish so.

You've learned the hard way that Moon is dangerous.

It's hard to explain, the disconnect you had before. Maybe it's because the first time you rarely saw him, the generators in the daycare keeping him away and you, the obedient, oblivious worker, keeping to your schedule until the very end.

You had thought that first time maybe you'd died from the smoke. You'd been rather dumb, in hindsight, racing towards the fire when you realized the pizzaplex was on fire, looking for the attendant. They're an animatronic, so they theoretically would be fine right? Maybe the fabric of their costume would burn, but how hot would a fire have to be to melt steel?

Sometimes, when you struggle to sleep, you find yourself wondering about the other loops. Did you leave these timelines and move onto a new one, like a snake shedding its skin? Were there other yous left lying on a cold metal table in a cold tiled room for your family to identify? Did it hurt to die and your mind was just preventing you from remembering?

They're not thoughts you like very much, as you would start to ache like your body was remembering the ways you died. Warm metal fingers curling around your throat.

You sleep with the hall light on now, when those thoughts come up.

Currently though, you stand at the edge of a pool of light left by a lone pendant swinging overhead. You can see the red LED dots of Moon's eyes as he crouches just out of sight, watching you, and your throat starts to hurt.

"Can't we talk?" you plead, but other than the soft jingle of bells, there's no reply. You continue anyway, willing yourself to see through the darkness. "You weren't like this when we met Moon." That first time, times, before something in him snaps. "What happens to you? What changes?"

"Quiet now." Moon's hand grabs at the tightly knitted texture of your sweater, pulling the thick wool loose as you jerk back in shock. Your eyes dart to the red dots in the distance. Oh, oh, oh no, you'd been watching some sort of motion sensor or whatever, not Moon.

Your throat hurts from an unvoiced scream. You grab at your sleeve, feeling the ruined wool. Moon lingers at the edge of the light, constantly moving, squatting so he's almost shorter than you, swaying. It's silly, how he moves, and it almost makes you smile.

"I don't want to be quiet Moon. I want to help you." You wish you could read the animatronics better, but Moon had even less expressiveness than his daytime counterpart, and when he was like this, you weren't sure there really was anything to read at all. "I'm starting to think maybe that's why I'm still here."

"Still here because you're a rulebreaker and need to go to sleep." You heard once that Moon used to play the villain at the theater. As he hisses out words that by any reasonable measure should not be hissable, you can see why. Worse though, is him returning into the darkness, quite literally rolling away in a backflip. You can't see him, and you ignore those red dots because that's not Moon dammit.

"I definitely need a nap," you agree, scanning the room, trying to make out where Moon's bells are. "But I don't think you'll actually put me to sleep." Pause. "Moon? The kids in those posters. A couple of them were at the daycare. What... what did you do to them?"

"They were naughty and had to be punished."

There's a creaking overhead and you look up in time to see the pendant swing widely before you jump out of the way, the metal and glass structure crashing to the ground as the light went out with a pop. You don't quite make the tuck and roll like you'd hoped, and you sit up slowly, nursing your ankle as you try to stand and immediately drop down again. A sprain, probably. But there was no way you could run right now.

You pat your pockets down instead, fumbling for your phone, a lighter, some source of light, but a hand grabs the back of your shirt and you're hoisted in the air, unable to wiggle free from both the speed and the clumps of hair trapped in Moon's grip. If you move your head, it feels like you're being scalped. You kick out in vain, dropping your phone to grab at Moon's arm. "Moon! Let go!"

"No." He shakes you, and that hurts as hair is ripped out and your head flops uselessly back and forth. You grab at his arm again as he begins to move, almost dancing through the air. You'd been nearish the atrium before, but now he's taking you deeper inside. "She says you need to be punished."

"She?" You stop struggling. This is new. "Who is she?" But Moon doesn't answer. His grip tightens against your back and you find yourself staring up at him.

Moon is harder to read than Sun, and definitely harder to read than the other, more expressive glamrocks. But even in the dark, you could swear that right now he's... sad? Resigned?

Maybe he didn't want to do this either. You look down. The fall is a good thirty, maybe forty feet. Okay. "I know you don't want to do this Moon," you say softly, and he doesn't look at you. "That's okay. I'll figure this out next time."

"Wha--"

You wiggle free of your sweater to fall, staring up at Moon as he stares down at you, immobilized in shock. That's the last thing you see before your back hits a bannister, and there's fireworks in your mind and then blackness.

.

.

.

The quiet screech of your phone's alarm wakes you from sleep. You're curled up like some sort of hibernating bear, twisted in the blankets piled on your bed. One hand finds your phone and silences it. You know where you're at and when. Your back and foot throb when you try to remember why. You remember talking to Moon.

There's a she involved now. Who is she? Maybe she was the key to solving the loops.

You don't remember falling, just not wanting to put Moon through anymore pain. Maybe this would be the loop to end it, to break all of you free. You sure hope so.

But for now, you're going to spend a few more minutes curled up and safe, just until you're ready to face the day.

[frenchbreadandeggs]

The Other Variant of Her

pairing: Miguel O'Hara x Reader

summary: Out of nowhere, Gwen Stacy appeared on your Earth, inviting you to the Spider Society in Nueva York. As you reluctantly took her offer, you were shown the beauty of every spider person around HQ. Meeting the founder of the group, Miguel O’Hara. You never knew him, but it seems that he does.

gn!reader, also a spider person

cw. angst, soon.

After I watched ATSV, saw Miguel, I was like—why not make it more sadder? Also made this while I'm fucking writing a travel log for our project, action paper, and capstone. I SWEAR my obsession on writing fanfictions never ends. Gotta go so I can study for finals and defense this week. This was supposed to be a full fic and not by chapters but oh well ¯\_(ツ)_/¯

“Shit!”

You dodge at a car that was thrown in your way, quickly swinging yourself using your web towards a building to land on. As usual you do your superhero things around Kings, York New, beating up villains and chasing down thieves and criminals. But you sure do that this Doctor Octopus you’re fighting isn’t yours, you felt like it was not the doctor that kept chasing you down.

“Come back here you—!” he somehow glitched, a series of colors switched with his body for a split second before Doc Ock shrieked as the grip of his talons of his mechanical tentacles loosened on the blue brick walls, his body now falling.

Quickly, you shot a web on his chest, shooting another one to hold yourself from sliding towards the end of the building as you tried to pull Doc Ock. When he reached the top of the building, you grabbed him by the collar and dragged him on the concrete floor. Not wanting to risk him to go rampage again and destroy half of the city, you wrapped him up with webs, securing his mechanical tentacles on the wall.

He grunted, still recovering from his unusual glitching. You’re going to ask Doctor Strange about this later.

As you were going to bring Doc Ock to the wizard, a person stood in your way—or more like jumped out of nowhere and blocked your way. They wore a white spider suit with pink and black accents.

“Woah,” startled, you backed up, covering the still recovering Doc Ock, “I didn’t know there’s a comic con today—”

You were stopped by a strange tingling at the back of your head, you have spider senses, but this was different.

“Wha—don’t tell me you’re?”

“Holy—you look so cool!”

“What—”

“I’m Gwen Stacy, you are?” she reached her hand towards you after she took her mask off. Blonde short hair with pink dip-dye, the side of her head was shaved, blue eyes and eyebrow piercing. She seemed harmless even though you are still skeptical, but your guts said she is not a problem—and your gut is always right.

“SpiderSlinger.” you introduced yourself, taking Gwen’s hand and shaking it.

“So,” you started, “This is not a joke alright? Is there any cosplay going on somewhere here?”

She snorted, like what you said made no sense to her.

“No, I’m from another universe—I take care of anomalies like that Doc Ock you have there.” she pointed at your back, you looked back to see Doc Ock glitching.

You were not closed about the multiverse existing as Doctor Strange has already mentioned this to you. Though you did not expect for a person outside your universe to come and visit—let alone take care of a person who is not supposed to be in your world.

You looked at her, tilting your head at the side as you grabbed Doc Ock using your web shooter and slung him on your shoulders, unbothered by his weight. Lifts were helpful for you, “By yourself?”

Not too long you tagged along with Gwen, she has explained to you that she is in an elite group called Spider Society where they keep the multiverse from any threats and prevent it from collapsing. Very ambitious you think, the size of the multiverse was incomparable to your thoughts, knowing it is larger than what some people might think. On your way to HQ Gwen mentioned to you, she received a call from someone who’s named ‘Jessica Drew’. You minded your own business when Gwen started to respond to her watch with hushed words, you might have guessed that they were arguing. Gwen sounded pleading all of a sudden.

