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amadeusgame · 8 months

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August Devlog: Re-Orienting Toward a Full Game

It's the end of the month - here is an update on the ongoing development to turn Amadeus from a demo into Episode 1 of a full 5-part game.

Before getting to the details, here are some important news items:

The linktree now (as of TODAY!) has a link to a community Discord server!

The server is currently quite small and has dedicated spaces for art sharing, in addition to regular updates on Amadeus. If you prefer more interactive communication feel free to join.

(There are also channels dedicated to speedrunning, as that is how the server was born, once upon a time... mute away as you like.)

I'm going to PAX West, and planning to attend both the adjacent Media Indie Exchange and the Seattle Indies Expo. See you there??

And now, for this month's updates!

TL;DR highlights:

Game Progress: Created new sprites/assets, plus a new dev tool to make testing the dialogue system much smoother

Next major benchmark: plan to release updated demo with revamped UI/controls this winter

Project Management: what I learned about making an updated Game Design Document that will keep me on track for the full Episode 1 release next summer. (Hint: if writing a narrative game, start with the narrative...)

Recreation: a list of media I consumed for fun that also helped inspire me and identify my own goals for this project.

Details below for those interested.

Game Progress: New Assets & Dev Tool for Sprites

I said I created new sprites and assets. Of note, a particular very important character now has a finalized design and a portrait. This character was mentioned often in the demo, but has yet to make an appearance...

That's right, it's time for the Solea Portrait Reveal!!!

I'm really happy with her design (including the full body portrait, which I'll save for later). I think it conveys a lot about her character. I want to give a HUGE thank-you to my girl Lecy for answering a ton of my questions about Black haircare while I worked on this design, because I wanted Solea to feel grounded and real, even though the world is fantasy and she's a witch. There reaches a point where drawing from my lived experience as A White Person has its limits, and talking to other people became very important to help me tell an authentic story.

Making this portrait also helped me begin to build and test a new dev tool, because I can now envision a conversation between Amadeus and Solea. Building dev tools is one of those things that I cannot overstate enough how important they are. This tool is going to help IMMENSELY with creating dialogue scenes, helping me choose just the right expression to match each dialogue line.

Using this tool, I can change the values for the left and right sprites and then type L/R to have the game live update to that sprite, so I can swap them around live without having to manually activate/de-activate the sprites. In visual novels, especially those without voice acting, the expression sprites are TREMENDOUSLY important in setting the tone of written dialogue. The same line can feel markedly different with a different expression. In addition, some of my sprites have animations, so being able to test how those animations flow between different sprites is really easy now. I built it to be relatively future-proof, so that if I add other functions (like shaking and sprite barks), with a few tweaks this will help me test those too.

Making this tool took me less than an hour, and is going to save orders of magnitude more time and effort in the long run when I'm writing scenes and matching dialogue to expressions.

Next Major Benchmark: New Demo This Winter

To avoid getting hopes up: my current plan for this is to have effectively the same demo in terms of narrative, but with improved mechanics that will be the norm for the full game. There is a lot more narrative that is going to be in the full Episode 1 release than there is in the demo, but it does not make sense to start building the scenes for the rest of the narrative until I go back and thoroughly fix/implement all of the gameplay changes I want for the complete game. My hope is that anyone playing it will feel that, even though the narrative is the same, the game itself will feel much more polished and cohesive. This demo will be my proof to myself, and to you, that the full game is coming, and it will feel good.

(Famous last words: "if I have time," I hope to add a little extra content too, to entice those of you who already played the demo. I just want to be clear that the focus will be fixing and adding mechanics, including a Settings menu and better controls, first and foremost.)

Do you have thoughts for what you would like to see added/improved for this demo? The askbox on the Amadeus Game tumblr blog, as well as the Discord server, are both great places to provide feedback if you'd like to see any changes implemented in the full game. Check the linktree for links to those resources. I do already have a to-do list, from playtester feedback as well as my own experience/preference; but I am always seeking additional feedback!

Project Management: Making a New GDD to Actually Ship The Full Game

Making a Game Design Document (GDD) in class for the prototype that would eventually become Amadeus was simultaneously the hardest and most important thing I ever did for it. I struggle with breaking down tasks, but it is specifically because I struggle with it that forcing myself to do it is invaluable. Once I broke down the task of "make an entire game prototype" into all of its discrete pieces, and organized them into a calendar of deadlines (complicated ones first!), I could visualize how much work it was and prioritize, downsize, and get to work.

It also really helps fight against the part of me that constantly wants to add new shiny things. "Oh it won't be that hard if I just add this here and that there" - this is the Devil speaking. Once I can see a massive list of Everything That Needs to Be Done from breaking it down, it becomes clear that I don't even have enough time for the current vision, let alone one with extra bells and whistles! And then the question becomes "how do I prioritize just the essentials, and set new expectations for something achievable?" Start there. Always start there.

Unfortunately, when it came time to do one of the tasks I set myself for this month ("update the GDD"), I realized that task in itself needed to be broken down. I have an old GDD for a demo that was about 5-10 minutes long , has working but janky mechanics, and a laundry list of "will get to this later" items. Transforming THAT into a GDD that would keep me on task to ship a complete Episode 1 is, let's face it, basically making a new one from scratch. The time I allotted to this task was not proportionate to how important and time-consuming it was going to be.

What I DID do, is sit down and make a plan to actually make this happen.

First of all, I need to make new paper prototypes, and get feedback on them. I am planning major enough changes to gameplay/UI that I need to prototype them on paper, see what makes the most sense, and use that to build the changes. I can't update the part of my document that talks about new mechanics to implement until I decide, concretely, what those mechanics should look like! I have some thumbnails I sketched already, which is a start. Next is to "build" and test them.

I also found that the biggest roadblock is that I had still not finalized the full narrative arc for Episode 1. I cannot make a list of needed assets until I have a total number of scenes/locations in mind, which I cannot have until I know exactly where Episode 1 begins, goes, and ends. I have a lot of overall ideas, and I know some basic major plot beats for each episode, but I was putting off more specific narrative work until later... because, well, it's hard work! And, like the GDD, the fact that it's hard means that is exactly why it needs to happen first. It's absolutely critical to the entire form of the game, and how I must direct my time and energy during development.

Now that I understand this - that I need to start over with paper prototypes, sit down and FULLY outline my Episode 1 narrative, and use that to create a new GDD that truly tracks every step between now and release - I have a game plan.

So, next month is going to be critical. This past month was a lot of me figuring things out and identifying what wasn't working. This doesn't really sound like an accomplishment, but it is one. Now, I know how to actually approach this, and I can get to work. I hope that, this same time next month, I'll be writing a devlog that inspires confidence that this game is really and truly going to launch. Because I'll have finished the hardest part of the whole process: planning it, breaking it down, and organizing it.

Recreation: Cool Media That Inspired Me This Month

Seriously, rest and recreation are so important! It's important to take breaks, it's important to have fun, and it's important to engage with other media when creating media yourself. This month was really full of inspiration for me. I....

Played The House in Fata Morgana, an absolutely incredible gothic horror visual novel. It was SO inspiring for me, in terms of mechanics, narrative, and aesthetics. In fact there were several ideas developed in this story that I had already planned on engaging with in Amadeus, so seeing another interpretation of those ideas was a fascinating reference. Unfortunately, as with most visual novels, I cannot elaborate further without spoiling the entirety of both narratives. You should play it though.

Watched a lot of werewolf movies. Even though Amadeus belongs more to the mystery and fantasy genres than the "werewolf" genre, the fact that the main character is a werewolf is a kind of extremely important driving force in the story. And I felt like I should do my due diligence and engage with a lot of werewolf stories before writing my own, because no one wants to be that guy who writes a story on very well-trodden ground and thinks they're doing it Special and like No One Else Ever Has. ...Also, full disclosure: I just wanted to watch a bunch of werewolf movies. So I checked out:

(Rewatch) American Werewolf in London

(Rewatch) Silver Bullet

(Rewatch) Bad Moon

(First Time) Ginger Snaps

(First Time) Wer

I filled up about 2 pages of scribbled notes on different ideas, topics, images, conflicts, and themes that I want to engage with from each of these. I found that some of them asked questions that I am also asking in Amadeus, and gave me inspiration for how I might answer them. Since I know that narrative is the first thing I need to iron out, having a few brainstorming sessions while watching werewolf movies helped me get a more concrete idea of what, specifically, I want to say and do in my narrative.

If you haven't seen any of the movies on that list, by the way, I very strongly recommend American Werewolf in London, Silver Bullet, and Ginger Snaps.

That's all for this month! There should be another devlog at the end of September - look forward to that one. In the meantime, you can always bookmark the Linktree and check back for new resources.

#Amadeus Game #devlog #indie game dev #indie game #indie dev

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tf2workbench · 10 months

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Remote control

It’s not a new idea in video games: an item that lets you step outside your body for a moment, controlling some projectile or something while your character stands there. It can be a really fun trick, but it’s always made riskier by leaving your main body open to attack - which, in short, makes it a great way to bring new experiences to the game. Let’s bring it to TF2.

RC Rover Iteration 1 Engineer secondary (*) Press your fire button to consume 150 metal and start to build a remote-control rover, which takes 10 seconds to build (but can be wrench-boosted) and which you control instead of your own Engineer. The rover has 150 health and moves at default speed. It has a shotgun function (primary fire) and a small rocket launcher (secondary fire) that has a short cooldown. It cannot be healed by any means and has 20 shotgun shots and 10 rockets loaded, which can be reloaded by touching its Engineer creator. (*) Press your taunt button to destroy the rover and return to your main character. (-) After being destroyed by any means, the rover takes 20 seconds before it can be deployed again (-) Rover charge bar starts empty and cannot be filled by touching a resupply locker (-) If you die while the rover is out, it is also destroyed. (-) Cannot control the rover while in a spawn area

This idea is so complex that I’m sure I won’t be able to weigh and discuss all of its gameplay options, so I’ll just cover some.

To start off, I love this idea. There’s so many new experiences for you, your team, and your enemies to have. It’s absolutely worth exploring, even though there will certainly be difficulties.

Control How this rover is controlled is critically important. That was why I made it move like a player rather than like a vehicle (such as some classes’ movement taunts). Players won’t use a movement option that feels clunky or ineffective, so it’s very important that this rover not become some kind of Mario Kart-esque minigame and instead be intuitive to use.

Anxiety and separation One issue I always have with these kinds of abilities is that it’s stressful to leave my character vulnerable. That goes triple given how important it is to always be aware in TF2, especially while you’re maintaining your buildings. Of course, that just means you have to be judicious about when you use it, which is absolutely fair. But it can be quite punishing to get wrong, and in many cases, team protection is what will keep you alive. That’s a problem for situations where the team can’t or won’t help, giving the rover user a frustrating experience.

One user experience I’m also wondering about is how it would feel to see your Engineer take damage but not be able to deactivate the rover fast enough to save yourself. It can be shocking enough to die quickly, as anyone who’s been backstabbed or headshot can tell you, but what about when you feel like you just couldn’t save yourself? This was a major complaint with the Sandman’s stun functionality, and even though this is sort of self-imposed effect, I wonder about frustration and how players might deal with that.

Too fun to do anything else You might have met the kind of Engineer who builds a mini-sentry and goes off to do their own thing, leaving the team without a Dispenser or Teleporter. Given the excitement of playing in this rover, I can definitely see Engineers hiding in a corner, building this, and not paying any attention to their team.

I really can’t overstate how important the Engineer, and especially the Dispenser and Teleporter, are to their team’s success. It should be as easy as possible to build and maintain all of your buildings, and an extra metal cost plus the ability to fight far away from them is a risk to the team. Good Engineers will build all their buildings before they set out in their rover - but how would it feel when you don’t have a good Engineer?

Conclusion In this post, I mostly discussed potential sticking points with this weapon. I don’t want those to fully represent the idea, though, and it’s worth noting that many of the issues are rooted in the fact that it’s just such a fun and unique ability. That’s a huge win for this rover because it means that the idea itself will attract players and keep them playing. Even if there are things to watch out for, this item is a very cool idea.

#tf2workbench #tf2 #team fortress 2

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kjack89 · 3 years

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An Agreement Between Gentlemen (Chapter 13/14)

When this Author picked up the mantle left behind by the previous Lady Whistledown, it was with the intention of bringing a little levity to the otherwise long and sometimes dull proceedings that encompass the season, and to provide some color commentary that pokes fun at those otherwise generally unwilling to make light of themselves.

To that end, this Author has remarked upon and highlighted the general scandals that accompany this season as every season, the kind that serve to provide some drama to otherwise dull lives, but risk very little in terms of lasting damage.

This Author has never intended for this to cause actual harm, and as such, owes an apology to the Marquess of Enjolras and Mr. Grantaire. This Author does not dabble in morals, or legality; the sole concern of this column has been amusement, and the ruin of two gentlemen otherwise described by most who have met them as good men is something this Author cannot and will not be a part of any longer. While this Author cannot overstate that there was no prior knowledge of the truth behind the Marquess’s marriage, nonetheless the extra attention shone on it by and through this paper has brought harm, and for that, this Author is truly sorry.

While no promises can be made in regards to accidentally reporting similar in the future, this Author will certainly make every attempt to better vet sources before publishing rumor and innuendo. And the promise this Author does make is that the only additional mention of the Marquess of Enjolras or Mr. Grantaire in this paper will be for happy tidings, with best hopes for whatever they may face in the future. LADY WHISTLEDOWN’S SOCIETY PAPERS, 6 JUNE 1831

The summons did not arrive with the usual fanfare, so much so that Enjolras almost missed them entirely.

No gilded envelope hand stamped with the King’s own seal, no scarlet-clad guard from the palace delivering it. Just a small, plain parchment envelope instructing Enjolras to attend to His Majesty the King the following day.

In truth, he very nearly almost missed it entirely, since Porter, who normally would have brought him such things, was confined to bed for the immediate future as he recovered – and the surgeon had been quite strict in his instructions. But Grantaire, far less used to having the number of servants Enjolras did, had seen it sitting on the table in the foyer and brought it into the dining room with him when he came in for breakfast.

“This is good news,” he told Grantaire after scanning through the note, though Grantaire didn’t look convinced.

“To be summoned in front of those with the power to strip you of your titles and lands and throw you in the Tower for the rest of your days, unless they decide to chop off your head instead?”

Enjolras rolled his eyes. “Better a meeting with the King and Queen than the constable,” he pointed out. “Besides, there’s a limit to what they can do, and if they’re intervening now, it will serve to prevent the worst from happening.” He stood to leave the breakfast table before pausing and bending to kiss the top of Grantaire’s head. “In any case, the usual death in this situation would be by hanging, not beheading.”

“Because that’s so comforting a thought,” Grantaire said sourly.

“It should be.”

Grantaire stared at him. “The thought of you being hanged instead of beheaded?”

Enjolras gave him a look. “No, that the King wants to meet with me. I’m not fool enough to think my death by anything other than old age would bring you any comfort.”

Grantaire pretended to consider it. “Going out in a blaze of glory as you attempt to bring the whole damned system to its knees might.”

“Only if you are by my side as proof that I have won you over in the end.”

Grantaire’s expression softened for a moment. “I would die by your side in an instant, but I don’t think that’s proof of anything.” He kissed Enjolras before returning to the subject at hand. “In any case, why should the King wanting to meet with you bring me any comfort whatsoever?”

“Because it means the Crown wants this handled quickly and quietly,” Enjolras said. “Meaning very likely no public trial, and almost certainly no public execution.”

“That would be more comforting without the qualifiers ‘very likely’ and ‘almost certainly’.”

Enjolras sighed. “There is very little in life that is absolutely certain besides death and taxes.”

Grantaire smirked. “And as I have heard you rail about numerous times, the certainty of taxes is not always applied evenly.”

“Do you know, that may be the most romantic thing you have ever said to me,” Enjolras said, grinning at him.

“Oh, hush,” Grantaire said, but he was laughing, and seemed, for the moment at least, to forget his concerns about Enjolras’s impending appointment with the Crown.

They resurfaced in full force the following day as Enjolras adjusted his cravat while waiting for the carriage to pull around. “How do I look?” he asked, and Grantaire cast a baleful eye at him.

“Dressed well enough for a meeting with the King and Queen, and not at all like you’re headed to imprisonment or worse.”

Enjolras managed not to roll his eyes, mostly because he did not think it would help the situation. “Luckily for both us, I highly doubt the latter options will come to pass.”

But Grantaire didn’t smile, just reaching out to take Enjolras’s hand. “Just come back to me,” he whispered.

“I have every intention of doing so,” Enjolras told him, his voice low.

Grantaire sighed. “You know I’m going to be a nervous wreck until you do,” he said. “Just like I am every time you’re in danger, even if normally you’re the idiot who’s put yourself there.”

Enjolras half-smiled. “Arguably I’ve put myself in this danger as well.”

Grantaire gave him a look. “We’ve had this argument before,” he said evenly.

“Yes, and I still refuse to cast any blame on you.”

Grantaire just shook his head. “An argument we’ll have to continue another time, it seems.”

Now Enjolras managed a real smile. “Yes, and all the more reason for me to return. You know I hate to leave a fight unfinished.”

“No, you hate to leave a fight unwon,” Grantaire said pointedly, but for the first time all morning, he looked a little less miserable, and Enjolras took that as a small win in and of itself.

“Are they not one and the same?” he asked innocently, leaning in to kiss Grantaire, who stopped him, his face falling again.

