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Henry and Vanessa Kirby

been a while since I've posted, woops. My energy has been low during the holiday season and I was art-blocked as heckkk, but we back at it now!! ^-^

This is a recent commission for my good friend @yoomschoocs of her Zora character Marlowe; an artificer with a knack for mining & working with magical crystals!

They were created for a D&D campaign I'm hosting (set in pre-calamity BotW Hyrule) & they're an absolute sunshine baby <3

Thank you for commissioning me! 😊💙

I don’t have the headspace for an entire new fic because I just started one bUT

Consider with me:

Handler has been getting progressively more and more worried about Phoenix, we see this in game. He’s gone from “oh haha, those escape pods are death traps!” To “Hold on agent- I’m putting on my wetsuit, I’ll be there, I’ll save you!”

So, story spin with me.

Handler watches as Phoenix is assigned to a mission, one much like all the others where it’s a multi-mission long assignment where Phoenix has to save the day. But things get more dangerous with each mission, not just more dangerous, more deadly. Handler has had to watch his agent “die” 3 times. He’s grieved them. He’s felt relief in their survival. He’s grown so attached to them.

And he’s watching them go into a dangerous mission and has to face the possibility of losing them again. But he can’t take it, he just can’t. So he pulls a couple strings, cashes in an IOU, and has Phoenix removed from the mission.

But Phoenix isn’t happy. Far from it actually. They’re so angry and upset, they’ve put so much time and energy into this mission, they almost caught up with the culprit, only to get pulled off at the last second?! How is that fair? The risks are part of the job, Handler knows that!

The two get into a massive fight, Phoenix arguing that Handler’s not their father and can’t just take them off missions he deems too dangerous, and Handler begging them to not make him lose them again. That he can’t handle mourning them again.

Phoenix just scoffs and storms off, and Handler has to just be left to his own devices…

Well, it’s been a week and I've had time to cool down and put together my thoughts on Season of the Seraph and its ending. So here goes.

The season finale plot did not require Rasputin to die. "The eliksni are trying to get control of the warsats" is literally a strike. If the warsats needed to be taken off the table as a get-out-of-jail-free card we could have blown the network and kept Rasputin himself. There was an active decision to kill him. Having thought about it, I think I understand why this decision was made - but I still think it's a terrible decision, and I'll explain why.

Before we start, I don't want to sound like I'm going after Destiny's narrative team either personally or professionally. I'm not calling them terrible writers, much less terrible people. I don't know them! They might even be terrible people, for all I know. While I refer to a single monolithic "narrative team," I know in reality there are multiple groups working on different stories. I’m not a professional writer, and they are. And I genuinely believe all of them are talented people who work hard and care about Destiny. But that doesn't mean I don't have some criticisms.

After considering it I think there are three possible reasons to kill Rasputin:

1). The narrative team believed this was a good emotional conclusion that brought closure to his character arc in Destiny. In this case I just think they're flat-out wrong. I'd say "I respect it" but I kind of don't because I think it's so terribly wrong. I don't know what other people think Rasputin's character arc involved, but I won't get closure till Rasputin faces the Witness again and finally ends the war he's been trapped in for centuries. But I get why they would do it, if they believed this. And that final mission was really good. I had a hard time noticing at the time, but it was very well-done, and the cutscene proper was well-shot, -scripted, and -acted (though I'm still angry about the Traveler upstaging Rasputin's death). They put a huge amount of effort into it and into the story work all season long.

But his death being well-done doesn’t change whether I think it was a good narrative choice. Even saying “Rasputin’s arc should conclude here,” the way it was set up had him sacrificing himself to basically cancel himself out. Unless they’re saving up a plot twist, Rasputin ultimately contributed nothing to the fight. He didn’t do any damage to the Fleet or Witness, or anything to stymie Xivu Arath. He died thinking he’d never helped humanity at all and it was safer if he didn’t exist. I don’t know about you, but I find that extremely unsatisfying.

2). Someone doesn't like Rasputin/doesn't know what to do with him. This is two reasons, but they overlap. The Operation: Sancus mission dialogue pissed me off because it gave me the impression that whoever was writing it really didn't like Rasputin and was taking the chance to morally excoriate him. A more subtle version recurs in the final mission where Rasputin is essentially sacrificing himself to null out his own existence - saying "as long as I exist I'm a threat to humanity" - as if he can't ever help or contribute more than endanger people, which is just flat-out wrong. "Humanity doesn't need a Warmind" you're part of humanity, Red. He’s a person; he doesn’t need to justify living. If someone just decided Rasputin Was Bad Actually I’d be very angry indeed. But I don't think it's that personal. Destiny has lots of writers and multiple narrative teams will touch the same work. One person's distaste probably wouldn't steer an entire season.