“Are you sure I’m allowed to go with you?” you asked her after she ended her call. Gwen nodded at you, her head seems like it is going to fall off her neck if she does not stop.

“Absolutely, I already notified them that you’re coming with me.” she handed you a blue wristband, “Here, to keep you from glitching.”

You took the wristband from her and wore it, “Thanks…?”

You have not experienced the ‘glitching’ she was telling you, so it might’ve been like Doc Ock’s situation earlier. Gwen tapped on her watch before a portal appeared in front of you. Your eyes widened in amazement, multiple neon-orange hexagons stood up from the dark but sparkling void—some looked like singular strands of web stretched across the portal, forming in some kind of path to who Spiderperson knows where.

“You got to do this?” Doc Ock still hanging on your shoulder, you pointed at the portal that was formed by Gwen’s watch.

Gwen laughed, smiling at you, not realizing she was showing her gap teeth, “Yeah, all the time.”

“Sick,” you said, still gaped at the portal, “should I…?” you looked at the Doc Ock on your shoulder then to Gwen.

“Oh, yeah definitely.”

With a lift, you pushed Doc Ock inside the portal, his unconscious body sucked into the portal’s abyss. Gwen then looked at you with a reassuring nod and went into the portal, following Doc Ock. You stared at the portal for a while, the city is fine for now since there were no attacks other than Ock—though you were unsure if this was the right idea.

You bit your lip.

“Fuck it she already announced my arrival, might as well go in now.”

Biting back the hesitation of not going in, you leaped into the portal leaving your worries for your city and jumped into the unknown.

You were thrown on the floor face flat on the smooth pavement, you grunted, muffling ‘I’m fine’ even though you know no one would care less. Surprisingly a hand grabbed your wrist and pulled you up to your feet.

“Thanks,” you said, patting the dust off your spider suit. You looked at the scenery around you.

And holy shit you could not believe your eyes at what you are looking at right now. Buildings were everywhere and each building had a bridge attached and led to another building. There were multiple pillars sticking out and attached on each building. That did not amazed you though, it was the massive fucking spiderpeople lounging at the area you are right now.

Not even a hundred were here. It might be thousands of different spider people and you’re one of them. You stared, still in shock at how much spider people are with you here. Taking a hold of Gwen, you gripped both of her shoulders and shook her.

“This is amazing…” you grinned at her, she mirrored yours.

Suddenly, you felt like you were forgetting someone.

Realization hits you, with high alert you asked Gwen, “Where’s Doc Ock?”

“I took care of him,” she placed a hand on your shoulder, giving you a reassuring look.

“Ok,” you took a relaxed exhale, “Well what you showed me was super amazing—very fucking cool—now I want to join—well if that is fine, it looks like y’all won’t be having understaffing for a long time though.”

“Oh—dang, then you should meet Mi—”

“Ooo who’s the newbie here Gwen?”

A distinct voice captured your attention, looking at your back you saw two spider people walking towards you and Gwen.

Pavitr Prabhakar and Hobie Browe were their names given to you in exchange for your Spider name. They were fun to be with, Hobie and Pavitr's shenanigans immediately started right after they met you. You met other spider people, them greeting you back gave you a tingling feeling inside you—maybe it's the fact that they are cool and decided to notice you.

Not for too long Pav said his goodbyes and went back to his Earth while Hobie tagged along when Gwen is guiding you to this ‘Miguel O’Hara’ person. She told you that he was the founder of Spider Society and may or may not have severe anger issues.

“The guy has FANGS?” you looked at Gwen with disbelief.

“Yup, heard that it paralyzes anyone he bites with it—with venom I suppose—obviously.”

She then turns at you, “Alright, we’ll be entering his office. I just hope he isn’t pissed off.”

“He is alway pissed, what do you mean?” Hobie interjected.

“You guys are scaring me—should I like—give him something so he won’t do…?” you wiggled your fingers, hoping they understand what you mean. Hobie just snorts, Gwen shakes her head and takes a grab of your wrists and pulls you with her.

“No, no need.”

The three of you entered a blue dimmed room. Hobie sat on one of the metal seats, watching the scene slowly unfold in front of him. There was a floating platform just above you and Gwen, both of you stood still. If you squint just a little there are yellow-orange colored monitors, cool, you thought, your world’s technology was below this Nueva York’s tech. There on the platform was a man’s back, broad shoulders and messy hair.

You are a patient person, but the platform was painfully slow.

Finally, the platform reached the floor, he did not turn around or anything but continued working on his devices.

“So this is the spider person you are talking about, Gwen?” he spoke with a husky voice. His attention was still on the screens, dragging his fingers on them as he spoke with Gwen.

“Yeah, they’re from Earth-14215. When I came there, they already took care of the anomaly.”

With a blink he was already in front of you, his body looming over you like a vulture. If you were not intimidated by him, you would admire the structure of his face—everything about him. 

His eyes rounded on you, inspecting you like you were prey. There was something bugging you, he felt…something that you could not comprehend.

His intense stare at you made you feel like you needed to remove your mask, so you did. Your hair looked perfectly fine even though you wore a tight mask. Looking at him with a toothy grin, “Hi, nice to meet you.”

At a moment you saw a glimpse of Miguel’s face in shock before turning his back at you. Did you scare him? Or maybe disappoint him? You sure hope not. You watched him walking back to his monitor, he called for someone named Lyla, in which in response a yellow woman appeared in thin air. He spoke to her, though you could not hear them talking.

Not knowing what to do, you turned to Gwen in which she just shrugged—not expecting the lack of emotion from Miguel. You walked towards Hobie and sat next to him, still amazed at him and all of those inconsistent art he has, he did tell you he does not believe in consistency.

You and Hobie started talking to each other, Gwen butting in afterwards. Hobie started talking about the consequence of industrial revolution, him not liking the prime minister—whom you do not know, another consequence about capitalism and it went on and on.

“Hey,” Miguel called, the three of you looking at him at the same time, “No—no the new one.”

You stood up and walked towards him, he tossed you something. You caught it, it looks like a watch of some sorts, similar to Gwen and Hobie and the other spider people have.

“That’s a goober—”

“A gizmo.” Lyla interrupted

“Whatever,” he tries to shoo the AI away from him but Lyla glitches to another place away from him, “that gadget gives you the ability to jump to a different universe. That’s it, I’ll give you instructions for your first mission…Welcome to the club.” he stared at you for a while, a kind of longing feeling from him vibed out you just shrugged it.

“Thanks!...Boss?”

He shook his head, then walked away from you, “Don’t call me that, it’s weird.”

“Huh, alright then. I’ll call you Miguel if that is fine with you.”

He did not respond.

Not bothered by his lack of response, you ran back to Gwen and Hobie, waving the ‘goober’ in your hand. Gwen smiled whilst Hobie greeted you ‘welcome to the spidey club’, it was never really your intention to join but it seems that you got in.

You’ll wait for the first mission Miguel will send you.

[physalian]

8 Signs your Sequel Needs Work

Sequels, and followup seasons to TV shows, can be very tricky to get right. Most of the time, especially with the onslaught of sequels, remakes, and remake-quels over the past… 15 years? There’s a few stand-outs for sure. I hear Dune Part 2 stuck the landing. Everyone who likes John Wick also likes those sequels. Spiderverse 2 also stuck the landing.

These are less tips and more fundamental pieces of your story that may or may not factor in because every work is different, and this is coming from an audience’s perspective. Maybe some of these will be the flaws you just couldn’t put your finger on before. And, of course, these are all my opinions, for sequels and later seasons that just didn’t work for me.

1. Your vague lore becomes a gimmick

The Force, this mysterious entity that needs no further explanation… is now quantifiable with midichlorians.

In The 100, the little chip that contains the “reincarnation” of the Commanders is now the central plot to their season 6 “invasion of the bodysnatchers” villains.

In The Vampire Diaries, the existence of the “emotion switch” is explicitly disputed as even existing in the earlier seasons, then becomes a very real and physical plot point one can toggle on and off.

I love hard magic systems. I love soft magic systems, too. These two are not evolutions of each other and doing so will ruin your magic system. People fell in love with the hard magic because they liked the rules, the rules made sense, and everything you wrote fit within those rules. Don’t get wacky and suddenly start inventing new rules that break your old ones.

People fell in love with the soft magic because it needed no rules, the magic made sense without overtaking the story or creating plot holes for why it didn’t just save the day. Don’t give your audience everything they never needed to know and impose limitations that didn’t need to be there.

Solving the mystery will never be as satisfying as whatever the reader came up with in their mind. Satisfaction is the death of desire.