“Enjolras—” he started, and Enjolras frowned.

“What?”

Grantaire searched his expression for a moment before blurting, “I have never once wished you to be less than who you are, and I do not wish it now. The man I love does not back down from a challenge, and his tongue is sharper than any sword.” He paused as if choosing his next words carefully. “But I beg of you, tread lightly. I will not love you less for holding back if it means you survive to fight another day.”

Enjolras did kiss him then, a slow, heated kiss that said hopefully everything he couldn’t bring himself. “I cannot promise my mouth will not get me in trouble. But I do promise I will not deliberately seek it out.” Grantaire made a face and Enjolras gave him a pointed look. “It’s as good a promise as you will get from me.”

“I know.”

“And yet you don’t seem satisfied.”

Grantaire sighed. “I will be satisfied when you are home with me again.”

“And with luck, that will be before you know it,” Enjolras told him bracingly, so convincingly that he almost believed it himself, enough to get him out the door and into the carriage before finally allowing himself to feel the nerves he’d been trying to swallow all morning.

What he had told Grantaire was the truth: this meeting almost certainly meant no real punishment was in store for him.

But he had very little idea of what was in store for him. And that worried him most of all.

----------

Enjolras slowly closed the door behind him, unsurprised when Grantaire immediately appeared from the drawing room, a glass of whiskey in hand, which, judging by the glassiness of his eyes, wasn’t the first he’d had. “Are you ruined?” he asked.

“Define ruined,” Enjolras said, a little grimly.

Grantaire scowled. “Perhaps now is not the time to be glib.”

Enjolras just shook his head as he crossed to him, dropping a kiss on his lips and grabbing the glass of whiskey from his hand, downing it in one gulp. “I wasn’t,” he rasped, handing the glass back to Grantaire and making his way into the drawing room. “The fact is that there is a limit to the punishment I can receive, barring criminal conviction and without an Act of Parliament.” He collapsed onto the couch, reaching up automatically to loosen his cravat. “The Crown has taken what actions it can, which is to say, I am no longer the Viscount of Digne.”

He delivered the words solemnly, but Grantaire just blinked in response. “I did not realize that you were.”

“It is a customary title bestowed upon the current Marquess of Enjolras, with some associated lands,” Enjolras said with a shrug. “Both will be given to more deserving peers, I’m sure.” He hesitated before adding, “Also, none of our issue will be eligible to inherit my title or any lands, save for that which I own outright.”

Grantaire stared blankly at him. “Any of our issue?” he repeated. “As in children?”

Enjolras made a face. “Well, technically my issue. I don’t think the Crown cares so much about yours.” He cleared his throat. “But if I were to remarry and sire children, none of those children would inherit.”

Grantaire raised both eyebrows. “And what are the chances of that?”

“Absolutely none,” Enjolras said, barking a dry laugh. “The King has also told me that my services to his Court will no longer be necessary, meaning my various ceremonial duties will doled out to others and my power at Court, so to speak, is diminished. Beyond that, I retain my title of Marquess and associated lands and riches, which means I will lead a very comfortable life.” He reached out for Grantaire’s hand, lacing their fingers together before raising his hand to his lips to kiss his knuckles. “With you at my side, and without having to hide. So to answer your question, no, I don’t consider that ruin. I consider that a gift.”

Grantaire looked relieved, but he still hesitated. “Even though I will be almost certainly landless and penniless?” he asked, and when Enjolras just frowned at him, he sighed and elaborated, “I doubt highly my father will continue to grant me my allowance and use of the houses when he receives Le Cabuc’s letter.”

Enjolras squeezed his hand. “The Enjolras purse has sustained this family for generations. There’s more than enough left to take care of the man I love.”

Grantaire searched his expression for a moment. “Yet you don’t seem completely satisfied. What else did the King say?”

“Well—”

Before Enjolras could elaborate further, someone cleared her throat from the doorway, and they both turned to look at Enjolras’s mother, who looked unusually somber. “Am I interrupting?”

On instinct alone, Enjolras started to pull his hand away from Grantaire’s, but Grantaire held tight, squaring his shoulders as he met Enjolras’s mother’s expression coolly. “As a matter of fact, you are. Your son and I are having a private conversation.”

He turned back to Enjolras, who tried not to laugh at the look on his mother’s face. But to his surprise, his mother did not immediately snap some dismissive rebuttal, instead inclining her head slightly. “And you have my apologies for intruding, especially at this trying time. But I need to speak to my son, alone, especially in light of his recent visit to the palace.”

Enjolras wasn’t surprised that she had somehow heard about his summons. “Whatever you have to say, you can say in front of me,” Grantaire said firmly. “Your son and I are sharing our lives, and that includes dealing with whatever family affairs you’ve brought with you.” He again turned to look at her. “And need I remind you, your part in our deception has not yet been revealed, but I will be more than happy to tell anyone and everyone who will listen what drove your son to the desperation of a fake marriage in the first place. I doubt highly your friends among the nobility will be impressed by what they learn.”

Enjolras’s mother’s lips pursed, but again, Enjolras was completely thrown by her response. “Thank you,” she said simply, and Grantaire’s cold expression slipped as he glanced over at Enjolras, who just shrugged. “I can see that you are protective of my son, and while I may not appreciate your tone, I do appreciate knowing that my son has found someone who loves him as...vigorously as you clearly do.”

Grantaire’s eyes narrowed, but Enjolras cleared his throat. “It’s fine,” he told Grantaire, squeezing his hand once more. “I trust her enough to have a conversation with her, and I can fight my own battles as needed.”

“Are you certain?” Grantaire asked in an undertone, eyeing Enjolras’s mother warily. “I believe you can fight your own battles, but it’s her I don’t trust…”

Enjolras rolled his eyes affectionately. “I have managed this long,” he assured him.

“Fine.” Grantaire stood, but before leaving, he bent and kissed Enjolras, a long, slow kiss that Enjolras was fairly certain was for his mother’s benefit more than his own.

Not that he minded, since getting to kiss Grantaire and enrage his mother in the same blow was as close to perfection as Enjolras was likely to see in his lifetime.

Then Grantaire straightened again and winked at Enjolras before finally leaving, sidling past his mother with little more than a second glance. For her part, his mother looked mostly impassive at the display she had just witnessed, and she finally fully entered the room, perching imperiously on the armchair. “I suppose it’s too much to hope for tea,” she said with a sniff.

Enjolras barely resisted the urge to roll his eyes again. “You might have heard that my butler was attacked,” he said sourly. “I’m sorry if him being laid up recovering from being shot is inconvenient to you.”

“I did hear about Porter, yes, but that’s not to what I was referring,” she said. “Have the servants started fleeing en masse?”

“None have yet offered their resignations, if that’s what you mean,” Enjolras said.

“Of course it’s what I mean,” she snapped. “This is a tainted household now – I doubt most will want to stay. Especially as they’ve no way to ingratiate themselves with whomever the next Marquess will be.” Her lips pursed again. “Do you even know which distant relative is your heir, now that you will almost certainly never sire children of your own?”

Enjolras shrugged unconcernedly. “A third cousin, isn’t it? Lives somewhere out in the west, if memory serves.”

Her eyebrows knit together. “I’m surprised you know that.”

“You once told me all about him when I threatened to abdicate after Father died,” Enjolras said mildly. “You seemed to think it would convince me to think otherwise.”

“Clearly it did.”

Enjolras laughed dryly. “I hate to tell you, Mother, but that actually played a very small part in my decision.”

She scowled. “Perhaps you should have abdicated back then. It may have made for an easier transition for all involved.”

“Perhaps so,” Enjolras said honestly, as it wasn’t the first time the thought had crossed his mind. “But we are well past that point now.”

“In more ways than one.” She paused, giving him a searching look. “I don’t suppose there’s any point in trying to convince you to reconsider.”

Enjolras shook his head. “None.”

His mother nodded, her expression unreadable. “Then that’s the end of it.”

Enjolras hesitated, before saying, as casually as he could manage, “You seem…decidedly less surprised by this whole situation than I would expect.”

“What precisely is there to be surprised about?” she asked.

There were any number of things that Enjolras had expected her to be either shocked or scandalized by, let alone surprised, but the look on her face stopped him. “You mean…you knew?”

“That you were…otherwise inclined?” she provided delicately. “Of course I knew. A mother always knows.” Her expression twisted. “Though I rather hoped you would grow out of it, or at least do the sensible thing and marry a woman while seeking your amusement elsewhere.”

Enjolras shook his head slowly. “I’m not certain I see that as the sensible thing.”

She considered it for a moment before shrugging. “Perhaps not,” she said. “But more sensible than being stripped of your lands and titles.”

“Not all my lands, or all my titles,” Enjolras told her. “The Viscount of Digne is the only major one.”

She made a face. “No real loss there, the bishop in that area rules it with an iron fist and will probably be glad to see the backside of our family.”

Enjolras trusted her to know more about it than he did or frankly cared to. “And there’s a few minor lands that will be redistributed but for the most part, Grantaire and I have made it out unscathed.”

Again his mother made a face. “I don’t know that I would go that far—”

“I imagine you wouldn’t,” Enjolras muttered.

“—But all things considered, it could have been much worse.”

On that, at least, she was correct. “And I’m certain you’ll be glad to know that your own holdings will not be affected, nor your allowance,” he told her. “And Grantaire is letting you keep the dowry.”

That seemed to surprise her. “That is...generous of him,” she allowed, before frowning at her son. “But you speak as if all you think I care about is money.”

Enjolras just arched an eyebrow. “You have given me little evidence to suggest otherwise.”

“Caring about the well-being of my only son isn’t evidence enough?”

He managed not to roll his eyes, but just barely. “Faux sincerity isn’t your strong suit, Mother,” he informed her. “If you wish to convince me, you’ll have to try a different tack.”

To his surprise, she laughed lightly. “Maybe I will, when all the dust has settled,” she said, standing and brushing invisible dust from her skirt before telling him, “I will be leaving the city for the near future, and possibly even the country for a bit. I need my friends and allies at court to think that I was not party to this.”

“You weren’t,” Enjolras said, his brow furrowed. “And you are certainly at liberty to tell anyone you need to as such.”

“I have, and I will,” she said. “But I will also not outwardly condemn you the way they would wish, and that to some is enough to make them think otherwise.”

For the first time in what Enjolras was certain was his entire life, he was speechless. He had frankly expected her to do exactly that in order to maintain her social standing. “You could,” he blurted, ignoring the raised eyebrow she gave him. “Condemn us, I mean. I would not hold it against you if you did.”

“You and I both know that you absolutely would,” she said dryly. “But more than that, you are my son. For all your faults and all our disagreements, public and otherwise, that has never changed. And it will not change now.”

Enjolras was again taken aback by what she said. “Thank you,” he managed, before adding, a little wryly, “I think.”

A small smile crossed her face. “You’re welcome, I think. And now I should leave you to the start of your new life.”

She turned to head to the door, clearly deeming her role in this complete for the time being, but Enjolras stopped her, his curiosity getting the better of him. “What do you think of Grantaire?” he asked. “Now that you know what he is to me.”

She looked back at him, surprised. “You have never sought my approval before.”

“And I’m not seeking it now,” Enjolras said. “Just curious what you think.”

She nodded slowly. “He is not who I would have chosen for you,” she said after a long moment. “But then again, this life is not what I would have chosen for you.”

It was no more than what Enjolras had expected, but before he could say anything, she continued, “I know what you think of me, that you think me cold, and vain, and cruel. And there is certainly more than a little truth to that.” He looked up at her sharply, surprised by this most of all. “I know I shall always play the role of villain in your story. But despite what you may think, I have only ever wanted you to be happy.” She hesitated. “And it makes me terribly sad to know you have chosen a path where the world very well may never let you be happy.”

Enjolras just shook his head slowly. “The difference between you and I, Mother, is that I have never needed the approval of the world to be happy.” He gave her a sharp smile. “Hang what anyone else thinks. So long as I have Grantaire, we will make our own happiness.”

She returned his smile. “I do not doubt that you will. As I said before, you two make quite the pair, and whatever else you may think, I am glad that you two found each other.”

With that, she left, and Enjolras sat where he was for a long moment, digesting everything that had transpired. This had been a day of surprises, from his meeting with the King and Queen to now his conversation with his mother, and he shook his head slowly before standing to go find Grantaire.

He found him in the library, sitting sideways in an oversized armchair, his legs draped over the arm of the chair as he skimmed through a book with seemingly little interest. He brightened when he saw Enjolras come in, tipping his head up automatically for a kiss. “Is she gone?” he asked as Enjolras settled onto the sofa across from him.

“For now, yes.”

Grantaire’s eyes narrowed. “But not forever?”

Enjolras shook his head. “No, I’m afraid not even this scandal was enough to be rid of her forever. But I am...strangely not as bothered by that thought as I once would have been.”

Grantaire blinked. “Did she hit you on the head while she was in there with you?”

“Something like that, anyway,” Enjolras said with a laugh. “But enough about my mother. Where were we?”

He eyed Grantaire appreciatively, mentally trying to determine the mechanics of what they could do with him in that position, and Grantaire scowled. “Certainly not doing that,” he informed him, sitting upright. “You were finishing telling me about your audience with the King and Queen.”

“Oh. Right.” Enjolras shrugged and looked away. “Well, the Archbishop is apparently pushing for us to be excommunicated.”

Grantaire snorted. “Does that mean I no longer have to go to church?” he asked idly.

Enjolras rolled his eyes. “Well, among other things. But there’s an issue.”

“What’s that?”

“We could be imprisoned if we’re excommunicated, for a start.”

Grantaire just arched an eyebrow. “Just as we could be imprisoned for sodomy?”

Enjolras made a face. “The Crown has no intention of pursuing those charges,” he said. “But getting excommunicated could lend credence to future attempts at levying those charges, at likely the least opportune time.”

Grantaire considered it for a moment. “Well. We’ve faced worse prospects.”

Enjolras frowned. “You seem remarkably blasé about the prospect of excommunication, considering how concerned you’ve been about the possibility of imprisonment or worse for the other charges.”

“Mostly because you don’t seem particularly worried about it, and I imagine if this were an actual threat, you’d be somewhat less calm,” Grantaire said evenly. “Besides, I had several glasses of whiskey while you were out so it will take quite a bit for me to get riled at this point.”

“You didn’t seem to have any difficulty getting riled at my mother,” Enjolras pointed out.

Grantaire smiled grimly. “That was a more immediate danger.”

Enjolras shook his head. “Well, you’re not wrong about this not being an actual threat, I suppose. The Monarchy has little desire to create a public spectacle via excommunication and as the Head of the Church, I imagine that’s the end of the matter.”

Grantaire nodded slowly. “Does that mean you’re actually going to tell me what’s wrong?”

“Excommunication isn’t enough?” Enjolras asked, mostly rhetorically, and when Grantaire just gave him a look, he sighed. “Fine… I need to get word to Combeferre and Courfeyrac. We have much to discuss ahead of our next meeting.”

“Are you purposefully avoiding the question, or…?”

“I promise I am not,” Enjolras said, his voice low. “But they need to know, because this concerns all of us.” He paused, trying to figure out how to word what he needed to tell both Grantaire and his closest lieutenants. “I was...as surprised as any that the King did not wish to pursue any additional punitive matters. As a whole, the punishment dealt to me is mild, to say the least. And what troubles me is the reason he gave for why.”

Grantaire frowned. “He gave you a reason?”

Enjolras barked a dry, humorless laugh. “Oh, he gave me many. Most were mere platitudes, that out of respect for the service of my father, he would take no additional measures, etcetera, but he also alluded to his hope that our...situation would not inconvenience my political work.” He cleared his throat before adding sardonically, “That he hoped our allies would not abandon us with my public declaration of depravity.”

“And you suspect he actually hopes the opposite,” Grantaire said slowly.

Enjolras nodded. “I’m not going to pretend that my political sympathies are or have ever been well-received at court, and I think most were content to look the other way and pretend that the protests and political actions were the fun side project of an otherwise bored noble. Something I would grow out of in time. But now…”

He trailed off, and Grantaire’s expression turned grim. “Now they might not be so content to look the other way.”

“No,” Enjolras agreed. “And if I or any of our number were to get arrested—”

“Arrested again, you mean,” Grantaire said with the hint of a smile that Enjolras did not return.

“—My position is no longer enough to stave off any significant consequences.”

Grantaire went very still. “Meaning what?”

“Meaning I may not be ruined. We may not be ruined. But Les Amis may be.”

----------

In lieu of coming over to Enjolras’s to discuss the situation, Combeferre suggested via return message that they call a special meeting of Les Amis. “That seems unusual,” Grantaire murmured, his brow furrowed as he read over the brief message. “Why would they not just come here?”

Enjolras shrugged. “Perhaps they don’t want to be seen entering a den of sin,” he said, more blithely than he remotely felt.

“Jest all you wish, but you cannot pretend the thought hasn’t entered your mind,” Grantaire said. “Not that I believe any of our friends will turn on us entirely, but they are all trying to make marriages of their own, and to be tainted by association…”

He trailed off, and Enjolras just shook his head. “That is their prerogative, and I will not hold it against any man to abide by his conscience.”

“Or by the prospect of increasing his purse?” Grantaire asked sourly.

Enjolras shrugged again. “If that is truly their reasoning, I doubt highly we would be associates for much longer in any case.”

Still, it was with an unusual amount of trepidation that they approached the Musain, and Enjolras hesitated before instructing his driver to drop them off at the back of the building by the worker’s entrance. “I do not doubt they would still receive us at the front entrance,” he told Grantaire. “I am, after all, still a marquess and a certain amount of respect must be paid. But I would rather not put them in that position all the same.”