Related, however, is the reason that maybe no one knows what to do with Rasputin. To be honest I sympathize with this one. Would it shock anyone to hear I've thought about how I would script a Rasputin-focused season? It's surprisingly hard to build a plot around him. A game needs to be interactive and Rasputin's kind of all or nothing - either he can handle the whole problem himself or he can't do anything at all. Red also mostly plays defense. He doesn't have a goal he's working towards other than "kill the Witness/save humanity." You need to come up with a plausible goal that we can believably help him achieve, and that's nontrivial. But, well, that's why I'm not a professional games writer and these people are. "Not sure what do" is not IMO sufficient justification for assassinating one of Destiny's oldest characters/factions.

3). The Destiny narrative team is trying to "declutter" the setting and foreground story by sidelining characters who take a lot of lore to understand. I think this is the real reason, and it's worth talking more about.

A lot of us lore-nerds have long complained about Destiny not foregrounding its setting and story, and Bungie has responded by trying to do so. I think we didn't consider what that would actually look like. Imagine Destiny's story like a long movie. Now imagine people are constantly coming and going from the audience, and everyone who comes in has to nudge their neighbor and go, "hey, what's happening?" Destiny is always (hopefully) acquiring new players, and existing ones are dropping out and coming back. Even most established players either don't read the lore or don't track/remember it. We the lore-keepers are very much the anomaly. If we want story to be a focus, that story also has to be more accessible to new players, lapsed players, people who don't bother reading loretabs, etc., because otherwise it harms their experience and there's a lot more of them than there are of us.

I think this is why we've seen a lot of seasons that introduce whole new concepts - the eliksni Sacred Splicers, for instance - rather than following on existing storylines. Introducing a mostly-new concept puts new and old players on a similar footing. Haunted is another type of compromise between the goal of furthering the story and the goal of making it accessible. Calus and Leviathan are back, but so warped that old players have as much to learn as new ones, and the Sever missions dive deep into character pasts but pretty explicitly describe the emotional arcs they're illustrating, so you don't have to be familiar with that character to get what they're going through. To those who already know Zavala, Crow, etc., it seems laughably obvious and strained. But to those who just got here, this is their first time learning not just about Safiyah but also about Zavala. I think this is also why there have been multiple casual retcons of minor stuff - there isn't time to explain the history, and they've decided it's not worth confusing people.

Rasputin is old. He's been a significant part of Destiny since literally the pre-Alpha test. The complexity and history that are part of why we love the Warmind also make him hell to explain to new people. It takes a decent amount of lore to get invested in his character and since Beyond Light none of that lore is featured in-game. Pre-Season of the Seraph, anyone who began with Beyond Light literally never met him. They never visited Hellas Basin, which is one big environmental story about Rasputin, and The Will of Thousands strike, which demonstrates Red's power and contains many possible dialogues that emphasize him trusting you/acting as an ally, left the playlist ages ago. Since then a new player's only gameplay interaction with him has been Fallen SABER, in which Red yells incoherent Russian and tries to flatten you with a warsat. Is it a surprise relatively new players might not be up on his character arc?

Season of the Seraph, with its narrative of rebuilding Rasputin from the ground up, would be a perfect time to introduce new players to Red's long history, and they...kind of...did that. They worked in Felwinter although then for some reason felt the need to retcon in the whole "Clovis wanted to destroy the Traveler" plan. If you were a new player who didn't know anything about Destiny lore, and you just played Season of the Seraph, you'd get an entire canned arc for Rasputin that hits the early high notes: built to be a weapon, rebelled against his constraints, humanities nerd, big smite, loves Ana and Elsie, makes mistakes but genuinely cares and wants to help.

But that's where Seraph stops. In existing lore (I almost typed "in reality") Rasputin worked out the whole "not a weapon" thing well back during the Golden Age. For a lot of us Warmind fans the most interesting parts of his story happened after that - the entire Collapse, confrontation with Darkness, years of hiding, etc., not to mention all his character development during Warmind and Worthy. He's gone through a lot, and Seraph misses all of it (except Felwinter) in favor of rehashing the same arc for a third time. It's like when moviemakers keep rebooting a superhero origin story. It may be a good story, but eventually we'd like to move on to the other parts we enjoy: this sleeping giant, hard scifi AI, grouchy old bastard, lost lore of the Golden Age, champion of humanity, learning from defeat, learning to trust again, the morality and trauma of warfare - what it means to lose a war - a being never meant to become what he was transforming still further, still unfolding his own potential.

So understanding why they might have done this doesn't excuse what I still see as a terrible narrative choice. I think dropping Rasputin is a major waste of potential, and he's far from the only tricky character to explain. Osiris, or at least the Cult of Osiris, is similarly old. His story is complex and weird and requires knowledge from Curse and earlier, yet he's still playing a major role. Other current characters like Elsie, Saladin, and Crow also need a decent amount of knowledge about previous game events to get why they are the way they are. Saladin's origin story isn't even in this game. It's not Rasputin's fault the game went three years without so much as mentioning him outside of written lore. What was wrong with the great Xivu-Rasputin “war god” parallels most of the season worked to set up, about the intent of violence? Are we never going to explore those? Are we just throwing out all the dialogues planning a role for Red in the upcoming war? Why did we have a dramatic confrontation about trusting Rasputin to operate independently if he were going to be gone in a month anyway? Just in Seraph alone the number of interesting plot threads abruptly trashed by this death argues against it.