2. The established theme becomes un-established

I talked about this point already in this post about theme so the abridged version here: If your story has major themes you’ve set out to explore, like “the dichotomy of good and evil” and you abandon that theme either for a contradictory one, or no theme at all, your sequel will feel less polished and meaningful than its predecessor, because the new story doesn’t have as much (if anything) to say, while the original did.

Jurassic Park is a fantastic, stellar example. First movie is about the folly of human arrogance and the inherent disaster and hubris in thinking one can control forces of nature for superficial gains. The sequels, and then sequel series, never returns to this theme (and also stops remembering that dinosaurs are animals, not generic movie monsters). JP wasn’t just scary because ahhh big scary reptiles. JP was scary because the story is an easily preventable tragedy, and yes the dinosaurs are eating people, but the people only have other people to blame. Dinosaurs are just hungry, frightened animals.

Or, the most obvious example in Pixar’s history: Cars to Cars 2.

3. You focus on the wrong elements based on ‘fan feedback’

We love fans. Fans make us money. Fans do not know what they want out of a sequel. Fans will never know what they want out of a sequel, nor will studios know how to interpret those wants. Ask Star Wars. Heck, ask the last 8 books out of the Percy Jackson universe.

Going back to Cars 2 (and why I loathe the concept of comedic relief characters, truly), Disney saw dollar signs with how popular Mater was, so, logically, they gave fans more Mater. They gave us more car gimmicks, they expanded the lore that no one asked for. They did try to give us new pretty racing venues and new cool characters. The writers really did try, but some random Suit decided a car spy thriller was better and this is what we got.

The elements your sequel focuses on could be points 1 or 2, based on reception. If your audience universally hates a character for legitimate reasons, maybe listen, but if your audience is at war with itself over superficial BS like whether or not she’s a female character, or POC, ignore them and write the character you set out to write. Maybe their arc wasn’t finished yet, and they had a really cool story that never got told.

This could be side-characters, or a specific location/pocket of worldbuilding that really resonated, a romantic subplot, whatever. Point is, careening off your plan without considering the consequences doesn’t usually end well.

4. You don’t focus on the ‘right’ elements

I don’t think anyone out there will happily sit down and enjoy the entirety of Thor: The Dark World.  The only reasons I would watch that movie now are because a couple of the jokes are funny, and the whole bit in the middle with Thor and Loki. Why wasn’t this the whole movie? No one cares about the lore, but people really loved Loki, especially when there wasn’t much about him in the MCU at the time, and taking a villain fresh off his big hit with the first Avengers and throwing him in a reluctant “enemy of my enemy” plot for this entire movie would have been amazing.

Loki also refuses to stay dead because he’s too popular, thus we get a cyclical and frustrating arc where he only has development when the producers demand so they can make maximum profit off his character, but back then, in phase 2 world, the mystery around Loki was what made him so compelling and the drama around those two on screen was really good! They bounced so well off each other, they both had very different strengths and perspectives, both had real grievances to air, and in that movie, they *both* lost their mother. It’s not even that it’s a bad sequel, it’s just a plain bad movie.

The movie exists to keep establishing the Infinity Stones with the red one and I can’t remember what the red one does at this point, but it could have so easily done both. The powers that be should have known their strongest elements were Thor and Loki and their relationship, and run with it.

This isn’t “give into the demands of fans who want more Loki” it’s being smart enough to look at your own work and suss out what you think the most intriguing elements are and which have the most room and potential to grow (and also test audiences and beta readers to tell you the ugly truth). Sequels should feel more like natural continuations of the original story, not shameless cash grabs.

5. You walk back character development for ~drama~

As in, characters who got together at the end of book 1 suddenly start fighting because the “will they/won’t they” was the juiciest dynamic of their relationship and you don’t know how to write a compelling, happy couple. Or a character who overcame their snobbery, cowardice, grizzled nature, or phobia suddenly has it again because, again, that was the most compelling part of their character and you don’t know who they are without it.

To be honest, yeah, the buildup of a relationship does tend to be more entertaining in media, but that’s also because solid, respectful, healthy relationships in media are a rarity. Season 1 of Outlander remains the best, in part because of the rapid growth of the main love interest’s relationship. Every season after, they’re already married, already together, and occasionally dealing with baby shenanigans, and it’s them against the world and, yeah, I got bored.

There’s just so much you can do with a freshly established relationship: Those two are a *team* now. The drama and intrigue no longer comes from them against each other, it’s them together against a new antagonist and their different approaches to solving a problem. They can and should still have distinct personalities and perspectives on whatever story you throw them into.

6. It’s the same exact story, just Bigger

I have been sitting on a “how to scale power” post for months now because I’m still not sure on reception but here’s a little bit on what I mean.

Original: Oh no, the big bad guy wants to destroy New York

Sequel: Oh no, the big bad guy wants to destroy the planet

Threequel: Oh no, the big bad guy wants to destroy the galaxy

You knew it wasn’t going to happen the first time, you absolutely know it won’t happen on a bigger scale. Usually, when this happens, plot holes abound. You end up deleting or forgetting about characters’ convenient powers and abilities, deleting or forgetting about established relationships and new ground gained with side characters and entities, and deleting or forgetting about stakes, themes, and actually growing your characters like this isn’t the exact same story, just Bigger.

How many Bond movies are there? Thirty-something? I know some are very, very good and some are not at all good. They’re all Bond movies. People keep watching them because they’re formulaic, but there’s also been seven Bond actors and the movies aren’t one long, continuous, self-referential story about this poor, poor man who has the worst luck in the universe. These sequels aren’t “this but bigger” it’s usually “this, but different”, which is almost always better.

“This, but different now” will demand a different skillset from your hero, different rules to play by, different expectations, and different stakes. It does not just demand your hero learn to punch harder.

Example: Lord Shen from Kung Fu Panda 2 does have more influence than Tai Lung, yes. He’s got a whole city and his backstory is further-reaching, but he’s objectively worse in close combat—so he doesn’t fistfight Po. He has cannons, very dangerous cannons, cannons designed to be so strong that kung fu doesn’t matter. Thus, he’s not necessarily “bigger” he’s just “different” and his whole story demands new perspective.

The differences between Empire Strikes Back and Return of the Jedi are numerous, but the latter relies on “but bigger” and the former went in a whole new direction, while still staying faithful to the themes of the original.

7. It undermines the original by awakening a new problem too soon

I’ve already complained about the mere existence of Heroes of Olympus elsewhere because everything Luke fought and died for only bought that world about a month of peace before the gods came and ripped it all away for More Story.

I’ve also complained that the Star Wars Sequels were always going to spit in the face of a character’s six-movie legacy to bring balance to the Force by just going… nah. Ancient prophecy? Only bought us about 30 years of peace.

Whether it’s too soon, or it’s too closely related to the original, your audience is going to feel a little put-off when they realize how inconsequential this sequel makes the original, particularly in TV shows that run too many seasons and can’t keep upping the ante, like Supernatural.

Kung Fu Panda once again because these two movies are amazing. Shen is completely unrelated to Tai Lung. He’s not threatening the Valley of Peace or Shifu or Oogway or anything the heroes fought for in the original. He’s brand new.

My yearning to see these two on screen together to just watch them verbally spat over both being bratty children disappointed by their parents is unquantifiable. This movie is a damn near perfect sequel. Somebody write me fanfic with these two throwing hands over their drastically different perspectives on kung fu.

8. It’s so divorced from the original that it can barely even be called a sequel

Otherwise known as seasons 5 and 6 of Lost. Otherwise known as: This show was on a sci-fi trajectory and something catastrophic happened to cause a dramatic hairpin turn off that path and into pseudo-biblical territory. Why did it all end in a church? I’m not joking, they did actually abandon The Plan while in a mach 1 nosedive.

I also have a post I’ve been sitting on about how to handle faith in fiction, so I’ll say this: The premise of Lost was the trials and escapades of a group of 48 strangers trying to survive and find rescue off a mysterious island with some creepy, sciency shenanigans going on once they discover that the island isn’t actually uninhabited.

Season 6 is about finding “candidates” to replace the island’s Discount Jesus who serves as the ambassador-protector of the island, who is also immortal until he’s not, and the island becomes a kind of purgatory where they all actually did die in the crash and were just waiting to… die again and go to heaven. Spoiler Alert.

This is also otherwise known as: Oh sh*t, Warner Bros wants more Supernatural? But we wrapped it up so nicely with Sam and Adam in the box with Lucifer. I tried to watch one of those YouTube compilations of Cas’ funny moments because I haven’t seen every episode, and the misery on these actors’ faces as the compilation advanced through the seasons, all the joy and wit sucked from their performances, was just tragic.