Grantaire managed a wan smile. “You need not explain yourself to me,” he said. “I understand as well as any that the situation is complicated.”

Enjolras glanced at him. “Speaking of,” he said carefully, “have you heard yet from your father?”

“No.” Grantaire’s tone was clipped as he avoided meeting Enjolras’s eyes, looking out the carriage window instead. “I have not heard from him one way or another, so I have no indication if he has yet received Le Cabuc’s letter.”

“Could Le Cabuc have been bluffing?”

Grantaire shrugged. “Anything’s possible, but I doubt it,” he said. “He always did prefer my father to me.” He hesitated before adding, “I thought I might make a preemptive trip back to the house and gather some belongings. Just some personal effects, and things from my mother and sister that I would rather not lose to my father’s whims.”

Enjolras nodded slowly. “That is probably not a terrible idea.” He hesitated before asking, “Do you wish for me to accompany you?”

“I suspect that would cause more problems than it’s worth,” Grantaire said. “If I go by myself, I can hopefully slip in and out mostly unnoticed.”

Enjolras had expected that answer, but he couldn’t pretend that it didn’t sting, just a little. “Of course.”

Something of what he was feeling must’ve shown on his face, but Grantaire’s expression softened as he added, “Which doesn’t mean that I wouldn’t love for you to return with me, or that I won’t miss you dreadfully while I’m gone.”

“But this is the reality of the life we’ve chosen,” Enjolras said heavily. “Going in the servants’ entrance to avoid being seen. Travelling incognito to not cause a scene. Less visitors or invitations to visit because people won’t wish to be associated with us.”

Grantaire eyed him warily. “I feel as though you are trying to make a point.”

Enjolras shrugged. “Just that I do not care about any of those things. But I would understand if you did, and if the reality of our life together does not align with what you may otherwise have expected.”

To his surprise, Grantaire laughed. “How many times must you and I have this conversation?”

“What do you mean?”

“I mean, I wish that you had chosen a better life for yourself than one stuck with me, who was always titleless and is about to be in short order landless and penniless to boot, just as you wish I had chosen a better life for myself,” Grantaire said, a little impatiently. “But you and I both know that the best choice, the only choice, is each other and whatever accompanies that.”

Enjolras laughed as well, feeling a little relieved that they were on the same page in terms of what mattered. “You’re right.”

“I usually am,” Grantaire said smugly before reaching for Enjolras’s hand and lacing their fingers together. Une vie et un amour, remember?”

“Fidelitas usque ad mortem,” Enjolras said, his voice low, and Grantaire smiled.

“And I still aim to be.”

Together, they stepped down from the carriage and made their way into the Musain through the backdoor. The workers they passed barely gave them second glances, though Enjolras assumed that was likely because they recognized them as frequent patrons, and knew better than to stop or question them.

But despite arriving almost a half hour before the meeting Combeferre had called was set to begin, when they reached the backroom, they could hear the buzz of voices through the closed door. Grantaire gave him a startled look. “Has the meeting already begun?”

“It certainly appears that way,” Enjolras said, feeling inexplicably nervous as he stared at the closed door, straining to hear what was being said beyond it.

“Did Combeferre not say that it would start at 9?”

Enjolras nodded. “He did, but…” He trailed off, not willing to vocalize his doubts. Instead, he squared his shoulders and opened the door, walking in with Grantaire at his side. Combeferre and Courfeyrac stood at the front of the room, the rest of their number assembled, all looking unusually somber, and all conversation stalled as soon as they looked back at Enjolras. “Forgive the interruption,” Enjolras said coolly, closing the door behind him. “I did not realize the hour of our meeting had changed.”

“It didn’t,” Combeferre said, his expression impassive. “But there was certain business we felt we should attend to before your arrival.”

“What sort of business?” Grantaire asked with a frown.

Combeferre did not seem deterred by his tone. “The business of determining if your continued membership amongst our association is beneficial or a detriment, mostly.”

“I see,” Enjolras said, his heart sinking in his chest. “Well, don’t let us impede your discussion.”

“We have nothing left to discuss,” Courfeyrac interjected. “All that remains is to vote.”

Grantaire reached out and took Enjolras’s hand, lacing their fingers together firmly. Combeferre cleared his throat. “All those in favor of expelling Enjolras and Grantaire from our number due to their sexual deviance and the threat that it poses to Les Amis and our efforts?”

Not a single hand rose in the air, and Grantaire squeezed Enjolras’s hand.

“And all those opposed?”

As one, all of their friends raised their hands before standing and applauding. Joly and Bossuet were positively beaming, Courfeyrac wolf-whistled, and Combeferre stepped forward to embrace Enjolras. “There was never any doubt which way the vote would go,” he told Enjolras, “but I knew you would not be satisfied if there was no vote at all.”

“Besides, if we start exiling people for buggery, there are more than a few of us who would be in trouble,” Courfeyrac said cheerfully as he embraced Enjolras as well.

“Hear, hear,” Bahorel chortled.

Joly took Bossuet’s hand and squeezed it. “Grantaire helped us avoid a scandal of our own, and we owe him our loyalty,” he said. “Besides which, I swore to go through fire for you, and I would not forsake that oath lightly.”

“Thank you, my friends,” Enjolras said quietly, his chest tight with emotion.

Grantaire squeezed his hand once more before leaning in and whispering in his ear, “It appears I am not the only one who understands the meaning of loyalty until death.” Enjolras wordlessly squeezed his hand in return and Grantaire smiled at him before asking Courfeyrac, “But one of our number is missing, is he not? Where is your erstwhile roommate this evening?”

“Oh, he has found the girl he was looking for,” Courfeyrac said airily. “It turns out your little announcement was good for more than one thing – she was the one who swooned in his arms!”

Much laughter greeted that announcement and Enjolras shook his head. “Leave it to Marius…” he started before trailing off, glancing around the room at the smiling faces of each of his friends, all those whom he loved most in this world. “Thank you all,” he said softly. “I know this will not be easy, but I appreciate your continued faith and love.”

“Our goal has always been to fight against oppressive powers in whatever form,” Combeferre told him. “And condemning men based on consensual acts in their bed chamber would be playing into that oppression.”

“Just promise us one thing,” Bossuet interjected.

Enjolras raised both eyebrows. “What’s what?”

“No funny business,” Bossuet said, mock-sternly. “No suddenly agreeing with everything the other says just because it’s your lover saying it.”

Again everyone laughed and Enjolras shook his head good-naturedly. “I don’t think we’re in much danger of that.”

“After all,” Grantaire added slyly, “what I love far more than him agreeing with me is that delightful shade of red he gets when he so vehemently disagrees with me. Who am I to give that up now?”

“In truth,” Enjolras said when the laughter again died down, “we aim to keep things as much the same as we can.”

“And we’ll be relying on you lot to keep it that way,” Grantaire said.

“There’s one other promise we would ask,” Feuilly said, glancing around. “Or at least, that I would ask.”

Enjolras’s smile faded, just slightly, at Feuilly’s far more serious tone. “If it is in our power to grant it, we will.”

“No more lies.” There were a few murmurs of agreement that Feuilly waited to die down before continuing, “There is not a man among us who does not understand the reason for your deception, but we in this room are brothers, and we deserve the truth no matter what consequence it may bring.”

Grantaire took Enjolras’s hand once more and squeezed it before affirming, “No more lies. We owe not just you the truth from here on out, but each other as well. And it’s the very least that we can give in return for your generosity and personal sacrifices.”

“In that case, let us open the wine and get the celebration started,” Jehan called, standing up on his chair to be seen. “To Enjolras and Grantaire!”

“To Enjolras and Grantaire!” everyone repeated, whatever glasses they had in hand, and Enjolras rolled his eyes with obvious affection before leaning in and kissing Grantaire as everyone cheered.

Grantaire was grinning as he pulled away, and that sight alone was enough to make everything they had endured and everything that they had left to endure absolutely worth it in Enjolras’s opinion. But before he could say anything to that effect to Grantaire, Joly and Bossuet grabbed Grantaire by both arms, tugging him away. “You owe us more than mere truth,” Joly said, with an almost evil grin. “You owe us details.”

“Exactly,” Bossuet said, wearing a matching smile. “And we want to hear all about your first time bedding Enjolras.”

“We promised the truth, not all the gory details,” Grantaire protested, making a pleading face at Enjolras, who just laughed.

Before he could rescue him, Combeferre pulled him aside. “I wanted a moment, if it is not too much of an imposition.”

Enjolras clapped him on the shoulder. “For you, my friend, never. Especially as I believe I owe you especially an apology for our deceit.”

Combeferre shook his head. “I understand it more now,” he said. “And honestly, I’m surprised I did not put the pieces together earlier.”

“Grantaire said he was always a little obvious, even if I never noticed either,” Enjolras said good-naturedly.

But Combeferre just shook his head. “Grantaire may have been, but it’s you I should have noticed.”

“Me?”

Combeferre shrugged. “Looking back on it, all the clues were there, least of all how you allowed Grantaire to stay, not just for meetings, but well into the night when you were ostensibly working, a privilege bestowed on no one else. And I cannot help but think that if I had noticed sooner, we would have had more time to plan, to minimize the fallout.”

Enjolras just shook his head. “My friend, you could have told me until you were blue in the face that I was completely and obviously in love with Grantaire, and I would never have believed you,” he said. “It was something I needed to figure out with him.” He made a face. “Though you are right that I should have told you sooner, before we made our announcement, so that plans could have been made in advance, and for that, I do owe you an apology.”

“One that I readily accept,” Combeferre told him. “And the only recompense I ask from you is the answer to this: are you happy?”

“Yes,” Enjolras said, without even needing to consider it. “More so than I thought was possible, or at least probable.”

Combeferre gave him a wide, genuine smile. “Then the rest we will deal with when or if the time comes.”

Again, Enjolras’s chest felt tight with emotion, with the weight of how much his friends cared for him and Grantaire. “I truly do not know how to thank you, how to thank everyone, for what you have given Grantaire and myself.”

“There is no need to thank us,” Combeferre said. “Especially since you have given us something equally precious.”

“What do you mean?”

“You are free,” Combeferre said simply. “And that gives the rest of us hope.”

----------

Enjolras let out a sigh of relief mingled with happiness as he sat down in the waiting carriage. Grantaire clambered in after him, and sat down on the bench next to him instead of sitting across from him. “That went well.”

“That went far better than well,” Enjolras said.

Grantaire glanced sideways at him. “Surely you did not expect Combeferre or Courfeyrac to abandon you, or honestly any of our friends.”

Enjolras just shrugged. “In truth, I did not know what to expect.” He nudged Grantaire gently. “Thank you, by the way.”

“Whatever for?”

“For making my life complete,” Enjolras said honestly. “And so completely happy.”

Grantaire smiled at him, his eyes shining even in the dim light of the carriage, but he promptly ruined the moment by asking, “How much wine did you drink?”

Enjolras rolled his eyes. “I had half a glass at best,” he protested. “Not nearly enough to undermine my sincerity. Nor my conviction that somehow, against all odds and, frankly, against our own efforts to the contrary, everything for us is turning out better than I ever could have imagined, let alone hoped.”

Grantaire rested his head against Enjolras’s shoulder. “We have been extraordinarily lucky,” he murmured.

“We have been,” Enjolras agreed, squeezing Grantaire’s hand. “We have our friends, and we have each other. Whatever else comes our way, so long as we still have that, we will be fine.”

“More than fine,” Grantaire corrected, raising Enjolras’s hand to his lips to kiss his knuckles. “Our future will be happy. Of that, I am as certain as anything.”

“Being in love really has changed you if you suddenly start espousing convictions,” Enjolras teased.

But Grantaire just smiled at him. “It’s changed us both.”

“For the better?” Enjolras asked.

Grantaire kissed him, a gentle, sweet kiss that was a promise of more to come. “For the best.”

#enjolras #grantaire #exr #enjolras x grantaire #enjoltaire #les amis #bridgerton au #canon era #regency au #chaptered #part 13 #fake marriage

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wonda-cat · 3 years

Text

Some Thoughts on Tommy’s most recent stream (4/29)

(For the record, this isn’t going to be like my other formal analyses. I’m genuinely just ranting here, possibly unedited too. I’m only referring to the characters, unless stated otherwise.

Also obvious warning, this will be fairly negative/critical of the DSMP’s writing, so scroll past if that might bother you. I tend to criticize the media I love, so this is just par for the course in my case.)

Let’s start off with—

The Things I Liked

All of the comedy at the beginning of the stream was wonderful. Ghostbur was incredibly endearing and entertaining as usual, as well as the moments between bench trio. Tommy’s change of plans made sense and the entire journey through the prison was tense and fun to watch. As well as the moment Tommy got caught (it was inevitable.)

It goes without stating, but cc!Wilbur and cc!Tommy’s acting was wonderful—they knocked it out of the park. I liked the little moments of Tommy calming Ghostbur down as Sam screamed at him. I also loved Wilbur's speech about his time in the afterlife when bench trio found him.

As well as the moment with Wilbur admiring the sky and calling it ‘his sunrise.’ I’m also glad that the afterlife was explained to be caused by the Revival Book’s existence and not some general eternal torture every character will be sentenced to regardless of anything they did in life.

But, sadly, that’s about where I stop and have to go into what I didn’t like as much, which is—

Everything Else

I’ll be talking about my major gripes with this particular stream in later bullet points down the line, but for now I’ll bring up the little things that annoyed me. This is all basically nit-picking and isn’t as awful or badly written as some of the others I’ll be discussing later.

First off, Why is Ranboo There? In the stream before this one, Tommy had Tubbo promise to not tell anyone else about their plan. Did he just decide to tell Ranboo anyway? Why? What was the point of asking him to keep it secret if it didn’t matter?

Adding to this, Tubbo and Ranboo were rather unnecessary for any of the other scenes that took place. They didn’t have any meaningful conversations with Tommy besides Ranboo asking why he was dreading Wilbur’s revival so much, as well as Wilbur’s comments to Tubbo about him being president. But other than that they have little to no notable speaking lines.

They don’t Do Anything? Sure, they’re nice to have present so Tommy can vent to someone else and find comfort but, in the end, Ranboo was oddly angry and accusatory with Tommy and Tubbo was practically absent from the scene. The impression I got from Tommy and Tubbo’s conversation in the previous stream implied that Tubbo would be serving a larger role as a distraction, but I guess they changed gears or something?

Then we have Ghostbur’s involvement, which, yeah, makes sense. Tommy, Tubbo, and Ranboo are not allowed inside the prison, so it’s best to find someone else who can get in without suspicion. But my first assumption, upon seeing Ghostbur with the group was, “Oh, he’s gonna go in there and Dream’s gonna use him to revive Wilbur. That’s the only reason why Ghostbur is here and not anyone else, who would also be willing to kill Dream. It’s not like they’re in short supply right now.”

And I ended up being right, which only frustrated me more. I wanted something unexpected. Something new. Something interesting. Yet, I got the most predictable outcome instead—Tommy fails, Wilbur is revived.

Next, we have another big serving of ‘Tommy gets blamed for things he has no control over’ part 241. I am so, so sick of characters getting unreasonably mad at and blaming Tommy for anything and everything. It’s not new, it’s not interesting, it’s not fun. It’s just miserable.

It is,, awful. And it’s highkey frustrating. I refuse to sit through another arc of Tommy being endlessly hurt and blamed for stuff he didn’t do or cannot control. Pick a new event in the plot.

Try something out of left field. Do something, anything different to this. I’m begging you.

Now, we get into the major writing pitfalls and shortcomings. Starting with—

We Need to Talk About Sam

I have no idea what is going on with Sam’s character right now. It is so genuinely confusing. I have no clue why Sam reacted the way he did to Tommy because it just doesn’t make any sense. Sam’s entire inner conflict is about him trying to cultivate and protect his humanity and morality while upkeeping a strict, closed-off demeanor.

He follows the rules, even if it hurts the people he loves. Even if these codes force him into a position to be unethical. He feels it is his responsibility should anything go wrong or if Dream escapes, because it puts others in danger.

His strict approach got Tommy killed, and it also took a life and an arm from Ponk. Both of these people are precious to him. So why on earth would he threaten to kill Tommy when, in their last interaction, he was glad he was alive—after he promised to never let something like that happen again?

He respected Tommy’s wishes to stay away from him, and rather politely too. Why would he then threaten to kill him just after weeks of saying Tommy’s death was his biggest regret? That’s not even touching on Sam saying, “This is why I let you die,” as well as blaming Tommy for something that was directly a result of his own refusal to act.

Why didn’t he have Ghostbur also hitch a ride on the same platform with Tommy? Why did he even let Ghostbur into the prison in the first place if he:

A.) Told Ranboo he wasn’t going to let anyone in there after what happened to Tommy.

B.) Also wouldn’t let people in lest they find out about Quackity’s plan.

C.) Couldn’t even kill Ghostbur because he’s incorporeal and thus cannot fully upkeep the contracts he is signing.

There’s also the issue of Sam breaking the rules he abides by when he decided to not kill Tommy after he snuck into the prison, despite it being in the contract. Why is it different now? He went against his own protocol but was also following it by refusing to let Ghostbur come back to the other platform?

Why does Sam refuse to listen to Tommy? Their argument is mind-numbingly ridiculous. Sam refuses to hurt Dream, despite him only being alive because Sam claimed Tommy wanted him alive.

But now Tommy is there, begging Sam to let him kill Dream, and Sam just goes, “No. We’re not killing Dream.” Fucking why??? Sam! You said you wanted to kill Dream at least four times by now! Maybe more!

You were on your way to do it with Quackity and the only thing that stopped you was your promise to Tommy. But now Tommy’s here, telling you to kill Dream and you fucking won’t???? I am absolutely baffled.

No matter how you spin it, it makes no fucking sense. However, if I tried,,, I could possibly come up with a reason or two. Maybe Dream is blackmailing him. Maybe Quackity is forcing him to keep Dream alive until he can get the info he needs (even though,,, why would he trust Quackity over Tommy, who he’s outwardly stated he trusts just as much, if not more?)

It feels like these plots are dancing around each other, trying to keep up this faux sense of conflict that doesn’t exist. But, here’s the thing, contrived conflict is never compelling. I can’t overstate it enough.

Dream’s Plan is Complete Nonsense

The method to revive Wilbur makes Dream seem even more short-sighted than I remember commenting on, during the stream where Tommy was brought back to life. He told Tommy that his plan was to test the book to see if it worked (which, okay fine, I can buy this.) But then he says all along he was planning to revive Wilbur in order to break out of prison, which is ???? This is baffling if he needed Ghostbur in order to pull this off.

Which,,, I can’t even begin to explain how ridiculous it is that Dream’s entire plan hitched on not only the book working on people to begin with (which he tested on Tommy,,, for some reason, even though he would’ve lost his ‘favorite toy’ if he fucked it up. Which,, why even take that chance in the first place? there are other visitors he could’ve tried this with, surely. Like Sapnap and Bad,,) and it also relied on Ghostbur voluntarily going into the prison just to visit Dream?? And if he didn’t need Ghostbur after all, then why didn’t he bring Wilbur back weeks ago?

That’s not even getting into the issue of Dream assuming that Wilbur, once brought back, would:

A.) Want to be alive in the first place.

B.) Actually be willing to help Dream, instead of telling him to fuck off.

C.) Be even slightly capable of helping him at all when he has no allies, no PVP skill, no weapons, no armor, and no knowledge of the prison or its innerworkings.

Why are the current DSMP writers so committed to making me think Dream is a fucking idiot? I don’t enjoy this. I used to like his character and think he was smart. Stop.

ALSO, why did Tommy or Tubbo or Ranboo not think of the possibility that Ghostbur could very well be necessary to revive Wilbur? Why did that not cross any of their minds? It was the first thing I thought of when I saw him.

Another big thing that irks me is Tommy and Sam saying they saw Dream physically holding the Revival Book, which,,, how? Why? Dream said in previous streams that he burned the book and that was entirely the thing that kept him from being killed outright. If there was a book still in existence, did he hide it somehow?

How did Quackity not find it? Why did Sam not take it from him when he was first arrested?? What?

Also how the fuck did Dream kill a ghost?? They’re incorporeal? How does he not need the body to perform necromancy? That seems almost redundant.

Also it took a matter of seconds to perform? It took,,, ?? nothing but words and sheer willpower to bring someone back to life? Why does it seem so easy? My mans just,, uses his vibes to bring people back from the dead???

Unless the book has instructions regarding that or has a proportional price in order to use, then I’d be more forgiving. But I’m guessing it doesn’t have too steep a cost if Dream could offer Tommy immortality despite that. But I’m sure we’ll get more information on this once Quackity (inevitably) gets his hands on the book. Hopefully…

Which brings me to my last point—

Wilbur’s Revival (Derogatory)

Since the Revival Book was introduced, I have been actively dreading Wilbur being revived. It is the most predictable, low-hanging fruit of a plotline I could possibly conceive of. I understand that he’s a fan-favorite with a large audience (I love Wilbur more than you’d expect. cc!Wilbur is actually the reason I got into the DSMP in the first place), but there are other characters who could be developed more—utilized more.

Unpopular opinion, I know, but I am just so incredibly unenthused about this plot development. In fact, I’d almost go so far as to say hate it.

The Revival Book in and of itself is my least favorite thing the DSMP has ever introduced. It is a lack of consequences simplified. It’s also a lack of commitment to those mortal consequences.

It is a ‘get out of jail free’ card for when they kill off a character and don’t want to deal with the hole that character will leave behind. Or a way to work around the reason they shouldn’t kill Dream on the spot.

With Wilbur back again, I no longer feel compelled by his arc the way I used to. There is nothing to really leave a lasting impact anymore. Of course, there was a cater where L’Manburg once stood, but that was dug even deeper later on. You can’t make the death of a friend, of a loved one, worse than it is. It is death.

The thing I found extremely interesting about Wilbur’s death is the way the other characters portrayed loss. It has consistently been the thing that was most comforting to me, oddly enough. When people die, there will always be loose ends.

There will be holes left behind and things left unsaid. An unfulfilled promise. A forgotten relationship. A hollow memory.

What I always found compelling was the way Tommy and Fundy and Niki took this mutual loss and had to live with it. How they had to come to terms with the fact that Wilbur was gone and he wasn’t coming back. That they had to make peace with his memory, his legacy, and their connection to him.

That they’d miss him and love him or hate him and try to forget him. It is a tragedy that someone like Wilbur wanted to die for so long, and in the end, he did. Because in reality, the people you love will die.

There may be someone in your life that leaves you behind and all you’re left with is the broken pieces. And it is how these characters move on that brings me bittersweet company as someone who’s lost a lot of people. There is nothing more irritating than a story going back on its establishments—to have their cake and eat it too.

All I want is the bare minimum—a story with narrative stakes and consequences.

The only way I could ever see myself enjoying this plot development is if Wilbur has a redemption arc and attempts to make amends with Tommy, Fundy, Niki, and Eret. OR if he aids in Dream’s downfall in some way and enjoys the simple realities of life and wants to live for the sake of living. I’d find that at least new and somewhat interesting.

But if he’s just here to be a moustache toiling villain (or somehow worse than after his previous downward spiral), when the market is already so deeply oversaturated with antagonists, then I will probably drop the series altogether.

Hopefully it doesn’t come to that because I love the Dream SMP and I want to keep loving it for as long as I can.

I will hold onto more reasons to stay, so long as they keep giving them to me.

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rallamajoop · 3 years

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The Witcher: The Games vs the Books part 2 – Characters and Accents

So, I've already talked at length about the relationship between the Witcher books and games, but how well they captured individual characters is its whole own subject – and you’d better believe I have enough thoughts on it for a whole extra post.

Andrej Sapkowski's skill for creating vivid and engaging characters really is so much of what brings the books to life, and no matter how much work an adaptation might put into worldbuilding and plot, it's the characters you've really got to nail to get the long-time fans on board. Especially when you’ve done what the games have, framing themselves as a direct continuation of Sapkowski's story. Nothing invites comparison to your source material like basically forcing fans to read the original novels to understand even half the backstory alluded to in-game.

So how did they do? I can only offer my opinion – characterisation is necessarily going to be a lot more subjective than just telling you what plot points the games contradicted outright – but like any fan, I have opinions in plenty.

Of the main cast, I feel Yennefer is the character they've captured the best. They've done just as well with some supporting players – I have no real complaints about Dijkstra or Phillipa, for example, who are favourites of mine in both games and books. For the main players though, Geralt and Regis seem to be the ones who's differences I'm most inclined to forgive, whereas I don't feel like they've done Ciri justice at all. Book!Geralt is much less of a smartarse, for one thing, whereas Book!Ciri is much more of one. But if we're talking about the differences, I’m afraid we really need to start with Dandelion.

Dandelion

For all the genuinely good work the games do with characters, old and new, I don't think I can overstate what a disservice the they've done Dandelion, who I could not stand in TW3, but is now one of my favourite book!verse characters. Alas, Dandelion is a prime example of something the Witcher games really don't do well: camp. Being the archtypical bard, Dandelion is about as flamboyant as any enthusiastically-heterosexual man can be: you should be able to spot this guy by body language alone, he should be flouncing around and he should talk like a spoiled noble auditioning for Shakespeare. Book!Dandelion is over-the-top and ridiculous and just so much fun, and I loved him well before I'd even really gotten into the rest of the books around him.

Here's just a bit of dialogue from one of his first appearances, to give you a sense of how he and Geralt play off each other.

The bard seized the fingerboard of his lute and plucked the strings vigorously. ‘How would you prefer it, in verse or in normal speech?’ ‘Normal speech.’ ‘As you please,’ Dandelion said, not putting his lute down. ‘Listen then, noble gentlemen, to what occurred a week ago near the free town of Barefield. ‘Twas thus, that at the crack of dawn, when the rising sun had barely tinged pink the shrouds of mist hanging pendent above the meadows—’ ‘It was supposed to be normal speech,’ Geralt reminded him. ‘Isn’t it? Very well, very well. I understand. Concise, without metaphors. A dragon alighted on the pastures outside Barefield.’

Though TW3's Dandelion certainly looks the part, you have to go hunting through art from the Gwent cards to find much that comes close to really capturing his personality (see left pic below – though even there, a Dandelion who'd voluntarily break his treasured lute is a very hard sell). Though a lot of fanart does better (right-below – credit goes to Tatiana Ortaliz).

But as poorly as the games capture his flamboyance, they're not that much better when it comes to taking him seriously. TW3 left me thinking he was all talk and no substance; the books make abundantly clear that he really is renowned enough to be welcome in courts across the continent. Though he often overestimates what he can talk himself out of, he isn’t stupid either: he's lectured at Oxenfurt, spied for Dijkstra, and then there are the moments where the frivolous playboy mask slips and you realise he's sometimes much better at understanding people and relationships than Geralt will ever be (which is honestly kind of funny considering how many of Dandelion’s relationships end with plates being thrown at him from an upper story). He's not at all above mocking Geralt when he deserves it either (and especially his personal and relationship issues) – Geralt will happily mock him right back.

We never do learn how they became friends (I'm pretty sure the incident listed in the wiki is just the date of their first expedition together, not their first meeting), but Geralt just doesn't form lasting friendships or romances with anyone he can't have an intelligent conversation with. And Dandelion is a damn good friend to Geralt – one who, despite being a helpless, squishy little bard, will keep Geralt's secrets under torture, or will follow him into Nilfgaard in the middle of a war simply because you don't let a friend make a trip like that alone. (Seriously, I don’t ship it nearly as much as some, but hot damn there is some material in here if you do.) In short, it's basically inconceivable that he'd leave an amnesic Geralt wandering around Vizima alone, as he does in the first Witcher game – which is the kind of thing I can mostly forgive as a gameplay conceit, only it doesn’t really get better from there.

He’s also supposed to be blond, something I don’t think is technically specified until fairly late in the novels, but 100% what I’d been picturing since his first description as a man in a colourful bonnet with cornflower-blue eyes (let’s face it: Dandelion’s hair isn’t the only thing about him that screams ‘blond’). It’s a shame no-one from the games to the show to the novels’ cover artists seem to have noticed – but at least there are some fanartists out there who were paying attention (credit for these goes to Asphaloth, Ghostcupdraws, Hvit-ravn (tumblr deleted), 94355 and itsmespicaa).

As for the games? Well, I cannot speak to how Dandelion came across in the original Polish, but I think it speaks worlds about the priorities of the English version that they didn’t even bother to cast someone with a halfway-decent singing voice as their master bard. There are isolated moments of dialogue that come close to sounding like book!Dandelion– mostly in Witcher 2, which comes closer to capturing the spirit of the books than either 1 or 3, or his attempts to convince his captor he's a disguised noble when you rescue him TW3 – but his voice actor is just painfully ill-suited to the role.

Geralt

Geralt fares much better than Dandelion, though he’s still a little hard to square with the Geralt of the books. Book!Geralt spends a lot more time sulking, just to begin with: he sulks because his job is complicated and gets him no respect, and because the world is unjust and unfair – and, most of all, he sulks because Yennefer has dumped him again. He also gets mocked for sulking, and usually deserves it. Book!Geralt is generally a lot more taciturn and a less prone to making smart comments just to have something to say – arguably because in book!Geralt's world, making smart comments often ends at the gallows, or at least with some corrupt official making your life much harder. Book!Geralt's world kind of sucks, and he's just got to put up with it.

As much as he often plays into the expectations of being an uneducated monster hunter, he's also got a more of an intellectual streak than you’d guess. He may prefer to stay out of politics (because damnit, his job is to save people from monsters, not people who are monsters), but he attended school at Nenneke's temple and has even taken classes at Oxenfurt academy, and there's a lot of thoughtful nuance to his opinions – his speech to Ciri about why he can't in good conscience take a stronger stance against the Scoiata'el contains a wealth of historical perspective, just for one example. Even his smart comments tend to be, well, somewhat smarter in the books.

Book!Geralt’s explicitly a lot younger than Yennefer – around 50 is the usual estimate, falling far short of the 100-ish the games suggest (the scandal of having a man fall for – gasp! – an older woman clearly didn’t bother Sapkowski one bit). You don’t see nearly as much "I'm getting too old for this" from book!Geralt, who's really not that old by witcher standards, and is apparently still hunting monsters long into his future. I'm also a little annoyed by the way they play off his hatred of portals like he's a grumpy old man who doesn't like mobile phones, when his distrust originally came from having seen the gruesome deaths that result when portals go wrong. This is not to say Book!Geralt lacks other ordinary human flaws, however – twice in the last two books of the main saga, he gets severely sidetracked after his ego gets the better of him (in the adulation he receives after being knighted, then after arriving in Toussaint), and it's quite some time before he properly gets back on track for that whole rescuing-Ciri thing again. He’s also pretty hopeless when it comes to romance and relationships – breaking things off gracefully is really not in his skillset.

So why does game!Geralt not bother me more? Well, he's the main player character of a game franchise, and one who has to carry the experience largely solo. Some adjustments for genre are pretty much inevitable in that position. He's certainly fared better than Meve, for example, who's been softened far more from her book characterisation for her PC role in Thronebreaker. Then there's the whole amnesia thing – it's easy to believe that sort of experience would change a man – and if he doesn't sulk so much as he used to, maybe he's grown up a bit. Geralt's also in many ways the straight-man of Sapkowski's Witcher universe – there largely as the reliable centre for other, louder personalities to play off. But I expect the real bottom line here is that I do still like game!Geralt enough to forgive him a lot of what he lacks.

The books never do describe Geralt as being very attractive – something book-based fanart often tries to reflect. The point has been made before that the rather-alien-looking Geralt of the first game (left pic above) is probably a lot closer to his book-description. However, the main distinguishing factor you’ll see in book-based fanart is probably the ubiquitous headband, which genuinely is what book!Geralt wears to make his hair behave (the example on the right above comes from Diana Novich).

All that said, if Sapkowski really wants me to believe that nearly so many women are eager to jump into bed with him, I’m going to have to shallowly assume our witnesses are unreliable on this front, and Geralt is at least as attractive as Witcher 3′s take on him. Nothing else makes sense. *g*

Regis

Regis varies mostly in that book!Regis is a lot more smug, sometimes verging on obnoxious – and a lot keener to make fun of Geralt (who generally deserves it). But then, Regis is old and wise and superpowered enough to dance rings around most everyone else – can you blame him? By Blood and Wine, Regis' overconfidence has been recently smacked down hard after his near-death-experience at the hands of Vilgefortz, and that kind of thing could knock some chips off anyone's shoulder. Throw in the fact that with Dettlaff, we have a situation not even Regis could make light of, and the changes to game!Regis make a certain amount of sense.

I do feel it's a bit of a shame that the vocal direction didn't work just a little bit harder to capture some of Regis' smugger side, or emphasise that his long-winded philosophising on human behaviour is supposed to sound a bit pretentious. This is actually something I suspect they were going for a few times in the script, but which didn't come through in the dialogue quite the way it was meant to. Still, again, I'm sure I'm biased by the fact that I like game!Regis far too much to find much fault in what they've done with him. They've done a lovely job capturing his friendship with Geralt too.

Looks-wise, there's a tendency in book-based art to portray Regis with long hair (even some pre-Blood-and-Wine Gwent art did so – see the two pics on the left above, from Gwent and early B&W concepts. The right-most pic is cover art from the books). I couldn't rightly tell you where long-haired-Regis comes from, though – perhaps it's described more explicitly in the original Polish, or perhaps it comes up in passing in some passage I've forgotten, though it may just as well just be a fannish meme.

The books do describe him as looking rather like a tax collector, slim, middle-aged, with an aquiline nose, prone to wearing black, and his hair as 'greying' or 'grey streaked', so presumably somewhat younger-looking than the game would have it. The hammer-horror-esque sideburns are likewise a game-verse addition, though I do like the look they went with – it's distinct from Geralt in a way that making him another long-grey-haired man wouldn't have been, and that's probably the point.

Being the hopeless Regis fan I am, I have quite the folder full of different fanart takes on book!Regis, so have a selection – art here is by gellihana-art, justanor, greysmartwolf, Nastyaskaya, NatalyLanier, beidak, natalliel, ellaine and afternoon63. For what it’s worth, I feel beidak’s (bottom pic, second from the left) comes the closest to what I’d have pictured personally, based on how he’s first described.