I get it. Writers can’t control when the Powers That Be demand More Story so they can run their workhorse into the ground until it stops bleeding money, but if you aren’t controlled by said powers, either take it all back to basics, like Cars 3, or just stop.

—

Sometimes taking your established characters and throwing them into a completely unrecognizable story works, but those unrecongizable stories work that much harder to at least keep the characters' development and progression satisfying and familiar. See this post about timeskips that take generational gaps between the original and the sequel, and still deliver on a satisfying continuation.

TLDR: Sequels are hard and it’s never just one detail that makes them difficult to pull off. They will always be compared to their predecessors, always with the expectations to be as good as or surpass the original, when the original had no such competition. There’s also audience expectations for how they think the story, lore, and relationships should progress. Most faults of sequels, in my opinion, lie in straying too far from the fundamentals of the original without understanding why those fundamentals were so important to the original’s success.

[batsplat]

Chad reed on always the entourages creating the drama. I cannot believe that is what caused rosquez downfall but also given the level of Vale's celebrity and the way he carried himself, I can totally believe that it was the entourage (iPad stand I'm looking at you) that brought the end

(about reed's 2020 quotes in this) yeahhh I mean the downfall was caused by a whole bunch of factors, not just any one thing... like all great tragic narratives, it feels inevitable from a global perspective and yet thoroughly preventable in its specifics, with loads of points where you think, 'oh, if things had just gone a little bit differently'... there's this tension in how, in the end, maybe it would've always gone wrong, but a lot had to come together for it to go wrong in quite such a spectacular fashion

reed's definitely correctly identified one of the factors - the entourages, and valentino's entourage specifically. though fwiw, I did cut off the article before reed predicted the marc/fabio rivalry was headed a similar way (this was from 2020, obviously before the arm injury):

for better or for worse, fabio has skipped the villain arc to head straight to the depressed frenchie arc

regardless of whether this rift would have happened or not, the idea that marc would have gotten a new appreciation for the situation valentino found himself in is at least an interesting one. though if anything, the rivalry with fabio would have more closely paralleled valentino's with the other aliens (new talent coming through, but with the previously dominant rider still a regular winner). now is the time marc's learning what it feels like to come back from a prolonged absence from being competitive at the highest level - and of course with a new superstar simultaneously making his debut

so yeah, anyway, tragedy, you can point to all sorts of strains and pressures and tension inherent to professional sport that were exacerbated by the personalities involved and the influence of the media and the passage of time etc etc. but never mind all that, let's get back to entourages! I know you mention everybody's favourite b-list shakespeare villain, but I'm going to basically mostly ignore him because it's well-trodden ground. yeah, it does help to have one guy who's whispering poison into your ear for a prolonged stretch of time before showing up at your motorhome doorstep with a bunch of telemetry and a dream. and yeah, there were people in valentino's entourage definitely encouraging this path to doom. but what I'm also interested in is the flip side - why nobody stopped him

I would like to submit into evidence this passage detailing the thoughts of vale's mechanic alex briggs. now briggs in this excerpt blames two groups for how things went down in 2015:

the yamaha side (specifically the press group) for not talking him down from the ledge before the presser

the crew chief and other assorted italians on the team for being too "yessy" and not standing up to him

let's briefly (for a given value of the word) focus on the first one. if you're a random yamaha pr person and you see the valentino rossi run to a press conference (given he was late) with a bunch of papers in his hands (well, he's not actually holding the papers in those gifs, but presumably somebody's got them), it's probably a tough ask to expect you to hold up the valentino rossi and ask him what exactly he's intending to do with those papers. also, is he really going to back off because you, random yamaha pr person, have asked him to please not accuse the competition of sabotage? added context is that some at yamaha were aware of what valentino thought about the race at phillip island (which we'll get to in a sec), but god knows if the pr people did. unless he confided in anyone on the yamaha side what the plan was, a lot of them would have been blindsided too - which does come back to the problem of how big a deal valentino is and how maybe you're a little more cautious about questioning what he's about to do with those papers than you would be with somebody else. it does feel like perhaps a bit too much to expect for them to have launched some last-minute intervention, or to even know what kind of intervention they could have gone for beyond low-level comedy hijinks to stop him from even getting to that room. why did nobody from yamaha place a banana skin in his path

but we do know that at least some in yamaha were aware of valentino's great big phillip island sabotage theory, because lin jarvis has very helpfully told us as much (from the post-sepang media scrum):

Q: Do you think it was a mistake for Valentino to [provoke?] Marc so much on Thursday with a very personal and hard attack? Jarvis: There are always many different ways of addressing different problems - Valentino chose to do it in that way. Perhaps that is what provoked Marc into being quite aggressive on the track. I really don't know, you need to ask Marc not me about that. Every action has a consequence. That's life. Q: And did you know before that Valentino was going to be so aggressive with Marc in the press conference? Did you know before? Did you discuss with Valentino about this decision or you didn't know until it happened? Jarvis: Personally, I was not aware of that. I was aware of Valentino's opinion of the race in Australia, but I was not aware... but I was not aware that he would - Q: Don't you think because Valentino at the end of the day is an employee of Yamaha he should discuss before with you about such an important decision, to attack a rider of another factory in such a heavy way [...]? Jarvis: You can't control every incident, everything that happens and you know, generally we have a very good [...] relation, connection with our riders, we talk to them before about things before, but anyway I think this is something Valentino felt strongly about and it was his decision and that's it.

note the use of the word "personally", which does leave the door open to others within yamaha (outside of valentino's inner circle) knowing what was going to happen. jarvis, unsurprisingly, comes down pretty firmly on the side of 'well what were we supposed to do'. given that jarvis admits he knew valentino's theory and is hardly a stranger to valentino's modus operandi - after all, he was already team boss at the time of another tense press conference in sepang eleven years prior that took place in the wake of valentino accusing a competitor of messing with him - you do have to wonder whether yamaha could not have tried a little harder to stop valentino. but again, accounting for the power of valentino's status and the power of his character, I'm personally unconvinced yamaha could've done much to convince valentino to change his mind

so then: the italians. a little bit of context - briggs started working with crew chief jerry burgess in 1994 and both of them were on mick doohan's team for all of his five 500cc titles. when doohan's injuries forced his retirement, valentino inherited his championship-winning team upon moving up to 500cc. jb was vale's very first crew chief in the premier class, and him as well as briggs have been working with vale since december 1999. understandably, this is a very tightly-knit group. it is one that made the jump to yamaha with valentino - here's just a quick excerpt (also from oxley's valentino rossi: all his races) about briggs' thoughts on that move:

When Valentino decided to defect to Yamaha, he was determined to have his crew go with him. Only one stayed at HRC. "We first got to know about the Yamaha deal in Portugal, I think [September 2003]," Briggs continues. "I wanted to stay with JB, because I hadn't finished learning what I wanted to learn. "I remember a clandestine meeting in the car park at Phillip Island, about salaries and how everything was going to work. It was really exciting. When I very first started working with Honda the whole group was very much a team. Towards the end we felt like it started to become a bit us and them: the engineers and management, then the mechanics and the riders. They'd sort of got too big for their boots - they'd designed this wonderful bike, so it was like it had nothing to do with us. That made it easier to leave.

and also about the move to yamaha, from the 2020 barker biography of valentino:

But with his trusted crew chief Jerry Burgess and most of his other team members from the Honda garage agreeing to defect with him, Rossi had the crew he needed, not only to win but also to enjoy his racing. It was a heartening display of loyalty and something of a risk for all involved. ‘When I announced to the mechanics that I was going with Valentino they said, “I’m coming too,”’ Burgess later explained. ‘Some of those guys were leaving very secure jobs and taking a big gamble.’

the group also survived the move to ducati (obviously a deeply frustrating two years not just for the guy riding the bike) and the move back to yamaha. but then, valencia 2013, valentino announced his decision to fire jb in a press conference organised for the pair of them. his 2013 season had been deeply frustrating - yes, he had gotten a podium in his first race beating both marc and dani, but after that generally speaking he couldn't come close to matching the other aliens when healthy. he was comfortably the fourth best rider that year, scrapping and clawing his way through midfield battles and having to rely on misfortunes befalling the three title contenders to achieve his podiums and his sole victory at assen. he was considering retiring at the end of the 2014 season once his current contract expired, but wanted to try everything he could to see whether he could be competitive again against the world's very best. and so, he made the decision to roll the dice and get himself a new crew chief, the italian silvano galbusera

now I have to say, personally I have a lot of time for this decision (even if it was maybe not... uh, enacted in the most graceful of manners, given how sudden it was). I come from a sports background where a certain ruthlessness in personnel decisions is encouraged and generally praised - if something isn't working, you should have the courage to make a change, even if it's deeply uncomfortable (including on an interpersonal level). also, while it was a sudden departure, it's not like burgess was that keen on sticking around much longer (again from the same oxley book):

Valentino ended his collaboration very suddenly at the end of 2013. Burgess was shocked but not too much, because he already knew that he was coming to the end of his own career. "When it ended for me I'd already been doing it 30-odd years and I'd told Valentino a few weeks earlier that I wasn't going to sign any more multi-year contracts. I was 60 by then, so I'd go year by year. I'd already signed a contract for 2014, but I would've thought if we hadn't had any more success by then that there wasn't much point in continuing. I felt we would win more races but I was more doubtful about championships. "I'd read enough sporting biographies to know that sportsmen change their coaches towards the end of their careers. It can give them a spike in results but it doesn't change the overall story. Looking back, Valentino's career went on longer than I expected. He enjoyed some success but no more championships and that's what you race for. Of course he was in the unique position of being able to get a factory bike until he retired. He was very special and deserved everything he got."

which, look. again, personal bias, but to me it's reasonable to part ways with somebody who doesn't think any more titles are plausible, because at that point it's just somebody who has a very different view on your career than you do and may well not stick around for much longer anyway. also, at the end of the day, jb was wrong! valentino came extremely close to winning another title, and just because he didn't, doesn't change the fact he could have. if it had rained on the 8th of november 2015 in valencia, we might be having a very different conversation. (or if they hadn't changed the bloody qualifying format post-2012.) honestly, if the 2016 and to a lesser extent the 2017 season had gone just a little differently - a working bike in mugello here and an unbroken leg there - he could have been a genuine title threat in two more seasons. in any case, what it does show is that valentino even at the end of 2013 was still as determined as ever, was ready to engage in what was a huge gamble (given how almost all his success had come with the highly decorated jb) on the off chance he might find what it took to win again. this will not have been an easy decision for valentino. here's a write-up of the presser at valencia, that stresses how uncomfortable the occasion was, how surprising a decision it was to jb, but how publicly at least there was a lack of recriminations (which, to be fair, wouldn't be much fun to do in a shared presser):

(you'll note that the phrasing in the presser about athletes attempting to extend their carrers by changing things up is echoed in what he says in that book interview where he adds that it doesn't change the overall story, again suggesting he didn't really believe valentino would be competitive. he also uses the same phrasing in ANOTHER interview that confirms as much, but I think you get the point.) valentino said at the time, "it was a very difficult decision for me because I have a great history with jeremy. he is not just my chief mechanic. he is like part of my family. my father in racing". this is somebody he'd been working with since age 21, somebody who is not only revered within the paddock for his work with several of the sport's greats but is also a man who valentino obviously has a close personal connection to. meeting for the first time when vale snuck into the honda pit to check out the bike he might ride next season, hitting it off immediately, countless rowdy dinners together, parties, jb and another older colleague sitting back when food fights started, watching valentino grow up, working with him throughout all his big manufacturer switches, all his successes and all his failures... as much as anything else, it's evidence of how strong vale's desire to win was, how determined he continued to be, to make this choice at this stage of his career. and jb was open to the idea (at least publicly) that it might end up being a smart call:

the 'dirtiest' part of the whole affair is how it was actually carried out - it's not great form to tell your crew chief the day before you end up doing a press conference together to announce your choice. for whatever it's worth, this is how valentino justified the timeline:

and lastly, which I think is the most key part, is valentino's belief. because at the end of the day, the only reason why he's doing any of this, and the only reason why what was to come was possible at all, is that he himself still thought that he could challenge for another title - as much as that belief had come under strain:

now what this piece also goes on to say is that nobody believes this will work. nobody believes that firing jb will lead to better results. people expect that this is going to lead to his retirement, quite possibly at the end of 2014. it's worth just remembering sometimes how extraordinary valentino's return to the top of the game post-2013 really was, how it went against how we expect a rider's competitive lifecycle to work, went far beyond the longevity exhibited by any top rider before or since - all while going up against riders who are widely believed to be some of the best to ever do it. valentino beat jorge in both 2014 and 2016, and remains one of two people to outscore prime marc marquez over the course of a season. not to engage in too much rossi prop here, but sepang 2015 can't really be understood without all the frustration that led up to it, to this one golden chance, this miracle that everybody had believed to be impossible (sometimes even valentino). this wasn't supposed to be happening. it was happening. and then, so so close to the finish line, valentino could feel it slipping, slipping, slipping away

but of course, we still don't know whether changing crew chiefs is the key factor that made him competitive again. maybe he just needed a bit longer to get back into the swing of things post-ducati disaster. maybe the bikes just started to suit him better. hey, maybe it was that nifty exercise regime he'd engaged in a wee spot of espionage for so that he could pinch it off his teammate. what we can say, however, is that valentino's choice both tells us a lot about his mindset, as well as (to finally bring us back to the actual point of this post) representing a massive shift in his 'entourage'. this is what briggs is referring to in his quote - the italians. the new crew chief. the people who couldn't stand up to valentino. now obviously, as mentioned above briggs had worked with jb for the better part of twenty years and can hardly be considered a neutral party. here were briggs' feelings on the matter (yeah it's from the same oxley book again, I got it new for eighteen quid which is a very generous price, would recommend):

When JB was out at the end of 2013 it was like losing my mechanic dad. I remember being in the garage when we found out about it. Then they arranged a kind of farewell, a kind of hodgepodge farewell. It was terrible, I didn't like any of it. I was just hiding behind one of the bikes in the garage, crying, going, what's going on here? It didn't seem right to me. I think maybe Valentino thought he would get faster again sooner, but I think it took at least a year to get the taste of the Ducati out of his mouth. I think if he'd stayed with JB we would've won the championship in 2015.

which. look. we don't have time to unpack all that. but. the point is that obviously briggs wasn't exactly a massive fan of the change within valentino's team, and his comments about the 2015 season do have to be read with that in mind. as to whether vale really would have done better in 2015 with jb at his side, your guess is as good as mine. all that being said, a part of me wonders how much losing that grounding presence enabled valentino's late-2015 spiral. maybe not in terms of talking valentino out of the great big fluctuating lap times treachery theory - to state the obvious, valentino got himself involved in plenty of drama during jb's time as a crew chief. jb himself occasionally helped add fuel to the fire in those feuds, like his infamous comment about how he would be able to fix the ducati's issues in 80 seconds that casey still brings up every three business days (the comments were poorly phrased but also somewhat taken out of context, in that jb was talking about a specific set-up problem). he's generally been pretty happy to be forthright about valentino's rivals, for instance this about casey:

My feeling at the time was that Casey probably only had one game plan, and having watched Casey over the years, he doesn't have a plan B. If it doesn't go his way from the outset, it's probably one of the weaknesses that he had through the youth that he had, through the lack of experience that he had. That's not a criticism of him per se, he was still only 22 at the time.

(this is about laguna seca 2008 and how he helped valentino win that race, including in plotting out vale's rather ruthless tactics - which casey was of course not exactly a fan of.) or these. uh. harsh comments about dani from spring 2010:

Q: Is that atmosphere or track knowledge? Is it like the Spanish finding something extra at the racetracks in Spain? JB: Well, therein we show the weakness, don't we? If you can get up on that weekend, on the technical racetracks of Spain, why can't you get up on the technical racetracks like Australia, where the Italians do? Lorenzo is a guy who will and does. Stoner has been able to get up on tracks all over the world. Unfortunately, Dani Pedrosa's into his 6th year in MotoGP, and he's won 8 races, Jorge Lorenzo's two months into his 3rd and he's won 6. It's night and day between those two, is the way I see it. Dani's an extremely fast rider, but a shockingly poor racer. Q: Were you surprised at Jerez [2010] when Pedrosa fought back when Lorenzo passed him? JB: When did Dani fight back? With two laps to go, and he didn't even get close enough to try to come back. Dani has never been a fighter in races, he's a lovely kid, don't get me wrong, but you can see that Lorenzo, having Pedrosa in front of him, it was never going to be the way he was going to finish that race. He was going to finish on the ground or he was going to finish in front of Pedrosa. That's the sort of race that we want, we had that with Biaggi and Valentino, and from history with Schwantz and Rainey. All the good riders have always had somebody they have had to put the target on the back of. It was Doohan and Gardner, and Doohan won that battle hands down, and I think Jorge Lorenzo's going to win this battle [with Pedrosa] hands down.

kind of a dick! so his attitude to valentino being valentino has generally been a) well having enemies is good, actually, with an added slice of b) good luck to his enemies :) - see also this quote (from the barker biography) in the context of the gibernau rivalry:

And that made Rossi even more dangerous, as Jerry Burgess pointed out: ‘Valentino is the sort of rider I wouldn’t want to get angry. He can take you apart on the track.’

so yes, jb is also perfectly brutal in his own right, as you presumably have to be to work alongside valentino so closely for so long. he is, however, also somebody valentino has a massive amount of respect for, somebody who helped turn him into a legend and is responsible for a lot of vale's success - not least, of course, in the pivotal move to yamaha. he was replaced by a man of a far far lesser stature in the sport, one who presumably would have been grateful to valentino for the biggest job he was ever going to get. if briggs is right and there was a shift in valentino in 2015, surrounded as he was by italians (derogatory) who could not stand up to him, who allowed valentino to insist on war and peace on the pit boards, to focus more and more on things that had nothing to do with riding... it would be going a little too far to say that valentino was missing an adult in the room given he was, in fact, in his thirties and should have been capable of being that adult. and who knows what jb would have said or thought or done about the great big childhood hero deception theory. but sepang 2015 was the culmination of a lot of things, including a pressure cooker of a season that grew more and more tense and put more and more stress on everyone involved - perhaps for none more so than valentino. maybe, just maybe, if he'd had somebody around him with fifteen years of experience in handling him, who could have just occasionally told him to knock it off, to concentrate on the racing, to keep things simple (always jb's defining philosophy), to maybe not get so wrapped up in the great big spanish collusion theory...

or maybe it wouldn't have mattered! maybe we're getting cause and effect all wrong here; maybe valentino was deliberately fashioning his entourage into one that was only going to give him positive feedback. maybe he would have just stopped listening to jb, maybe the very decision to fire jb makes it clear he was no longer interested in what jb had to say. it's a tragedy, after all! maybe it was always going to go like this. maybe it was always going to end like this

speaking of entourages, marc's manager played a bit of a cameo role in fanning the flames just a little further (article from marca, 26/10/2015):

alzamora obviously will be somebody valentino is familiar with, having raced him in 125cc and also having just coexisted in the paddock over the years. valentino could of course be lying, but idk, why would he? he's already made his case by this point, and what if alzamora were to contradict him? if it's true and this conversation did happen, you do have to say it's a spectacularly unhelpful intervention from alzamora. even if marc was mad at valentino, why the hell are you telling valentino this AFTER sepang 2015? what's the plan here buddy

^ 1999 world champions: alzamora in 125cc, vale in 250cc and alex criville in 500cc. people think motogp lore is complicated but if you know like, five guys, you're set for about twenty years of drama

which does get to the heart of the matter - a lot of these people have big egos and their own agendas and they love to run their mouths. they like talking a big game and getting involved in things they really shouldn't be getting involved in. is reed right that these people in the riders' entourages 'created the drama'? well, no, I think the two men at the centre of this particular tragedy were plenty capable of doing that themselves. nevertheless, you can point to how professional sports (and motogp in particular) forces you to rely heavily on a small group of people to keep you sane at the centre of the storm, and the risks that can emerge when that small group collectively unmoors itself from reality. you can point to the perils of fame, both in making your reliance on your inner circle so unnegotiable as well as in providing you with the status and power and ego to ignore anyone who might wish to change your mind. you can point to specific figures in this story who managed to incite the conflict between the two of them, as well as how the pressure cooker competitive environment they were operating within helped set up the ultimate catastrophe. you can point to how valentino lacked anyone with the power to stop him - both in the direct sense of forcing him to reconsider and the indirect sense of commanding his respect enough to make him see sense. maybe, just like in 2004, valentino had simply been "looking for an excuse" and he was always headed down this path. or maybe if somebody had just held him back a little that year, kept him focused on his riding, maybe if the right person had intervened at the right time...

maybe, maybe, maybe. that's why it's a tragedy

[knightofthenewrepublic]

Percy would have worked with Octavian, but the Augur never gave him a chance

(or Why Octavian's actions weren’t justified)

As people spend more and more time critically examining the Riordanvese (often to a fault, it must be said) one of the most common revisionist arguments is to try and absolve the mortal villains of the consequences of their action; usually by exaggerating their motivations. That includes the argument that Octavian was so quick to war partially because he was treated poorly by the Greeks. Particularly by Percy Jackson. 

But does that actually hold up?

People will argue that Octavian was not evil, because attacking Camp Halfblood was justified from his perspective; he thought they had broken a truce with New Rome and attacked it. And that would be a fair argument, IF that was the only bad thing Octavian had done, or even the worst thing. It wasn’t. And Octavian had begun trying to trigger conflict well before that. Percy, on the other hand, did his best to prevent it.

The first scene where Percy meets Octavian, is also the first time we see his sinister side. And that is of course when he tries to blackmail Hazel into supporting him for Praetor.

Now there is an aspect of the context of this scene that I think a lot of people overlook; their ages. Octavian is 18, or near enough, and Hazel is 13. This is a guy old enough to vote, (the only one of them who isn’t a child soldier) blackmailing a girl too young to get a learner’s permit. Just before this, Percy says Octavian reminds him of someone; which is obviously a reference to Luke Castellan. This type of nearly grooming behavior would have really reinforced that impression; which explains Percy’s hostile reaction to it.

Percy slipped his hand into his pocket, and grabbed his pen. This guy was blackmailing Hazel. That was obvious. One sign from Hazel, and Percy was ready to bust out Riptide and see how Octavian liked being at the end of a blade.

But Percy keeps these urges internal. He doesn’t voice his anger, and doesn’t give any visible reaction. The other two keep talking like he’s not there. This is a pretty good demonstration of Percy’s hard won self control; on his first day at Camp Half-Blood he doused Clarisse with toilet water for less, without even meaning to.

The next interaction he has with Octavian isn’t much better.

“Recruit,” he [Octavian] asked, “do you have any credentials? Letters of reference?” Percy shifted. “Letters? Um, no.” Octavian wrinkled his nose. Unfair! Hazel wanted to shout. Percy had carried a goddess into camp. What better recommendation could you want? But Octavian’s family had been sending kids to camp for over a century. He loved reminding recruits that they were less important than he was.  “No letters,” Octavian said regretfully. “Will any legionnaires stand for him?”

Now just asking this question is obviously standard practice, so Octavian isn’t wrong for that. It’s his condescending reaction that is the unsubtle putdown.

But then things come to a head very quickly, when that night’s game of capture the flag ends in a visit from the god Mars, and the command he delivers; a quest to retrieve the legion Eagle, and free Death.

Now what’s really important here is that, while people often think of Leo attacking Camp Jupiter as the point where Octavian turned against the heroes, THIS is the actual point. THIS is where he goes from being a nuisance to being an antagonist.

It starts in the Senate meeting the next day, when Percy tries to make sense of the situation:

“This Giant, the son of Gaea--he’s the one who defeated your forces thirty years ago. I’m sure of it. Now he’s sitting up there in Alaska with a chained death god, and all your old equipment. He's mustering his armies and sending them south to attack this camp.”

Percy is just repeating what Mars literally told them the night before. Octavian’s reasonable reaction to this is:

“Really?” Octavian said. “You seem to know a lot about our enemy’s plans, Percy Jackson.”

Him, and everyone else who was conscious at the end of the war games.

In spite of being almost outright accused of treason, Percy still keeps his cool. This shows a lot of growth on his part, compared to where he was in the second book of the previous series:

This was so completely unfair, I told Tantalus to go chase a donut, which didn’t help his mood.

After a bit more discussion, Octavian makes his move. First he gets in another insult. 

“Mars has clearly chosen the least likely candidates for this quest. Perhaps it is because he considers them the most expendable.”

And then he argues that the senate should not give any of the support that would normally be given to a quest. The odds of them succeeding are already so low; better to use their resources to protect the camp.

It’s pretty easy for us, the readers, to overlook what a dick move this really is. Of course WE know that the heroes are going to come back alive; but in universe, there is nothing to guarantee that. Even a small magical trinket could be the difference between life and death. And Octavian is trying to deny them that.

This could be understandable, if there was any sincerity to it. A sad but necessary sacrifice for the greater good, to protect the camp. But after arguing that all their resources have to be saved for the battle, Octavian proceeds to do nothing with them. When the giant’s army arrives, the legion simply marches out and fights them with conventional ranks and swords. Aside from a few roman scorpions (large crossbows), no specialized weapons are brought out, no magical items are used, they didn’t even build a wall or a trench. So there was no real reason not to give them anything; even if he sincerely believed the quest was doomed, that was all the more reason to help. The right magical tool might have at least given them the chance to get back alive. Depriving the questers served no purpose other than to make them fail.