Ciri

I find it much harder to rationalise the changes to game!Ciri, who I didn't exactly dislike, but found stuck too close to the role of generic-macguffin-girl-who-just-wants-to-be-normal to be very interesting. Having read the books, not only do I much prefer book!Ciri, I'm not sure I can emphasize enough how much the game did NOT prepare me for utter gauntlet of whump and misery that girl survives in the last four titles. Book!Ciri is a character who works for me mostly because of the same flaws the game mostly strips her free of – TW3 makes some token noise about how you can't tell her what to do, but she’s an utter little royal brat when we first meet book!Ciri, and it’s so much of what brings her to life. She throws herself into her witcher training with the enthusiasm of a kid going completely native, but still revels in getting to be girly for a change when Triss first arrives at Kaer Morhen. She hates Yennefer at first, but soon bonds with her just as strongly as she ever did with Geralt, picking up some of Yennfer’s haughty mannerisms along the way. And then she gets thrown through a portal and lost in the distant wilderness, and the whole world comes down on her head.

The build up to the first time Ciri actually has to kill someone is intense... and things only get worse from there. Steadily. For another couple of novels at a stretch. Seriously, a major caveat that pretty much has to go into any rec for these books (and I will absolutely rec these books) is that Ciri's story gets heavy. So heavy one finds oneself using phrases like, "that time that one guy died of his wounds on top of her while semi-consensually feeling her up was honestly one of the less traumatic incidents in the period."

By the end of the novels, Ciri has nearly died of thirst, been beaten, tied up, dragged around the country as a prisoner, run with bandits and killed innocent people for the fun of it, done fantasy-cocaine and got a tattoo, fought off more than one attempted rape, been drugged, lain for multiple nights next to an impotent elf who completely fails to impregnate her, watched the bodies of her friends and girlfriend being mutilated in front of her, and did I mention where she got that scar? She has survived hell, and it is absolutely a testament to her own strength that she somehow comes through it and puts herself back together at the end. When Geralt finally arrives to rescue her, what matters most isn't that her ordeal is over, but that she finally knows she hasn’t been abandoned by everyone who’d ever loved her after all.

The Ciri of the books is fierce and wild and arrogant, but she's learned her morals from the best, and she holds onto them until she can't, then picks them back up again when she can, and above all she survives. For all that her story turns arguably too much of the last two books into a slog of misery, oh boy does it pay off at the end. And that's probably about as much as I can say about her Big Moment in the last book without spoiling too much, so suffice to say that by the end of the saga, Geralt has pretty much become a supporting character in Ciri's story, not the other way around. (Seriously, you’d be surprised how few chapters of the last two books he’s actually in.)

Finding art which captures the aspects of Ciri’s character and history which are missing from the game has turned out to be pretty hard, though the fanart above from her bandit phase takes a decent crack at it (credit to Loles Romero and NastyaSkaya). I do rather like that one shot of her on horseback beside her girlfriend too, which comes from Denis Gordeev’s illustrations for the novels (below).

How much of this does TW3 get across with her portrayal in the game? Well, she's still pretty headstrong, I guess. And they let you give a 'sorry, I like girls' answer in one bit of dialogue, so they remembered her girlfriend existed. That's nice. But game!Ciri still has a kind of wide-eyed innocence that book!Ciri lost years ago, while book!Ciri is a little force of nature in ways the games hardly even hint at, and that's a really shameful loss.

You'd think, with a character so young, it ought to be easier to imagine she's simply grown up since we saw her last, but so much of what's changed about Ciri feels like a step back rather than forwards. I can shrug off Geralt and Regis' differences and still enjoy their game-verse-selves, but Ciri leaves me genuinely disappointed.

I’d say the official art that comes closest to capturing book!Ciri is that one portrait of her as a very grumpy young child (right above). Some of the early concept art (left above) feels a little more like it has her attitude, though she’s rather too yellow-blonde – not to mention too pretty. I think it also bears pointing out that Ciri isn’t really supposed to be the kind of beauty she is in the game – even before she gets what’s meant to be a seriously ugly and disfiguring scar. (Fanart below by justanor and bobolip)

But of course, the male gamer fanbase can’t be expected to give a fuck about a girl they wouldn’t want to fuck, so game!Ciri must be generically gorgeous. Le sigh.

Triss

I suppose I should at least touch on Triss, too, though she's a very odd case. She's so out of character in the first Witcher game that I am wryly amused that the biggest thing they arguably do get right is that taking advantage of Geralt the moment he showed up with amnesia is... pretty well in-character for her (look, I gotta be honest here, I'm not much of a fan of Triss in any of her incarnations).

The second game does a much better job with her – she actually feels like book!Triss, she has some good dialogue, we're finally dealing with some of her conflicted loyalties to the Lodge and to Geralt – though by the third, her characterisation has been so softened into “the nice one” that none of that potentially meaty conflict is ever resolved, or even really mentioned. Perhaps there's more buried in the Triss-romance path, which I've never bothered with, but the writers seem to have just given up on dealing with anything that might make her look less than wholly sympathetic. Heck, we hardly even get a clear statement about why she and Geralt broke up between Witchers 2 and 3.

Even speaking as such a not-a-fan of Triss, I promise there is more they could've done with the character the books give us. There's her ongoing trauma in from the Battle of Sodden, where she was injured so badly she was memorialised as one the dead: the 14th of the hill. There's her furious impatience with the neutrality of both the witchers and the Lodge: Triss has fought and died for a cause, and is ready to do so again. The second game sort of gets into this, but by and large, the games really aren't up to tackling the moral complexity of having such a theoretically-sympathetic character as Triss, who was still broadly willing to go along with the Lodge's plans to pair Ciri off and get her pregnant as soon as possible – her own wishes be damned. No, instead, Triss has conveniently left the Lodge before the rest of them go spiraling into abject villainy in the second game, clearing all that messy grey stuff out of the conflict.

Of course, the really big unresolved plot point still hanging over book!Triss is how badly she needs to terms with the fact Geralt's just Not That Into Her, and never has been – but since the games want Triss to be a serious romantic option, that's definitely not getting the resolution it could've used.

Book!Triss also pointedly avoids any outfit with a plunging neckline because her chest is covered with the ugly scars she received in the Battle of Sodden, something the games did not have the guts to reproduce. In a more confusing note, the books do consistently describe her hair as 'chestnut', which we'd usually think of as meaning 'brown' – though it turns out the games actually may not have been wrong to make her a redhead, since in Poland 'chestnut hair' apparently mean dark red hair (google some pictures of actual chestnuts, and you'll see why). Still, the firy-red-haired Triss of TW3 who wears nothing but plunging necklines remains a bit of a stretch, however you slice it. Once again, TW2 gets her best (and I must say, gave her the nicest outfit) – though even here she's conspicuously unscarred in all her sex scenes.

(Leftmost pic above is official Witcher 2 art, whereas Triss-with-scars fanart comes to us – once again – from nastyaskaya)

Shani

Shani sort of falls into a similar category as Triss as someone who isn't terribly well-served by any of her appearances, given that both exist in the first game largely to compete for Geralt's attentions. But I can't honestly say I find Shani’s portrayal in the Hearts of Stone expansion to be much better – the degree to which either version exists solely to fall all over Geralt is a bit painful, especially given that their relationship in the books is limited to a single, undramatic hook-up. Book!Shani really only appears in a couple of chapters: we meet her as a medical student friend of Dandelion's, who's been surreptitiously selling pilfered university supplies to fund her degree, then later see her again in the final book, where she proves herself as a battlefield medic during the climactic Battle of Brenna. She's pragmatic to a fault, and I really can't see her as the type who needs Geralt to point out to her that her patient is dead, for example, or who'd subject a guy with Geralt's problems to such an extended feelings-dump as you'll get out of her during the wedding.

Shani is a reasonably logical book-character to bring back, if only because she’s one of those who explicitly survives the ending, but for my money, "serious contender for Geralt's affections" is just not a role she works in.

Anna Henrietta

The duchess of Toussaint, Anna Henrietta, is another case who differs more from her book counterpart than you might think. In the books, the duchess is by far the least competent of the (pleasantly many and) various female leaders and rulers we meet – she comes across as rather young and naive, and every bit as absurd as everyone else in the ridiculous fairy-tale duchy she rules. She is, for example, most displeased to learn that Nilfgaard's war against the north is ongoing (something her courtiers have carefully avoided mentioning in her presence), because she'd long since sent the Emperor a stern note demanding he brought it to an end. She promptly has one of her ministers sent to the tower for misinforming her, and demands the others prepare an even sterner note for the emperor, which will surely do the job.

After Dandelion (inevitably) cheats on her, she has him repeatedly sent to the gallows, only to change her mind and send him a reprieve at the very last minute each time. Picture yourself a much younger and prettier version of the Queen of Hearts from Alice in Wonderland, and you've about got her general vibe.

Blood and Wine sort of waves at this part of her character when she first speaks about Dandelion, and again in suggesting there's a widespread feeling she lacks compassion, and once more as she proves utterly immovable on the subject of her sister. But the generally sensible and insightful woman you deal with for most of the main story is a far cry from her book-verse characterisation. That’s a bit of a shame, because I feel like there's a lot more they could have done to blend the two versions of her. Still, it’s hard to argue the duchess we get suits the story being told around her.

Other characters

Much as I love Yennefer, Dijkstra and Phillipa, I don't really have much more to say about them because I feel the games have done such a good job. The Yennefer of the books gets to show a lot more depth and complexity simply because she has more scenes and more space in which to do so, but when ‘there isn’t more of her’ is your biggest complaint, the game is officially doing pretty well. I could certainly gripe her about how “dresses in black and white” seems to have been taken as “dresses in black with maybe a trace of white trim”, or how Yennefer and Triss seem to be the only sorceresses in the world capable of wearing pants, when Phillipa (just for one) is in sensible men’s clothing the very first time we meet her, but that’s getting into serious nitpicking territory.

(Not that Yen can’t look amazing in outfits with more white – art by Emily Caroll, theclashofqueens, BarbaraRosiak, and cosplay by greatqueenlina)

Vesimir, Lambert and Eskel, Geralt's fellow witchers from the School of the Wolf, fall into a similar category for me – though we spend far less time with them in the books, everything we see of them in the games feels like a fairly logical extension of their book-roles. Vesimir is somewhat over-played as the old fogey, and his death is painfully cliched, but the impact on the characters and Kaer Morhen still hits home – and the games do some especially great work expanding Lambert into a much more complex character. To my mind, the only shame is that more of the book-original characters didn't get the same treatment.

Who have I missed? There's Avallac'h, of course, but I think I've got him pretty well covered by that last post. Zoltan, perhaps inevitably, has had his personality largely flattened into 'generic dwarf', with nothing better to do than hang around Geralt and Dandelion. You wouldn't know Book!Zoltan was apparently incapable of turning away women and children in need, for example – even human women and children with the chronic inability to say thankyou for his help. Or that he eventually admits to Geralt that the luggage he and his friends are carrying comes from a decidedly unsavoury source for such a supposedly charitable, upstanding guy. Yes, even Zoltan gets to be a morally complicated character in the books – who knew?

Speaking of dwarves, pleased as I am that Yarpen Zigren gets remembered in TW2, he's an odd one to talk about, since even in the books, he appears to have had a substantial personality transplant between his two main appearances. Yarpen’s a largely comedic figure in The Bounds of Reason short story, where he cheerfully admits to having considered letting his men knock down a particularly pompous aristocrat and piss all over him to teach him a lesson, but he’s evolved into a studious voice of reason against the scoiata'el by Blood of Elves. TW2 doesn't do a particularly good job of capturing either version, which I suspect probably bothered me more than most people – I liked the later book-incarnation of Yarpen immensely (and not even just because he's one of few ever to really call Triss out on just how much she needs to stop misreading Geralt's friendship as anything more than it is). His chapter in Blood of Elves packs a hell of a punch.

On the subject of accents

I do have to wonder if I'd have warmed up to characters like Triss, Shani and Dandelion (or even Letho) more if they'd only had halfway decent voice actors. It's not just that none are exactly leading the talent at the acting part of the job, it's that their American accents stick out in TW3 like a sore thumb.

Geralt mostly gets away his own US accent by dint of being the very first character we meet, so we've gotten used to the way he talks long before we notice how he stands out – hell, maybe that's just how they talk down in Rivia (hilariously, book!Geralt eventually reveals he's not even from Rivia, but simply picked the place and taught himself the accent so he could feel a bit less like the abandoned foundling he is, which only gives us yet more excuse for why his accent might sound a bit weird). More importantly, Geralt is meant to stand out, to be the outsider wherever he goes, so having him sound like no-one else fits the character.

But neither Triss or Dandelion are "of Rivia", and by the time they show up we've had dozens of hours in a game where literally everyone else sounds British, or Scottish, or Irish, or vaguely-eastern-European in the case of the Nilfgaardians. So why do these weirdos sound like no-one else on the continent?

The short answer seems to be that every character with an American accent in TW3 is someone who had an American accent in at least one of the previous games, which were way looser with their casting and had enough incidental American accents around that they didn't stand out. Clearly, by TW3, consistency with prior games has been prioritised over consistency with literally anything else we’re hearing.

Gaetan is an exception to the rule as the only new character (at least that I caught) with an American accent – presumably because between Geralt, Eskel, Lambert, Berengar, and Letho (and cohorts), some sort of 'witchers have American accents' rule has been pretty well established (another random American-accented witcher shows up in Thronebreaker, just to underline the point). We're going to mostly ignore Jad Karadin here, since his British accent is presumably a recent affectation to go with his new identity, and so makes sense.

This still doesn't really work though, since Letho’s school is all the way down in Nilfgaard (land of the Eastern European accents), while the oldest witcher from Kaer Morhen (Vesimir) is the one guy with a British accent. He sounds nothing like any of his students, despite the fact he's logically the guy they ought to have learned their accents from. So the logic falls in a heap however you slice it, and I'm thrown right out of the game.

With TW3 as your intro to the series, it feels almost as if characters like Triss and Dandelion have been assigned American accents because they're just too important to be saddled with the same pedestrian British accents as everyone else, which did nothing to endear them to me. The only one I eventually warmed up to was Lambert, and then only because he's just such a bitter asshole that he eventually goes full circle and comes out the other side (somewhere around when you've heard his miserable backstory, then gotten drunk together and told him how much you love him, man). Gaetan similarly snuck in under the same clause – American accents clearly work better for me in this series when attached to characters you're supposed to find pretty insufferable on first impressions.

Some final notes

To conclude, it seems only fair to throw in a quick nod to some of the more memorable book-characters who don't appear in the games. Neither Mother Nenneke (Geralt's sort-of-surrogate mother) or Vissena (Geralt's biological mother) ever appear either, alas – Vissena doesn't even merit so much as a Gwent card, which seems quite the wasted opportunity.

Milva, Cahir and Angouleme – the three remaining companions of Geralt’s who died alongside Regis but who were not so easily resurrected – naturally don’t appear. But nor are even really mentioned in all the games, which seems rather less than they deserve after giving their lives to Geralt's cause.

Cahir and Angouleme do at least have pretty badass Gwent cards to their names, though I am properly offended that Milva (who has the dubious honour of being my very favourite book character who doesn't ever appear in the games) is stuck with a card of her freaking death scene – which not only gets the scene wrong (believe me, there was no grimacing and gripping the arrow buried shallowly in her chest for poor Milva), but doesn't even bother to get her hair the right colour, for fuck’s sake. Basically, Milva was a stone cold badass and absolutely deserves better. #justice4milva

One can only guess how I'd have felt about some of these characters had I read the books before playing the games – I am obviously biased towards forgiving changes to characters whom I liked in their game incarnations, regardless of how they compare. Still, I think it does speak wonders that there still all these characters who suddenly made sense only after I'd met them in the books.

Even if only for Dandelion and Ciri, I can only dream of seeing a bit more of the book-original characterisations make it into the collective fannish consciousness. There's nothing wrong with getting into the canon purely based on the show or the games, but having read Sapkowski's novels, it's no longer any mystery how they spawned this massive franchise. That the saga wasn’t even fully available in English until well after Witcher 3 was released – a solid couple of decades late, and long after it had already been translated into Russian, French, German, Spanish and more – is a real shame. For once, it’s us in the anglophone world who’ve been missing out: these books deserve so much more than to be thought of as a footnote to the games or the show.

#Dandelion #Witcher novels #Jaskier #Ciri #Regis #Geralt of Rivia #meta #The Witcher #long post is even longer this time #I blame everyone who gave me such lovely feedback on that last post *g*

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danteinthedevildom · 3 years

Text

A Royal Pajama Party “Analysis” - Part 2 (of 7)

A continuation from the previous post! Here, we pick up with MC actually in Diavolo’s room with him, preparing for the sleepover. This covers content from the Story Key-locked chapters of the Devilgram, so here’s your cursory warning for spoilers!

Another point towards how important MC is to Diavolo, and how unusual it is for someone to actually spend time with just him. The fact that you’re there, on your own, with him, is something he’s still struggling to comprehend. Demons don’t just do that, not with him; maybe if other demons are there, like he suggests - “since everyone came with you last time” hosts the implication that he thought you came because of them, because everyone was together, and not for the sole purpose of seeing him - but never just one-on-one.

This idea that he has someone content to just be alone in his company? It’s still new to him. It’s something he’s still wrapping his head around, as much as it’s something he’s always wanted. He’s so used to being a secondary thought - to being a host for friends spending time together, and never a friend being spent time with - that you actually being there is surreal. Like a dream, or perhaps a mistake.

You’re not just there to hang out. You’re there to stay the night. You’re there, with him, without interruption. For one whole night, he has your attention, and your attention alone. There’s no second guessing here that you’re only visiting the castle to spend time with someone else; no second guessing that your eyes are drifting elsewhere, or that you’re having more fun with others. It’s you and him, in a setting he’s never gotten to experience before.