You can also see this, in the fact that all Octavian’s stated reasons don’t actually win over the senate. 

The senators’ eyes moved back and forth between Octavian and Reyna, watching the test of wills. Reyna straightened in her chair. “Very well,” she said tightly. We shall put it to a vote.”

No one gives their support to Octavian before this. The senators are waiting to follow the person they see as more powerful, not the argument that was more convincing.

As for motivations, there is only one that Octavian could have; with the election just days away, he wants to prevent a rival for the praetorship.

Is the fulfillment of an epic quest a silly basis for entrusting someone with supreme executive power? Yes, in the real world, it is. But demigods don’t live in the real world; and in their world, everything revolves around quests. Quests drive every important event in the series, and are the ultimate standard by which the skill and power of a demigod are demonstrated. As Annabeth puts it in TLT:

“At camp you train and train. And that’s all cool and everything, but the real world is where the monsters are. That’s where you learn whether you’re any good or not.”

If Percy returns from a land that wiped out half a legion of demigods, with the long lost legion Eagle, the mob that is Rome will raise him up on the fanciest shield they can find. And Octavian isn’t the only one who has put that together. The very next chapter sees Reyna tell Percy that he could stand for praetor if he succeeds; and we are reminded several times that Octavian is far more politically savvy than she is. If she’s put it together, you can bet that he has.

But going back to the senate meeting itself; we see another example of Percy choosing not to start a conflict with Octavian, even when he seems to be trying to get him killed. Instead, he focuses on the important issues:

Frank jumped to his feet. Before he could start a fight, Percy said, “Fine! No problem. but at least give us transportation.”

Percy is more concerned about succeeding in saving the camp than satisfying any grudges. Octavian is more interested in how many insults he can fit into one meeting.

“A boat!” Octavian turned to the senators. “The son of Neptune wants a boat. Sea travel has never been the Roman way, but he isn’t much of a Roman!”

(The insult proves to be quite a hypocritical one in BOO, when Octavian has boats built to surround Camp Half-Blood.)

Octavian’s next attempt to start a conflict with Percy is slightly more subtle.

They were only halfway across the forum when someone called, “Jackson!” Percy turned and saw Octavian jogging toward them.  “What do you want ?” Percy asked. Octavian smiled. “Already decided I’m your enemy? That’s a rash choice Percy. I’m a loyal Roman.” Frank snarled. “You backstabbing, slimy–” Both Percy and Hazel had to restrain him.

Why is Octavian talking about being enemies? It doesn’t say Percy asked angrily, or Percy growled, or Percy glared at him. It’s a very dramatic reaction.

And Percy has done nothing to suggest that he wants to be Octavian’s enemy. Sure he has grown to dislike the augur, as most people would with someone who insults them and blackmails children:

Nico put his finger to his lips. Suddenly all the lares went silent. Some looked alarmed, like their mouths had been glued together. Percy wished he had that power over certain living people . . . like Octavian, for instance.

But he’s been keeping those critical thoughts to himself. He even avoided arguing in the senate meeting so as not to escalate things. The worst thing he’s done was knocking Octavian out during capture-the-flag which was both a perfectly fair move and a good strategy. Hardly something to base a feud on.

Most likely, this is a freudian slip on Octavian’s part. He’s already started to see Percy as an enemy, for no other reason than he might be a rival. That, or it’s an attempt at gaslighting Percy into thinking he somehow provoked Octavian into trying to get him killed. In any case, the augur hardly seems unhappy to see him, and the two legionnaires at his side, go off to their deaths.

Octavian smiled wickedly. “The last person she [Reyna] had a private talk with was Jason Grace. And that was the last time I ever saw him. Good luck and goodbye, Percy Jackson.”

If he’s happy to see them go, he’s certainly not happy when they come back alive. 

The look on Octavian’s face was priceless. the centurion stared at Percy with shock, then outrage. Then, when his own troops started to cheer, he had no choice except to join the shouting: “Rome! Rome!”

Not the appropriate reaction when Percy is saving the city, not to mention Octavian’s own life. The auger doesn’t have a single kind word to say.

The Roman symbols burned into Percy’s arm: a trident, SPQR, and a single stripe. It felt like someone was pressing a hot iron into his skin, but Percy managed not to scream. Octavian embraced him and whispered, “I hope it hurt.”

Just before this, Octavian kills a teddy bear and reads the future from it, announcing:

good omens for the coming year–Fortuna would bless them!

It has been suggested that Octavian actually had a very different vision at this moment; that he saw the Argo II opening fire on New Rome, and kept that to himself, but turned against Percy and the other Greeks because of that. This doesn’t seem likely. It would serve his purposes better to share that information; and he would have seen that vision in front of hundreds of demigods hardwired to notice small details, none of whom notice him having any visible reaction to it. Besides which, this can’t be the point when he turns on Percy, since he’s already been trying to sabotage him for most of the book.

Now if there is some big conflict between Percy and Octavian, this is the time for Percy to win it decisively. To use his new power and authority to put the auger in his place.

But Percy doesn’t do that.

“Why should we trust these Greeks?” Octavian was saying. He’d been pacing the senate floor for five minutes, going on and on, trying to counter what Percy had told them about Juno’s plan and the Prophecy of Seven.

Rather than simply steamroll over the discussion, and try to use his authority to silence any opposition, Percy allows Octavian a reasonable amount of time to air his concerns, before finally stepping in with his counter argument.

When Percy lays out the details of why they must join the Greeks, Octavian never comes up with a logical counter argument. Instead, when a messenger reports the Argo II has been spotted, he resorts to paranoid rambling.

“Praetors!” The messenger cried. “What are your orders?” Octavian [who is not a praetor] shot to his feet. “You have to ask?” His face was red with rage. He was strangling his teddy bear. “The omens are horrible! This is a trick, a deception. Beware Greeks bearing gifts!” He jabbed a finger at Percy. “His friends are attacking in a warship. He has led them here. We must attack!”

Yesterday when he last read the entrails, Octavian said the omens were good. Now, they’re suddenly horrible. That pretty well justifies Percy’s growing disregard for Octavian’s auguries.

Not only that; he is accusing Percy of treachery, while at the same time suggesting they attack a ship that can be seen bearing a white flag.

And this is before a single shot has been fired on New Rome. That false-flag attack by Gaea can not be the inciting incident for Octavian’s hostility to the Greeks. Not if what he wanted to do before it happened is the same as what he wanted to do after it happened. The attack is just what incentives the rest of the camp to support him.

The last interaction between Percy and Octavian is pretty much the first two chapters of MOA, where Octavian does his best to offend the Greeks.

“You’re letting these intruders into the camp!”

When Reyna orders Octavian to go make a sacrifice to the gods, Percy adds:

“Good idea. Go burn your bears Octavian.”

An insulting way to put it; but no more so than calling the Greek ambassadors (including a Roman praetor and Percy’s own girlfriend) “intruders.” And no more harsh than the insults Octavian has used for legionnaires below himself, like Frank and Hazel. And Percy has been given enough reason not to trust Octavian’s auguries any more than he trusts him.

The last exchange between them is about the praetorship:

Octavian snorted. “Which means we have three praetors! The rules clearly state we can only have two! “On the bright side,” Percy said, “both Jason and I outrank you, Octavian. So we can both tell you to shut up.” Octavian turned as purple as a Roman T-shirt. Jason gave Percy a fist bump.

I can only imagine how long Jason has been waiting for someone to say that to Octavian. It has been suggested this is an abuse of power on Percy’s part, but there is no reason to think so. They are surrounded by the senior officers of the legion, some of whom will be on Octavian's side, and no one raises an objection. And it's not like Octavian actually treats it like an order.

“I’ll step aside for Jason,” Percy said easily. “It’s no biggie.” “No biggie?” Octavian choked. “The praetorship of Rome is no biggie?”

No need to go into detail about how the rest of the series goes. Gaea triggers a war between the Greeks and Romans, and Octavian walks right into it. There is no reason to think he was working for her; but he was plainly looking for an excuse to start hostilities.

[cirilla-fiona-riannon]

Ikemen Villains - Harrison Gray

This is simply a fan translation and is not intended as a replacement for the game. Expect grammatical errors.

Tall man: "You're unlucky to witness our deal like this."

Kate: "Let me go!"

Round-faced man: "There's no way we can let you go after seeing everything."

Today is December 31st.

I was helping with the preparations for the countdown party at the castle. But I got lost on the way to the store and witnessed a suspicious deal involving two men.

I ended up getting caught, and now my hands and feet were tied.

(I need to escape!)

Recalling the escape method I read in a detective novel I borrowed from Harry, I subtly move my hands to gradually loosen the ropes without the two men noticing.