Of course he wants to savour it. Of course he wants to enjoy this very rare, very special moment he gets with you. You’re always surrounded by others; the brothers, or the Purgatory Hall boys. Barbatos is never far from his side. This moment, just the two of you, for a whole night, where he can finally be himself and have fun as any other demon would? It very, very likely means the world to him.

I’m likely not overstating when I say this is a night he’ll remember for the rest of his very long life, regardless of whether you end it romantically or platonically.

Diavolo is so behind on what it’s like to be a normal demon - and so excited to be spending time with you - that he’s come up with a list of things the two of you can do together. There’s a better screenshot for this a little later on, so I’ll go in more detail on that there, but there’s two points I want to make here:

A) Diavolo’s so desperate to make this night something special, he actually pre-planned the sleepover to make it more enjoyable for you. That’s how much your time together means to him. He doesn’t get to see you much; he wants to make every second count.

(And maybe, if you enjoy the night, you’ll be more likely to come over again.)

B) There’s a literal list of things Diavolo wants to do with you. When he thinks about doing something with someone? You’re his go-to. There are experiences he wants to share with a friend he cares for and who cares for him just as much, and he’s chosen you to be that friend.

(Here, you essentially say that you love the onesies. It’s one of the options you can choose.)

Diavolo made everyone a set of onesies because, to him, that’s what helps make an evening (and subsequent sleepover) more enjoyable. This is really what I meant by him living the childhood he never got to have. You don’t actually need onesies to make a sleepover fun, and to a lot of adults, it’s something of a childish aspect (as is the concept of a sleepover at all); they’re something you enjoy when you’re young and the idea of dressing up as a dragon is exciting, not what you do as a fully-grown adult (who is more likely to be embarrassed by the concept, as Barbatos is).

The fact that Diavolo isn’t aware of this - or perhaps outright doesn’t care - suggests the entire experience is brand new. He’s excited because he’s never had the chance to do this before, and his inner child - the one that never really had a chance to live - is thriving.

It also shows a lot of inexperience regarding the concept of sleepovers. Diavolo... really doesn’t know what to do. Case in point? He didn’t get the idea of the onesies from his own mind or understanding of sleepovers:

He was told by Asmodeus that pajama parties have to come with “adorable leisure wear”.

There are a few implications here.

One, Diavolo went to Asmodeus for advice. He often does this when he wants to set up events, if only because Asmodeus is a big party animal and up-to-date on the party scene - but the fact that he did it for this? For a sleepover? It says a lot.

Diavolo has no idea what a sleepover entails. He’s absolutely clueless on what they are and how they work. He’s never had one before; never seen how they function. He likely doesn’t realise that a sleepover can really be nothing more than spending your time talking before calling it a night and crashing in bed.

So, knowing his own ignorance, he went to the one demon most likely to know what they are - and not just that, but how to throw the best sleepover possible. He wants this to be a night for he and MC to remember, after all; the better the party is, the more fun he thinks the two of you will have.

In other words? He’s so determined that the night be good, he went to someone else to learn the things he never got to live.

Two, Diavolo fully trusts Asmodeus on anything regarding parties. This isn’t a huge point, but I want to note this because it has come up before.

Diavolo, in chats, has expressed upset over not being invited to Asmodeus’ parties, and in Devilgrams, has asked for Asmodeus’ help in setting up events. He knows this is something Asmo’s good at and that will likely make him happy, as well as something that allows Diavolo to spend a little time in his company.

So, it’s not just MC that he tries to get close to - it’s everyone. You’re just... the most reciprocal to his attempts at friendship.

That said, though, he trusts Asmo’s advice enough to go back to him for more. Which says a lot! He’s a prince; he could have someone else do the research for him, and he probably has a party planner of some sort, since most royals actually do considering the amount of ceremonies they host. Instead? He personally goes to Asmo and asks for his thoughts. And not only does he listen to them, but:

Three, this is still a novelty to Diavolo, but it’s also something he’s taking seriously. He’s not just reciting Asmodeus’ words directly - you really can hear Asmo’s voice in the first screenshot, as if he’s saying them verbatim - he’s also praising Asmodeus for the knowledge he was given as if it’s some sort of secret law Diavolo wasn’t aware of.

Which absolutely makes sense. Diavolo’s gone to Asmodeus about various events before - such as the colour party in the Concealed in Colour Devilgram - and much of those come with a set of “rules” that make the events what they are. It’s entirely possible that Diavolo genuinely thinks you have to wear onesies for it to be a proper pajama party. He doesn’t have the experience to tell him otherwise; he’s never had one before!

Plus, we all know how theatrical Asmodeus is. The chances of him emphasising that “a pajama party just isn’t a pajama party without onesies!” is fairly high. Diavolo wouldn’t know better. So, naturally, he’d make everyone a onesie, and include them in this sleepover he’s set up to pack everything he never got to experience into.

This is the final set of screenshots for this post, since the next really does need its own, but! This is the part I mentioned before, noting that Diavolo actually, legitimately wrote up a list.

Firstly? This is a list of things he wants to do with you. It’s not just a sleepover list - although it is, since a lot of what follows are typical sleepover-related events - but a list he’s written up specifically for your time together.

I cannot express how sad this is. This is how little Diavolo gets to see you, particularly one-on-one. This is how little Diavolo gets to do with anyone. This is what Diavolo sees as thrilling for a night of fun.

Watching a movie with you, and eating popcorn.

It is the most mundane thing anyone could come up with. This is the sort of thing you do spontaneously at a sleepover - “hey, anyone wanna watch a movie? I think we’ve got popcorn in the cupboard” - and yet... it’s something so unique to him, he actually wrote it down.

Movies take time. At least an hour and a half. The fact that he’s never had the chance to do this with you before suggests he’s never had so much as an hour and a half of free time spent just with you, without anything else going on - and you're someone perfectly willing to visit him at the drop of a hat.

It's sad to think that part of Diavolo's struggles in making (and keeping) friends may entirely revolve around how difficult it is to spare time for the beings he cares about.

It's likewise sad to think that this time is so rare, he openly tells you he'll cherish the mundanity of watching a movie.

Moreover, these are the experiences he sees as prime importance for the very lengthy time you're sharing together.

He's the Prince of the Devildom, and there are almost definitely events that humans have never been able to experience before going on across his kingdom well into the night. He could take you to events beyond comprehension; to scenes that would enrapture you and fill you with awe; to places you would never be able to reach without him by your side...

Yet all he wants to do is watch a movie with you.

If it's true that he doesn't get to spend much time with you (if any at all) in a casual capacity, Diavolo is explicitly showing here that what matters most to him is time spent in personal, close contact. He doesn't have to make your time with him grand and ever-lasting; he just wants to share these normal, plain, everyday experiences with you.

You make him feel normal. You afford him to exist in a way he simply can't at any other point in time, with anyone else. This is more special to him because of what it represents. Because it's you, and him, doing something everyone does. Because you're his friend, and he's doing friend stuff with you.

It's a little awkward - a little stiff and formal with the list and the setup - but it's only because he knows he doesn't get much time with you, knows he might not get more time with you for several months, and he's so out of touch with how friendships work he wants to do everything in a single night.

In other words? You're his friend. He wants to know what it feels like to have a normal friendship with you. And he wants to stuff every rare moment he gets in your company full of activies he's not been able to do with you before.

Which brings us to the second point: the importance is in his wording.

He's wanted this for "quite some time". There's an implication that he's not just spontaneously come up with a bunch of activities he thinks you'll enjoy or that are typical to the sleepover experience; he's chosen things he's been dying to do with you. Things he's been sitting on for some time, patiently waiting for the chance - for the perfect alignment of stars - to actually bring up to you.

Maybe these are things Diavolo has always wanted to do. Things he's noted down and planned out since he was a child, having heard other demons talk of them, so he could experience them at a point in time where he finally had friends of his own. Maybe they're things he's only thought of doing more recently, clinging onto the hope that he could actually plan for experiences, even in the tentative quiet of his own mind, with your arrival. It's hard to tell.

But in either case? He is so genuinely thrilled to be able to spend time with you, he has enough ideas - enough experiences he's never shared with someone before - that he's fully capable of making a list.

This is how isolated Diavolo was, and still is. This is how much of his childhood - of his life - he missed out on. This is why he's so enthusiastic to spend any time with you he can.

He has an entire back catalogue of perfectly generic things he's simply never done.

That has to be one hell of a lonely life if something like "watch a movie together" is something he's been wanting to do "for some time". That has to be one hell of an isolated life if this, to him, is his most desired item on his itinery - and not the thousands of things magic and rulership leave in potential at his fingertips.

Which leads me to conclude this post on one, final question.

How long since your arrival in the Devildom has he wanted to spend simple time with you?

+++

And thus, we conclude part 2! Thank you for reading this far once again. Hopefully it was enjoyable!

The next set of screenshots dip into the movie experience with Diavolo, and are a tiny bit lighter than the previous two posts.

So, if you’d like, hop over to part 3!

#obey me diavolo #obey me analysis #obey me

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gallavictorious · 3 years

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Once again the fandom coming together to daydream about Mickey helping Ian out and seeing him back on track to become an emt again but why is that on Mickey? Why does he always have to do things to make Ian happy when Ian's usually nothing but annoyed by Mickey and does nothing to make Mickey happy? Truly shows which character y'all care about more.

This got absurdly long, because I am who I am and did take the opportunity to go off on a tangent about valid conclusions and what not, so I put it under a cut. Read at your own risk! Oh, and I also do address the actual question about whether or not Ian's career is on Mickey, and whether or not Ian never does anything to make Mickey happy. ;)

For the sake of clarity, I got this ask in response to this post.

And I gotta say, nonnie, getting this ask perplexed me to the point of running off to Trusted Fandom Friends, demanding to know how my undying love and loyalty for Mickey could ever be doubted. Had to laugh at myself a little, actually, and the strenght of my befuddlement. It reminded me of the time I went on a trip with people from the 501st (cosplayers dedicated to the bad guys in Star Wars) and Rebel Legion (cosplayers dedicated to the good guys in Star Wars) and a lot of people assumed I was a Rebel sympathizer simply because I had friends in that group and those were the people who had invited me. Excuse me, I didn't yell, I have like 30 Darth Vaders in my damned home, how dare you question my allegiance? I was so used to always being known as a diehard Vaderkin fangirl that the mer fact of strangers failing to recognize me as such genuinely fucked a little with my sense of identity. My love of Mickey isn't anywhere near as deeply ingrained into my sense of self, since he's only been an occasional presence in my life since 2016 while Darth Vader's been my main man since 1994, but it was still a little jarring to suddenly find myself (mis)identified as an Ian stan.

Being a fangirl is strange.

And I want to make it clear that I do love Ian. He's a fascinating character and, to me, he's a character that's often much harder to understand than Mickey. He rewards careful analysis and discussion, though, so I guess I tend to talk a lot about him? I don't need to spend as much time considering Mickey's feelings and motivations because they are (almost) always pretty obvious; I don't need to tease them out. But at the end of the day, Mickey is my favourite. (Though I'll always love Ian and Mickey together more than I love either of them on their own. It's like fresh cilantro and mint – each perfectly lovely in their own right, but the combination of them creates a flavour that's just out of this world.)

Now, you might argue that you don't follow me and so have no idea who I am and what I like to post about, and that going only by that single post (which, in fairness, was tagged with 'i just want ian to be happy okay?') I give off the general impression of an Ian stan. And that's fair enough; I'm an obscure blog in a decently big fandom and you're not required to keep track of anyone. However, if you want to throw around passive aggressive accusations of caring more about one character than the other, I will ask you to do your research first. Reacting to one single piece of data without considering the context is a common but highly unfortunate practice that needlessly complicates meaningful conversations, and we'd all do well to abstain from it.

Oh, you don't want to spend a lot of time and energy on consdering every single thing a specific Tumblr blog has ever said on a specific topic just so you can draw a valid conclusion about their stance? That's perfectly understandable, nonnie, and easily sorted: refrain from making unsubstantiated claims about what other people think or don't think and you won't have to. Ask them, if you wonder. If you see a tendency in fandom to put the responsibility for Ian's wellbeing and career or Mickey's shoulders and want to discuss that, that's totally cool! I am game (and will address that question below)! But it's very possible to do that without somewhat rudely ascribing perferences and opinions to other people, and you'll get better answers for it (for instance, you won't have to wade through me rambling on about valid conclusions and my memories from other fandoms... ).

It seems to me, though, that this touches upon a long-held frustration of yours. If I interpret your ask correctly, you think the show gives us an Ian who is mostly annoyed with Mickey and doesn't do anything to make him happy, and you think that the fandom responds to this by relegating Mickey to the role of Ian's caretaker, whose sole purpose is to serve Ian's needs without any regard for what might Mickey himself happy. Have I got that right?

If so, it should be noted that I don't agree with either of these takes: I don't think that's the Ian the show gives us (a point I will return to below), and I don't think that fandom at large only cares about Ian's happiness, and I particularly don't think that my post can be used a evidence of the latter.

For instance, when you sent me this ask the post in question had all of 40 notes. As I write this, it has just over 70. ”The fandom coming together” seems to be slightly overstating the case, don't you think? There are certainly fans who care more about Ian and only see Mickey as valuable as long as he contributes to Ian's happiness, just as there are fans who care more about Mickey and only see Ian as valuable as long as he contributes to Mickey's happiness - but this single post with less than a hundred notes does not support that either of these stances would be predominant within the fandom. (And, while on the topic, I'd like to state that I don't actually see a problem with either of those stances; these are fictional characters that exists for our entertainment and we don't have any moral obligations to treat them equally and fairly. Don't ruin other fans' fun by dumping on either of them in the character or shipping tags or on character and shipping posts and this is not a problem. It might be a somewhat unpopular opinion, but I don't think you have to love or even like all characters in a ship to ship it: I refuse to drink plain tea because it's nasty but put a splash of milk in it and its my favourite thing ever. You can love a combination without loving all the seperate pieces on their own. And yeah, I do revert to food metaphors a lot. I like food.)

Secondly, whether or not the post can be said to represent the feeling of the fandom at large (it cannot), I think that reading a post specifically about ”Mickey helping Ian out and seeing him back on track to become an emt again” and then extrapolating from that that Mickey ”always have to do things to make Ian happy” is a little wild. The very first thing I wrote for this fandom was a vision of Ian offering Mickey comfort, goddammit. (Ian giving Mickey a hug is so high on my list of desires, you can't even imagine)

As for your actual question (and, ah, imagine how much shorter this post would be if you had just left it at that) – of course that's not on Mickey. That much, incidentally, I've actually explicitly stated in another post. Ian might have his issues but he's still an adult and responsible for himself. That being said, I don't see it as particularly strange that someone would go out of their way to help their partner when they see them struggling? If I realize that someone I care about is unhappy and there's a way for me to help, I would want to help because I love them and want them to be happy, even if it's – ethically speaking – not my responsibility to do so. Pretty sure Mickey, who is action-oriented and so very protective of the people he loves, feels the same way.

Of course, if it's a one-sided thing – if one partner is always the one to do stuff for the other and never receives any support in return – that's not a healthy relationship, and I assume that this is what you're seeing in the show and taking exception to?

Only... I can't help but wonder who this Ian is, this uncaring, selfish version you see – because I don't quite get how it can be the Ian who emptied his bank account for Mickey, or the Ian who was ready to throw his parole and stay in prison for Mickey even when they were in the middle of a fight specifically because Mickey said it would make him happy, or the one who kept trying to talk to Mickey and win him back after Mickey punched him in the face, accidentally broke his leg, and took off with a new lover (I'm not taking sides in this one, btw – I have a lot of sympathy and understanding for both of them and their actions throughout this whole sorry affair), or the Ian who immediately wanted to marry Mickey protect him from the consequences of a murder Ian thought he had actually comitted, or the Ian who went along with arranging a real wedding even though he initially didn't at all understand why this was important to Mickey and who had someone come serenade him once he did, or the Ian who chose At last for Mickey to walk up to the aisle to, or the Ian who keeps trying to reach out to Mickey and to touch him and discuss their issues in a mature way even when he's (justifiably) upset about Mickey using all their wedding money without telling Ian. (Though Ian deciding for both of them that they're saving the money isn't great either.)

I mean, Ian's absolutely done shitty things, as has Mickey. They're human, and they're the products of a chaotic and often hostile enviroment. They do mess up a lot; they've hurt each other rather badly over the years. Depending on your perspective and preferences, you may think one or the other have behaved worse, but as far as I can see, the claim that Ian never does anything to make Mickey happy is simply not supported.

Ian has seemed unusually annoyed with Mickey this season, I'll give you that, but while that's not always the most fun thing to watch and I strongly sympathize with the wish to just see Ian look at Mickey with that fond look again, I don't find him being frustrated right now all that weird, given the circumstances. I'd argue it has less to do with Mickey and more to do with a general frustration over thwarted ambitions and not being able to hold on even to a really shitty job, though Mickey's attitude doesn’t exactly help (which is not to say that I think that Ian's the one in the right here, becasue Ian's way of handling things hasn't always been been stellar either). However, I do have faith in them sorting this out – because even though they fight and bicker and get annoyed with each other, there's never any indication that they're not both committed to making this marriage thing work. They certainly stumble, they misunderstand each other and lash out, but they calm down and go to sleep in the same bed and compromise and keep trying. Every day, they – both of them – choose each other.

I'd like to finish this off by noting, even though it's not entirely relevant to my argument, that that the number one thing that does make Mickey happy is being together with Ian, and even when Ian is pissed at Mickey and withholding sex (which was very ill-advised but says a lot of interesting things about his character, I think!) no one's sleeping on the couch, there are no nights away from the house and each other, and even in the middle of an argument they sit and stand next to each other. I think that's pretty telling of Ian's dedication, especially given his propensity for running away from his problems.

Phew. Okay, nonnie – though we don't agree and I doubt you'll find this answer satisfactory, I hope you see that I have done my best to understand your point of view and treat your arguments fairly and give you a thoughtful response. If you'd like to get back to me and elaborate on your stance, I'd ask that you show me the same courtesy. :)

#asks #i don't even know what to tag this i spent five hours writing it and my brain is mush #meta #i guess?

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paragonrobits · 3 years

Photo

a friend asked me to give a shot at doing an entry in this tier list they linked me to, of the video games inducted into the World Video Game Hall of Fame since 2015, and I opted to give it a shot!

My rankings are generally biased towards games I personally enjoy playing, though I will give some commentary on their historic relevance:

S-Rank

Super Mario Bros: The game that repopularized video games in the US, that arguably began the entire platforming video game genre and all its imitators and spin-offs, that spawned a new generation of video games after the Atari Crash in the US, and still a DAMN FUN game in its own right! I simply had to put this at the top ranking. After the disillusionment caused by Atari’s failures, this game brought home consoles back in a big way to the US.

World of Warcraft: Now, I’m not much for MMORPGs. Nevertheless, I’ve followed the lore and general information in the Warcraft setting for years now, and a couple years back, my brother asked me to play it with him. I had a ton of fun, honestly! Playing a goblin mage, I believe. WoW is notable for being THE MMORPG, and still going strong. Admittedly, nowadays many games do what it does better, and the time when it was dominant as THE single game to play is past, but it was still an enjoyable experience and I really have to like how sincere the game is about its aesthetics and campy vibe. Given that the entire setting is reputedly a reskin of a Warhammer Fantasy Battle video game that went south, it’s cheery and colorful, morally gray tone is... an interesting complication in its history. (Also, HORDE. I STAN THE HORDE VERY HARD.)

The Sims: A bit of history; I did not play this game as enthusiastically as a kid as my sister and mom did. We ALL spammed the hell out of the Rosebud cheat, though; not until recent times did I actually wind up playing the game properly, when the most recent iteration of the series was free for a while. My mom didn’t care to play the game, she just liked building houses. In any case, while my attention drifted from the game now and then, I always am fascinated by the actual gameplay of caring for your simulated humans, and the way you don’t actually control them directly. This sort of hands off experience is actually a bit similar to the ‘dungeon simulator’ genre, and while the game is notorious for enabling cruelty (something I never saw the appeal of!), it’s a surprisingly wholesome experience, and it can’t be understated how unique this gameplay was at the time.

Legend of Zelda: It’s actually rather interesting how different OG Zelda is from modern games. Not just the top down perspective (which DOES pop up, now and then); the game is non-linear and allows you to go to any dungeon at any point, completing the game at your leisure, and the story is extremely barebones compared to what we may be used to. It’s quite a far cry from the linear gameplay of gradually collecting tools and working through plots that the games are known for. Breath of the Wild is, in fact, a return to form rather than an upheaval of the formula. I’ll also admit that I have a lot of affection for the gameplay of this one, as well as Link To The Past.

Donkey Kong: When you’re talking old school, as far as what you might call the modern generation of games goes (which is to say, the games that resurged after the Atari Crash), it’s hard to go wrong with Donkey Kong. It’s certainly notable for being a weird stage in Mario’s character and something that is generally ignored; it’s just strange thinking that at one point he was supposed to be abusive towards a pet ape that went in an innocent, well-meaning rampage! Personally this one kind of breaks a mold for my S-class rankings because while I like this one fine, I don’t like it THAT much; i mostly played it in the DK 64 game, and found it very difficult and that’s stuck with me. Still, I place it here for its momentous position in placing Nintendo on the map, with the influence and revolutionary technologies and gaming mechanics they would introduce, to this very day.

Pokemon Red/Blue: Hoo boy. HOO BOY it is honestly something of an oversight that I didn't immediately shove this beauty straight to the front of the S-line because good god I love this game. It's been years and years, long since I was but a whee Johnny playing a strange new game for the first time just because there was a cool turtle creature on the cover (because I was super into turtles back then), and I still love this game. Even with the improvements made to the formula since then (getting rid of HMs, the fixes and new types introduced since) there's still something lovable about this game, even as something as basic as the official artwork that just tugs my heartstrings. This game is highly notable for being an RPG that popularized the monster collecting/befriending gameplay (so far as I know), and as an autistic person, i really appreciate knowing the whole thing grew out of an autistic man's bug collection hobby from when he was a child. Pokemon is an absolute juggernaut of a media influence, and THIS is where it all began. It's first stage evolution, you might say. And not like a Magikarp or anything. This one's more like one of the starters... appropriately enough. Final Fantasy 7: This is probably a bit of a controversial take, but FF7 was not actually one of my favorite Final Fantasy entries back in the day. I never played much more of it than the beginning missions, as my cousin owned the machine in question, and I moved out before i could play it much. Final Fantasy 3 (in the US; it's more generally referred to as 6 now) was my favorite for a long, long time, and that game pioneered many of the traits that would be associated with 7: the epic story, the complex ensemble cast, though 7 really expanded on that basic idea, and previous games were hardly shabby in that regard. 9 is my favorite of the pre-10 era, with its extreme shake ups to the mechanics of the game. No; what makes 7 stand out is that it was a shift towards making Final Fantasy a constantly shifting, unique franchise where every entry was its own thing; it introduced 3D graphics with a fun and cartoony style mixed with a story that wouldn't be out of place in a cyberpunk story, and heralds Squaresoft (as it was called at the time) splitting off from Nintendo, with its censorship policies, and doing its own thing with Sony, with a great deal more freedom to write as they pleased. The party design also stands out, which each character having their own unique function in the party while the Materia concept allows a degree of modular skills to be installed, customizing them in ways that, in my opinion, the best entries in the franchise (on a gameplay level) would revisit. Colossal Cave Adventure: I'll be honest; I never played this game, and I don't believe it's particularly familiar to me at all. However, I chose it for this vaunted spot in S-rank because games of this nature, of text-based prompt and responses, are some of the most interesting things imaginable! Games like AI Dungeon are similar in some respects, and its impressive to think just how dang old this game is, and yet it managed to pull off basically being it's own DM. It has an interesting history; created by a man who worked on the precursor to the Internet, the game was made to connect with his daughter and was inspired by recent entries into Dungeons And Dragons, and later expanded upon by other programmers. It's notable that while Zork is the sort of game that would probably involve more immediate recognition (I actually mistook it for Zork at first, from the screenshot), this game was the first of its kind, and that always deserve some recognition. Minecraft: I absolutely LOVE Minecraft, and it's rightfully one of the most popular games, if not THE most popular game, of the last couple of decades, and it's interesting to think just how unconventional it is; the game is, effectively, a LEGO simulator, and as someone who honestly always wanted tons of LEGO sets as a kid but could never afford them consistently, there's something genuinely very appealing about Minecraft's basic set up. It's open approach and lack of a goal, just gameplay mechanics that encourage you to build and do as you please, makes for a very relaxing and unusual mentality not often seen in games until this point; it doesn't even have a storyline, it simply gives you a world to play around in. Of note, Minecraft's entry seems to have relevance towards video games becoming a cultural touchstone; Minecraft's visual aesthetic leans towards both blocky LEGOs and retro graphics, and certainly proves that games don't need to strive for hyper realistic graphics to be appealing. ----- A RANK Doom: I genuinely like Doom, a lot! I still have memories of replaying this game frequently, long before Doom 2016 and Eternal were glimmers; it's just genuinely very fun to play. That said, I feel that there's other games that are a bit more historically notable and while i like this game, not quite as much as other entries. But it cant be understated that this was THE first person shooter, and more to the point, was fundamental towards game design as we know it. Of note, it pioneered the idea of a game engine, which has had tremendous impact down the road in terms of making a flexible baseline system that latergames were programmed around. Additionally, the first three episodes being free, with the additional ones being purchased as part of the full game, this was, I think, the first demonstration of a demo. Back then, we called this shareware; a game which was free but had full features locked off, but otherwise you could play it however much you wanted. There's a REASON Doom winds up on more systems than Skyrim! Ultimately, while it's not one of my favorite games, it's impact on the business of gaming and the functions of game design cannot be overstated. Pac-Man: This game, is THE game that made video games a phenomenon and its worth thinking about that and how video games as a modern institituion can be drawn, however broadly, from Pac-Man's commercial success. I should note that while I've played this game extensively, it's not something I'm particularly good at; there's a LOT going on here and its a bit much for me to handle. That's probably a strength; there's a reason people had to fake their accomplishments and falsified high scores. It's worth noting that Pac-Man is a unique thing in that it has been rereleased many times over, and every generation has found it enjoyable and fun, unlike other games that set trends only to be lost out in the end. (Goldeneye, for instance!) The Oregon Trail: Like many other people I assume, I first played this game as something available on school computers. Purportedly made as an educational game to teach students about history, this game may be notable for, among other things, being an entry point towards the idea of resource management in video games (as well as being hellishly difficult, by the standards then, but that DOES illustrate a point, does it not?). It's also the oldest, most continuously available game ever made, even now being ported to smartphones, or so I hear! It seems to be a very early example of edutainment games, and a genuinely great one at that. It probably helps that a selling point is that it doesn't really mince around with its subject matter; anyone who's played this game knows that total party kill is the default assumption, as it was in life. Street Fighter and Mortal Kombat: I place these two together as I feel that they form a duo of sorts, and defined fighting games of my childhood and modern gaming experience; name a fighting game, from Injustice to something as deliberately different as Smash Bros, and it has SOME relation to these games, even if its in terms of doing something completely different. These games set a mold for fighting games! Among other things, both games feature iconic characters as a selling point, and to this day fighting games make their mark based on how signature their characters are. Mortal Kombat is of course an incredibly violent game (though very tame, by modern standards), and its fatalities and depicitons of violence sparked thought and arguments on what video games ought to be allowed to depict, for better or for worse. It's not implausible to suggest that the overly strict restrictions on what video games could depict go back to Mortal Kombat's fatalities, specifically (since there's far worse games predating it, though too graphically primitive to be obvious). Street Fighter, conversely, strikes me as having more characterization and depth, especially as far as fighting systems go; I find it hard to be interested in many fighting games now, if they don't offer as much depth as the likes of Street Fighter 2. Street Fighter stands out for innovating multiplayer play, initially in the arcade, and its not implausible to say that the likes of Smash Bros is a descendant of sorts of the specific mentality Street Fighter brought to the table. Consider also that it is STILL a mainstay in the remaining arcades and cabinets in service today! Tomb Raider: This is a game i legit liked back in the day, and there's some part of me that's sad that the platforming, puzzle solving and focus on exploration has not really made it back into the modern Tomb Raider series, last I checked. There's probably something interesting in that Lara Croft represents a bit of an intermediate period between platforming mascots and modern Edgy Protagonists; you know the ones. Balding white dudes with vague dad vibes, but this is not a slight on Lara; she definitely has a ton of personality, even just at a cover glance. This game had a strong focus on exploration, and that's honestly something I really like. Super Mario Kart: I'm going to be controversial here; complaints about the Blue Shell are kinda overrated. It's not that different from, say, a red shell hitting you from behind when you're close to the finish line. But, jokes and old 90s memes aside, this game has some interesting status in that it started the idea of making spin-off games in dramatically different contexts; Crash Team Racing and Sonic Drift, for example, are listened as similar games. On a franchise level, this began the trend of Mario becoming a truly flexible character who could do pretty much whatever was required of him, not just the original platforming games, and its possible his imitators never quite learned the same lesson. Though one wonders what Miyamoto might have thought if he'd known how many thinkpieces he would spawn with 'why does mario go-karting with Bowser when they're enemies?'. For my part, I favor the idea that the other games are in-universe fictions they're actors on and this is their actual dynamic, or that Mario is a relaxed dude who doesn't mind playing kart games with his foe. (I mean, he's not Ridley. Bowser's easy enough to get along with.) Animal Crossing: Again, I have to emphasize that I've never actually played this game, at least on a consistent basis (and by that, I mean I MIGHT have played it on the Gamecube, once, in the early 2000s), and have to speak from what I've seen of what it sparked. And I really do like the way it really codified the sub-genre of relaxed, open-ended games where the player is free to do as they like, without much stress or fear, which is something I think more games could stand to do. On my personal list of features that my ideal video game would have, Animal Crossing would definitely offer a few ideas. I am reminded of farming simulators, such as Harvest Moon or Stardew Valley; while they are different beasts entirely, there's a familiar sense of non-combat relaxation that's pleasant to see. Spacewar!: This machine is GODDAMN old, and like an old fogey predating modern humans, it deserves our respect. It's so old, it predates Pong. Supposedly created as part of predictative Cold War models, with an emphasis on emulating sci fi dogfights, producing a game that soon proved popular, for over a decade remainign the most popular game on computer systems, and a clumsy foray into arcade gaming (that didn't pan out, unfortunately) led to the creation of Pong by its creator, which is another story all its own! And Pong is directly responsible for the idea of the video game itself; this game launched the entire video game industry as we understand it! No small feat, indeed. ----

B RANKED Sonic The Hedgehog: I must state that I DO like this game, though not as much as later entires like Sonic 3 and Knuckles, or the Sonic Adventure series; the fast paced action seems a bit hobbled by the traps and need to be careful of surroundings, which would seem to run counter towards the whole idea of GOTTA GO FAST, y'know? But the game presents an interesting viewpoint on the nature of mascot gaming; created specifically, so it is said, as a rival to Mario, Sonic was designed as a mascot with attitude, and inspired a host of imitators; he's probably the only one to escape the 90s more or less intact, and this may have something to say about his flexibility, star power, and also the fact that he's a pretty mild character, all things considered. This game certainly has its place in gaming history, giving an important place in the console wars of yesteryear. Believe me, I was a kid in the 90s, Sonic was a HUGE deal. Space Invaders: This game is noted to have catapulted games into prominence by making them household, something outside of arcades, and it shows! An interesting detail of note is that supposedly, the Space Invaders were meant to all move at high speed, but this was either too hard to play against, or too costly on the processor; it was found that by making them speed up as they were defeated, it created an interesting set of challenge. You have to appreciate game history like that. In general, its success prompted Japanese companies to join the market, which would eventually produce what I imagine was a thriving, competitive market that would eventually get us Nintendo and it's own gamechangers down the road. Grant Theft Auto 3: I'm going to be honest with you. I don't much care for this sort of game. The Saints Row series, with its fundamental wackiness, is the kind of game I really DO like if I'm going for something like this, and GTA sort of leaning towards the 'cruel for fun and profit' gameplay is really unappealing for me. However, I'd be remiss if I didn't address this game, and what seems to come up is two things: the game's sheer freedom in its open world (which certainly pushed the bar for games of that nature, and has made it a byword for gamers screwing around in a game just to see what ridiculous things they could or couldn't do) and the infamous reputation from the mature aspects of the game. Personally, I'm not much for this game's take on maturity (if I wanted to discuss a game of that nature, I'd suggest, say, Spec Ops: The Line) but I really do appreciate what this game and its series did for the open world genre, and the sheer possibilities presented for letting you do what you wanted. King's Quest: I've never played this game, but I am a HUGE fan of the point and click genre (also known generally as the adventure game genre) that it spawned; without this game, there's no Monkey Island, no Sam and Max, no The Dig or Full Throttle, or Gabriel Knight. This game was similar to previous text-based games, with a text parser to input commands, but with the distinction of a graphical interface to move their character around, which would be the seed of later games such as the SCUMM engine of Monkey Island and other Lucasarts games (which, to me, ARE Adventure Gaming). The puzzles, comedic sensibilities, and interface innovations originated with this game, and codified those later adventure games i love so much. Starcraft: This is another one those list of 'games I should have already played by now'. I'm not much of an RTS person, barring forays with games such as Impossible Creatures, Warhammer 40k: Dawn of War, and more strange entries such as Brutal Legend, and I contend that the combat aspects of 4X games like Civilization DO count on some level; the specifics of troop movement and unit strengths/weaknesses are a bit beyond me, when you get to more complex stuff. Starcraft, reading between the lines, really introduced the idea of multiplayer culture especially for RTS, pioneered the Battle(dot)net system (which I mostly recall from Diablo, if I'm being honest!) as well as the idea of relative strengths and powers for individual factions so that they became characters in their own right. It's still a very popular online game, and that says SOMETHING. Also, I tend to use zerg rushes, so I would probably play Zerg. Probably. (There is much speculation on whether or not, like Warcraft being a failed Warhammer Fantasy game, if the same holds true for Starcraft and Warhammer 40k. I lean on the side of 'probably not'; the differences are too notable. The Zerg and Tyranids have some similarties, but that's probably because they're based on the same broad hive mind evil insect aggressor trope, and they have enough differences from there to be very distinct from one another. It's not like how OG Warcraft's orcs were very obviously warhammer orcs with less football hooliganism.) Bejeweled: This is a firm case of a game that I don't play, but I really have to respect its influence on gaming as a whole. Apparently it started as a match three-type game with a simplistic formula that proved wildly popular (perhaps making a point that simpler can be more effective, in game mechanics), with a truly explosive record of downloads; over 500 million, it seems. Thus its fair to say that this game set the precedent for casual games, which have become THE market. Regardless of your feelings on that genre, this one was a real game changer. (Pun intended, absolutely.) ----