(I need to find an opening and get out of here!)

Round-faced man: "Hmm? Who are you people?"

Suddenly, one of the men called out to the entrance of the warehouse, and standing there was一

Kate: "Harry, Liam!?"

Liam: "Ehh!? They've got Katie!"

Harrison: "Why are you here?"

Harry and Liam, seeing me tied up and lying on the ground, widened their eyes in surprise.

Since I had just been captured a moment ago, they probably didn't even know that I’d been kidnapped.

(Did the two of them come here as part of the Crown's mission?)

(I think they were supposed to bust an illegal drug deal today. So are these guys the culprits?)

Round-faced Man: "Do you guys know this woman? If so, it'll make things easier."

One of the men pointed a gun at me.

Tall man: "If you care about her life, then drop your weapons."

Harry and Liam held their breath at the man's threat and tried to put their weapons on the ground.

Kate: "Wait!"

I quickly raised my voice to stop them.

Round-faced man: "What's with you? Do you want to get killed?"

Kate: "This gun is real. It's loaded and dangerous, so you guys could get killed!"

Round-faced man: "Ha?"

Kate: "Drop your weapons quickly! These two also have other weapons!"

Liam: "What's wrong, Katie? We obviously intended to do that."

Harrison: "I see. Got it."

After hearing my words, Harry pretended to place the gun on the ground and then shot the men.

Tall Man: "Gah! It hurts!"

With precise control, each of the two men was shot in the leg and arm.

Although it wasn't life-threatening, their injuries prevented them from fighting.

Round-faced man: "What do you think you're doing? Do you not care about this woman's life!?"

Harrison: "Sorry, but your threat won't work. That gun is fake, yeah?"

Round-faced man: "Why you...!"

Tall Guy: "Damn it! We're at a disadvantage now. Let's scram!"

The two men, protecting their injured legs and arms, fled from the warehouse through the back door, leaving me behind.

Harrison: "Are you okay?"

Harry quickly ran over and helped me up.

Kate: "Yes, thank you for helping me."

With Harry's assistance, I finally freed myself.

Liam: "I'm glad you're safe."

Liam: "But I was surprised when Harry suddenly shot those guys, even though you were being held hostage."

Harrison: "Their gun was fake."

Liam: "Huh? Does that mean..."

Kate: "Yes. Everything I said was a lie."

They couldn't really harm me, as the gun they pointed at me was fake and they didn't have any other weapons.

To convey that information, I deliberately shouted the opposite to make Harry see through the lie.

Harrison: "You didn't tell the truth to catch the opponent off guard, right? Well done."

Kate: "I didn't want to be a burden to the two of you while being captured."

Kate: "But they escaped, so we need to catch them quickly!"

Harrison: "They're injured. All we need to do is follow the bloodstains."

The blood droplets eventually split into two paths, so Liam and Harrison decided to split up and pursue each trail.

After a while, Harry and I arrived at the market.

Perhaps because it was close to midnight, the market was bustling with people eager to watch the fireworks for the New Year.

Kate: "Harry, over there!"

Amidst the crowd, we saw a tall man with an injured leg dragging himself away. Before we could even catch up, a carriage stopped at the man's side.

It didn't look like a regular public carriage but a privately arranged one.

Harrison: "So there were others in your group, huh?"

There's no way we can catch up with them if they get on the carriage.

I hurriedly looked around but could not find any other carriages.

Kate: "We can't catch up on foot. We have to give up the pursuit for now."

Harrison: "No, there's still a way."

Saying that, Harry took out his pistol and aimed it at the carriage.

Harrison: "If I aim for the wheels, it will stop."

Kate: "But shooting a gun in the middle of a street like this?"

The Crown is a secret organization under the edict of Queen Victoria.

Their existence and their evil deeds should not be noticed by the general public.

Harrison: "No one will notice. After all, it's almost time."

As if to dispel my anxiety, Harry smiled nonchalantly.

Kate: "Almost time?"

Townspeople: "10! 9! 8!"

As I was about to ask, I heard loud voices counting down.

(Could it be?)

Harrison: "3, 2, 1!"

A dull roar shook our bodies.

It wasn't the sound of Harry's gun, but the sound of fireworks being set off to celebrate the new year.

I was momentarily distracted by it, but when I looked back, I saw the carriage overturning, its wheel distorted by a bullet.

Kate: "You timed it with the New Year's fireworks!"

Timing the gunshots with the sound of fireworks made it less likely for the gunshots to be noticed. Moreover, people were looking up at the sky, making it easier to overlook what happened on the ground.

Harrison: "They say the best place to hide a tree is in a forest, but..."

Kate: "W-What's wrong? Is there a problem?"

Harrison: "I just thought I turned something you were looking forward to into a bloody memory."

(Come to think of it, I did mention before that I wanted to spend the countdown with him this year.)

(I'm glad he remembered my words.)

Kate: "Hehe. It's a little disappointing, but it was a countdown I'll never forget."

Kate: "Let's make next year's countdown even more wonderful, Harry."

Harrison: "The bar has been raised, huh? Well, I guess it's fine."

Afterward, we were able to safely capture the man from the carriage and hand him over to William, who said he had things to ask the man. After having the meal prepared by Victor, we finally returned to our room and took a breather.

Kate: "The first day of the new year was quite an ordeal."

Harrison: "The season doesn't matter when it comes to our duties. But if I could wish for something, it would be to spend more time with you this year."

I widened my eyes, surprised by his unusually straightforward wish. Sensing my reaction, Harry mischievously smiled.

Harrison: "Now, was that a lie or the truth?"

Kate: "I believe it was the truth. And if those words were a lie..."

Harrison: "Yeah?"

Kate: "I will stay with you so you will feel the same way."

Kate: "I'll do my best to make sure your lies change."

Harrison: "Heh? But that effort might not be necessary."

With a few words, Harry pulled me in and kissed me.

It was a sweet kiss that proved his wish was really true, capturing me and not letting go.

[orion4ever]

hey dude, i know you mean well for the ol community, and i think you're really cool and have been following you for a while, but i really don't think all this shitting on rose is justified. spreading callout posts by taking shitty things people have said out of context, especially queer poc, is a real tactic used by terfs to spread discourse and isolate queer people from communities, and it's worked so well that queer people have started doing the same to their own with really good intentions, but the overall effect is nonsense discourse and the spread of hatred. kab herself has publicly said that she and rose have a good relationship and that she thinks most of rose's impact on the games and community has been really helpful for checking her own biases. the screenshots and shitty things you've read about her are not the full story, and yes, i do agree that rose handled certain things really really shittily and i am not excusing that at all, but rose isn't a bad person at all, what the callouts show is out of context and does not show rose accurately as a person, and the degree of hatred for a group of people honestly trying to create a safe space for queer people is wildly disproportional. i really hope this doesn't come off as any way accusatory, because it really isn't, and i really look up to you as a creator. i just want you to be aware that this is something that has been settled by the people involved, and continuing discourse and wanting rose fired goes directly against kab's own wishes and is based on misinformation. thanks for reading this far. please have a wonderful day

I respect you and I appreciate that you reached out respectfully with this.

I do not repost these call out post to be malicious or start a hate campaign like some people have been accusing others of.

I do not encourage witch-hunting or harassment of Rose or Kab ; As they are people and make mistakes , even if the mistakes are extremely shitty and I understand that those screenshots were a private conversation but frankly , I think some of the stuff Rose said was extremely odd and vulgar , context or without.

I am not in the official OL server so maybe your right about them not being as bad but even if that was the case they should still be let go of the role as sensitivity reader because they’re views aren’t open minded and its ironic that they are supposed to help prevent bias and keep the game inclusive when they’ve shown a weird rhetoric and the paper bag comment actually made my jaw drop.

OL has been one of the most comforting things to me , I was in a really dark place when I started a new save file and fell in love with all the characters and the game so believe me when I tell you I would never want to attack the very person who created and brought me that comfort. It physically exhausted me and upset me yesterday when it all came to light , considering it has been a huge hyperfixation and boosted my self esteem.

I don’t care if GB is okay with their friends talking an insane amount of crap behind their backs. It's not my business, I just think that they need better friends.

Even with this in mind, I can’t continue my support for Kab if they decide to keep Rose on the development team, not purely just because of what they said in private but how they treated my friend. The both of them are insinuating that they’re a “liar” or that they “overreacted” when they just wanted to express a grievance. And a surprisingly large number of people are harassing them and accusing them of starting a “racist campaign” towards Rose when they are a trans minority as well. If the fandom is so quick to villainize my friend for simply speaking out then frankly I don’t want to be a part of this fandom.

I hope you also have a good day.