C RANK Pong: "By most measures of popular impact, Pong launched the video game industry." This line alone saws it all, I think. It wasn't the first video game, but it was one of the more early ones, and its the one that really made video games and consoles successful, gaining widespread attention from the mainstream audience, as well as getting Atari recognition (for better or for worse, but perhaps that was just a development of being on top, so to speak; maye the console wars at least kept the big three honest). It also started the arcade revolution of games, and this humble game is essentially responsible for the entire state of video games as a concept, as we know it today. Halo: No disrespect to Halo, but it's just a game series I've never quite been able to get into. Those games are very hit and miss for me; games like Call of Duty, Battlefield, Gears of War and everything like that are just... hard for me to get into. It takes something specific like Borderlands or the Besthesda Fallout series, or something else, for me to get hooked, and Halo just doesn't do it for me! Nevertheless, I would be QUITE remiss if I simply dismissed it, and there's reasons for it to be inducted into the hall of fame barely three years into the hall of fame making inductees. Firstly, it was Microsoft's big entry into the console wars, and it must be said this was a MASSIVE upset and a completely unprecedented shift in the assumptions of the console wars back then; NO ONE expected microsoft to actually do this, let alone redefine gaming out of Sony and Nintendo's favor like that. At the time, PCs dominated FPS games, and Halo showed that consoles could do it just fine. It must also be said that it has a very intricate and complex system of lore, backstory and material that was quite distinctive for a new setting back in the day, and while I've seen people object to it's gameplay, I suspect that its with the benefit of hindsight; Halo offered an extremely unusual degree of freedom in achieving the goals set out for you. (Cortana also didn't deserve getting her name slapped onto that search assistant that eats up all your RAM.) Where In The World Is Carmen San Diego: Surprisignly enough, based on the article, this game was NOT an adaptation, but the source material of this character. This is where the fancy, mystery lady in the red coat started! Evidently this game was originally an edutainment game with a cops and robbers theme, and inspired by Colossal Cave Adventure from higher up on the list, and one must appreciate the effort that went into it. This one is ranked low, mostly because it didn't seem TOO notable to me. Honestly I'm surprised this is where Carmen Sandiego started. (And that she doesn't get enough credit as an iconic theatrical villain who won't go a step too far, but that's another rant.) -

D LIST

Here we are. The D LIST. The bottom of the sorting pile; the lowest of them all, the... well, the ones that I honestly don't necessarily dislike, but couldn't place higher for reasons of notability, personal interest, or perceived impact on the history of gaming. John Madden Football: Sports games, as a whole, really do NOT do it for me. I don't like real like sports at ALL (with, as a kid, a brief interest in boxing and that was just because they had gloves like Knuckles from Sonic the Hedgehog) so its hard for me to say that I find the history of this one all that compelling. Even so, there's some interesting elements in how this game was a sequel to a previous failed attempt, with a bold new attempt at a more arcade-style action game with a more dramatic take on the players, who would in turn be rated in different skill sets. The Madden series is STILL going so... it worked out pretty well, I'd say. (FUCKIN EA WAS BEHIND THIS ONE??? wow, EA is older than I thought.) Microsoft Flight Simulator: It's honestly a bit painful sorting this one so low, since I had many happy times as a wee Johnny playing this game back in the old days. I mean the OLD, old days. This was like, the days when Usenet was the preferred way for people to talk online. (Not me, though. I didn't talk to people, then. I was even less social than I am now, which is saying something!) All the same, I suppose that it was important to not crowd too many entries in a specific folder, and statistically, something had to keep getting knocked down, and in the end, I couldn't honestly say I still enjoyed this one enough to place it higher. Still, credit must be given where it is due; this game stands out for being an early foray into simulator gaming, showing a realistic depiction of actual flight. It has apparently been updated and rereleased many times since, which is impressive! Tetris: I like puzzles. So it might be surprising to hear this seminal game ranked so low; firstly, I like different KINDS of puzzles (like weird ones where you have to fling your sense of logic to the moon and back, or make use of gaming mechanics) and honestly this game is kind of stressful for me. You gotta keep an eye on a lot of different things flying around all at once, and constantly move things around, and that kind of attention and quick thinking does NOT come easily to me. All the same, I really have to admire how it was born from it's creator's pleasure in solving mathematical puzzles about sorting shapes into boxes, in a manner strangely remniscient of Satoshi's bug collecting that became Pokemon. Certainly the game's simplicity has proven a universally appealing thing, and may say something about the value of keeping it simple. Microsoft Solitaire: This game apparently became pay-to-get some time ago in recent computer generations, and let me tell, you, it was genuinely depressing to find that out. I remember younger decades, from the 90s and on, when this game was a regular and free feature in Windows computers fir MANY years. You got a computer, this game was on here. I was a kid, and i remember watching my mom play this game and makign the cards go WHOOP WHOPP all over the place and marveling, because I couldn't ever do the same thing. (A related note: I am terrible at this game. Go figure!) Of note, this game was massively widespread, and just EVERYWHERE, and I think everyone who ever played a computer back in those days instantly remembers it in some way. It was just... ubiquitous. Centipede: Oh, ol' Centipede. I don't mean to be mean to you. But between the likes of Pokemon and Super Mario Bros, even the arcade Donkey Kong, someone had to keep dropping down the leaderboard that is this tierlist, and unfortunately, there were other games that felt higher up than you. All the same, you're a very good game, and honestly, I like you more than some other games ranked higher for reasons of relevance to gaming history. Certainly more than anything else in D-listing. The colorful and appealing palette is noteworthy. That trackball controller! Amazing! (More games should use trackballs. They're fun and easy to use.) At the very least, Order of the Stick did a joke with you once, and that's better than anything I can do for you. All the same, you're a cool game.

#tier lists #video games

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kenbunshokus · 4 years

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this is a (super late) update to this fic rec post! i was planning to just keep editing and updating that post, but it’s been so old it no longer appears on tumblr search system and all, so here we are. be ready for some old school zosans in the mix

all complete

absolute favorites will be noted with a ♡

list will be updated as i find more

story count: 30 fics

last update: jan 5th 2020

CANON-VERSE

Goings On by clarify ♡

Zoro and Sanji understand each other, and sometimes have a very similar sense of humor. Even though they're worlds ahead of most, sometimes they can't help but to act their age.

easily one of my favorites. zoro and sanji are completely in character, being themselves and comfortable in each other’s spaces. for anyone who thinks zoro and sanji can’t get along in canon, this fic can easily prove them wrong.

Part Timer by 8ball ♡♡

Sanji really, really doesn't want to give Zoro a job at his restaurant. Zoro doesn't really even want to work there in the first place, but, well, there’s this thing with Sanji, and this thing with feelings and the whole thing is pretty damn stupid all together.

Zeff just wants grandkids. He’s too old for this bullshit anyways.

a wonderful, heart-wrenching, roller coaster ride of a post-series fic. this fic is not just a mere fic — it’s a zosan magnum opus with guest appearances by so many other characters, lots of crew hijinks and a must-read for everyone who craves for a happy ending for these good boys.

Say It Again by 8ball

Zoro tells Sanji how he feels. And then again. And again.

since we’re talking about 8ball i just want you to know i’d rec everything they’ve ever written, but special mention to say it again — a classic miscommunication trope fic done well where the miscommunication stems from fundamental misunderstanding of each other’s principles and views instead of just some plot-convenient coincidences. and soft zoro. god, he is soft.

The Wedding Night by cuethe-pulse (lj)

Zoro had never expected any of this.

major character death warning. don’t let the first few scenes fool you. note the warning; the last few lines were like a punch in the gut for me, except, you know, the good kind of punch. also, a quick rec of a drabble by the same author to soothe the pain after this one.

Roronoa Zoro: World’s Greatest Bug Killer by insaneidiot ♡

Sometimes, Zoro's life really sucks. He should've known better than to make fun of Sanji's bug phobia, though...

zoro’s internal monologue is hilarious — until today, this author is still my go-to expert on zoro’s voice, especially his more sarcastic side.

Quitting’s Easy by insaneidiot

Sanji decides to quit smoking. This is not quite so easy as he thinks it will be. Also, his crewmates (excluding Robin and Nami, of course!) are assholes.

fun, fun strawhat hijinks and oblivious sanji. the crew dynamics and especially sanji’s voice are pitch perfect. there’s a hint of luffy/nami that you can easily scroll past if it’s not your thing.

I can’t stop thinking that i can’t stop thinking by hieiandshino ♡

In which Brook changes tactics and Zoro is not amused. Everyone else is, though.

holy shit is this fic hilarious. i love comedy fics that manage to slip in thoughtful observations and character study in between the hijinks, and this fic pulls that off with flying colors.

The Walls See All by threesipsmore

Reiju hides a snail cam in her brother's room.

fun short fic from reiju’s pov. there’s never enough zosan set in whole cake island arc and this fic delivers.

Stormbird by Judin ♡

The Straw Hats' first landing in the New World is on Arashi Island, where it looks like they'll be spending a fun week attending the local festival and making new friends. Until they spot a strange pirate ship in the harbour, and Sanji starts behaving oddly. The Straw Hats become entangled with the mysterious Gently Pirates, a crew that harbour many secrets, and whose captain is a man out of Sanji's past who has the power to tear the Straw Hat crew apart.

it cannot be overstated how wonderful this fic is, and how it could’ve fit into the canon just nicely, like a better-written one piece movie, except with zosan. not only are sanji and zoro in character, every strawhat gets a spotlight and has pitch-perfect voices. brook is especially lovely in this fic.

Unintended Consequence by itsmylifekay

A group of marines charge, Zoro slices through them, and in that instant Sanji feels his own eyes grow wide. Because there, on the arm now outstretched towards him, steel glinting in hand, is the stupid bracelet he’d given Zoro. The bastard is actually wearing it.

there’s a reason this is the most kudo-ed zosan fic on ao3 right now — it’s so soft without being ooc, and there’s a quiet undercurrent of affection laid throughout the fic that will warm you up from the insides.

Somewhere Between Sorrow and Bliss by srididdledeedee

Sanji has never cared for winter.

He can see himself, is the thing. There are bits and pieces that poke through, but it’s not all him. It’s like staring in a fractured mirror. He knows, intellectually, that the person staring back at him is himself, but his face is splintered and his shape is distorted and his body is wrong.

a fantastic character study on trans!sanji and how he comes to terms with his identity with the help of his crewmates. supportive strawhats are always a lovely addition to a zosan fic

Give In To Love by libbylune

Zoro knows better than to think about it too much, but between the rowdy festivals and ancient unexplained temples on this island, it's hard to forget about wanting Sanji.

i love how this fic puts as much focus on the boys after the confession as it does before the confession. a good case fic with its own unique island adventure and i’m always a sucker for soft!zoro

Laundry by libbylune

Dealing with Sanji makes Zoro develop a lot of opinions about clothes.

there’s absolutely nothing hotter than bi!sanji who’s completely comfortable with his gender identity and sexuality. also gay disaster zoro fumbling his words whenever sanji is around is 1) accurate 2) hilarious.

Language of Swords by HaveMyWeedCookies ♡

It took them for a while but finally, Zoro asked if Sanji wanted to hold his sword.

i love fics that explore zoro’s relationship with his craft and his swords, and adding zosan into the mix is something i didn’t know i needed. an interesting outsiders pov zosan in the pov of zoro’s swords.

Ghost of a Chance by sabershadowkat

“I know, for sure, that I didn’t expect to miss everyone so much, including you.” Sanji cut a glance at Zoro and rephrased correctly, “Especially you.”

this fic handles tropes that are usually associated with character death fics, but manages to end it with a happy ending. zoro’s devotion here is heart-wrenching.

Idiot Romance by sabershadowkat

"This has to be a joke," Sanji muttered, poking at the colored petals. Zoro couldn't have just given him flowers.

a classic — this is literally the first zosan fic i’ve ever read — and a lovely one at that. sanji is oblivious and zoro attempts romance, not that zoro ever needed to.

festival night by thisislegit

“ANOTHER FEAT BY THE WORLD’S STRONGEST MAN, JORIRI.” The woman turned to Mr. Mohawk and with faux sympathy said, “Oh! Sorry, sir. Maybe next time. We can’t always beat the best, but we can do our best and that’s what matters. Do we have any other takers? ANY OTHER TAKERS READY FOR THE STRONG MAN CHALLENGE? HOW ABOUT YOU SIR? MADAM? YOU OVER THERE? ARE YOU INTERESTED?”

“What kind of shit name is Joriri,” said Zoro and Sanji in unison.

i’m an absolute sucker for fics that have zoro and sanji simply hanging out and enjoying each other’s company, comfortable in a way they couldn’t with their other crewmates, and this fic exemplifies that. just them being little shits and having fun with one another.

No Victory in Hesitation & the Past Has Its Lessons by EudaimonErisornae & vageege

Zoro has a lot of things he wants to say to Sanji, but he just needs one more day. || Zoro tries to fix a mistake he made in the past.

major character death warning. i died a little bit inside after reading this tbh. there are some devil fruits-explained time travel hijinks, but mostly it’s this looming, grim inevitability of death that’s written so pervasively throughout the fic that really got me.

Imperatives by dollcewrites

Zoro is confident in saying that Sanji is a man who doesn’t do what he’s told. Which is why, when a command accidentally slips from Zoro’s lips during foreplay, he is expecting to hear the cook’s scoff as he continues to do what he pleases.

i don’t tend to do pwp, but this isn’t just one — it’s a completely in-character piece about their relationship and dynamics.

when you say by bluewalk ♡

It's a long time in coming. Usopp can promise, but.

this fic is as much sanuso as it is zosan, and usopp here is — still very much usopp, but also a very beautiful take on his character as someone who spent a lot of time behind sanji’s back, and realizes that when he watches sanji’s back, he gets to see zoro’s, too.

a complete guide to falling in love by ThousandSunny

Sanji was trained in the Bridal Arts; this does not go unnoticed by the rest of his crew.

while the main ship is still zosan, the fic also focuses a lot on zoro and sanji’s relationship with the rest of the crew, and it’s one of those fics that really makes you realize how much of a family the strawhats is. a lovely read all around.

destructivity is a poison that run through our veins by wasteofmind

Zoro thinks that, someday, they are going to kill each other.

a dysfunctional take of their relationship. it’s fascinating in the same way a car crash is fascinating — there’s an undercurrent of something violent, something visceral. this is one of the fics that inspired me to write migratory animals.

ALTERNATE UNIVERSE

Ocean’s Child by 8ball ♡

Here's the truth: Zoro couldn't swim. He fell in the water and sank like a stone because there had never been anyone to teach him how to move his arms. He forgot that if he screamed for help the water would get in his mouth, and he even opening his eyes hurt.

Here’s the other truth, the one that stays a secret: a mermaid saved him.

a fascinating retelling of the one piece canon with mermaid!sanji. it feels a lot like a love letter to the seas, and it’s mesmerizing how sanji’s mermaid backstory is seamlessly weaved into the one piece canon.

with you by Cirro

How to find your life partner in three easy steps: 1. Punch them in the face 2. Insult their cognitive abilities 3. Embarrass them so much they agree to marry you

a wholesome two-part modern au series. my personal favorite is the second part, where sanji brings zoro home to meet zeff — complete with the two of them teasing sanji in their own ways.

The Proper Reaction (or What To Do When Your Son Brings His Boyfriend Home by three_days_late

Holidays at the Baratie were always hectic, but it's nothing Zeff can't handle. Sanji's new boyfriend, on the other hand...

on the topic of meet-the-family: the only thing more fun than zoro meeting zeff is zoro meeting zeff and the entirety of baratie staff. also includes one of my favorite line about bi!sanji: “sanji loves nice girls and bad boys”.

Exclusive by cuethe-pulse

Zoro loves Sanji, Sanji loves Zoro. Zoro wants to be exclusive, so Sanji should, too. Right?

this is a circus/bakery au. yes, you read that right, and yes, it works. i went into this fic with a lot of doubts and came out very satisfied with how fleshed out everyone in this au is, and i’m forever in awe with how the author can set up an entirely separate, vivid universe with so few words.

Delivery by styx_in_the_mud

Sanji is stuck delivering pizzas when Patty is out of commission for a while. Zoro likes to order pizza after training. Both of them are sort of idiots, but Zoro can be smooth as fuck if he puts his mind to it.

a fun, in-character au with good ol’ banter and cute get-together.

The End of It All by xpiester333xx

Humans have been forced underground due to the effects of a chemical weapon that has made surface life impossible. Sanji lives in one of these underground colonies and though he dreams of bigger things his life has been mundane; spent following strict rules and obeying higher commands. Or it was, until a stranger shows up and changes everything.

the author labelled it as sci-fi au, but I personally think it’s more dystopian-like? either way, while this fic is on the long side, it manages to keep everyone in character until the very end, which is something that can’t be said for a lot of fics.

well, there we go! feel free to drop me an ask if you want to rec me fics or ask for a more specific/themed rec list; i’ll also update this post regularly !!

i also have an ao3 donutsandcoffee if you want to see my take on these dorks o/

#opgraphics #zosan #roronoa zoro #sanji #opfanfic #one piece #fic rec #mine*#mine: fic rec #//#zoro #op

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