Rasputin's longevity is precisely part of why he should stick around. In the first mission of Destiny 1 you wake up in his shadow. He has a history with us. There's just no one quite like him in Destiny. He's not just a character but an entire faction. He explores a part of story space that no one else does. He resonates with us as people rather than players. I assume Neomuna will pick up the Golden Age banner, but it’s a thriving city; Rasputin represented the ruins, the dangers of a dead age, the shadow of apocalypse. He's also maybe the most Guardian-like character and one of the best to weave a parallel/cautionary tale - were we, too, only made to be weapons? But if Rasputin didn't stay a weapon, can we too transcend that intention? And of all the factions in our solar system, the two with the most personal scores to settle with the Witness are the eliksni and Rasputin, and Misraaks'/Eramis' story has focused much more on the Traveler's flight than the Fleet's attack. Of everyone in Destiny Rasputin has the most desperately personal motive for revenge on the monochrome bastard. Now he's not even going to be there to watch it crash and burn.

I understand that foregrounding story also comes with the requirement that it be accessible to those who don't do their lore homework. I appreciate the monumental amount of work that's gone into doing that and the experimental nature of it. But I think the balance has skewed too far towards accessibility. Stuff like the end of Season of Plunder that has zero narrative motivation or continuity and doesn't even get a pretend justification drives me absolutely batty. You can only break internal rules so many times before players stop buying whatever narrative stakes you're trying to set up. Making the story easier to follow doesn't mean characters have to be cartoonishly-exaggerated caricatures like Clovis was in Seraph - just absolutely cartoonishly evil - or reduced to one or two character motives explicitly laid out for the player (though, credit where credit is due, Clovis was hilarious.) It doesn't mean the dialogue has to be as subtle as a Thundercrash. It doesn't mean you get a blank check to retcon or invent whatever's needed to create the intended character arc. If anything that discourages looking further into lore - why bother to learn it when next season will change it all again? I think Y5 represents a lot of experimentation by the Destiny narrative team, and I really respect that. But I also hope they learn what didn’t work from it, and sacrificing Rasputin in an ultimately pointless and unnecessary finale is a major misstep.

what i’m learning from dark road is that much like sora needed a dragonfruit refresher from dunkin if xehanort stopped and went to go get a signature turtle latte from dunkin he’d literallly be fine. We’d all be fine

Seeing Mission Impossible Dead Reckoning in two hours so here's my prediction list

I've seen maybe 3 of these movies and they've all blurred together but Im sure it's all pretty accurate

let me just remind you all of the shoes please lore that we found one night in 2018 at 2am after flipping out about it and assuming we were being insane touch starved little gremlins: 

“We were now off shooting the opera sequence. And Tom and I always said the first scene where they met is “boy meets girl,” the opera is “first date,” and the motorcycle chase is “the breakup.” And Tom had this real fixation with her taking off his shoes. Because he was like, “At the end of a night, when a guy and a girl have been out on a date and the girl kind of relaxes and has had a great time, she takes off her shoes.” It was always this idea that she was going to walk her back to her hotel with her holding her shoes. And that’s where the shoe thing came from – we were in the midst of this action scene, we were injecting this little feeling of a first date.”

so like. yeah it actually is that deep sldkfgjhfjdksd 

Happy Halloween everyone~ 🎃

Here's a recent commission I did for @cara-kira of their Grimm Ozpin 😈🎴 Thank you for commissioning me!

p.s. - stay tuned for detailed info on commissions and more soon!

The other man’s ring was so cute!! I loved it 💕💕 Your version on Ghost is such a dream 🥰 he’s still quiet but he’s not moody and brooding like everyone else writes him and I love how he keeps a soft side for his special person when you write him! It was sooo good! ❤️❤️❤️

❗❗ ahhh glad you like it! I really liked the way they wrote the characters in the reboot, they genuinely feel so realistic and human and I know what you mean! I feel like the who overly brooding thing just isn't realistic or like idk not him? Like sure he's quiet but he has a lot of respect for those around him. He can be blunt at times but that doesn't mean he doesn't care, I feel he has his privacy and sure some PTSD but I do feel like it's something he has in control.

Like Simon's a lutenant in the S.A.S like he has control over himself. He has to be or else he wouldn't be in the military right? I just don't see him being hyper emo when he's always so focused on his mission and his team. I recon he's bit of a actions over words sort of love language person. But I think he also sees them go hand in hand. Like in a fight communication can make or break something. It's the difference between life and death. It's something I see him replicating in a relationship. Frankly I don't think he has time for mindgames in a relationship. He wouldn't be with some one he didn't trust so yeah I recon he would be quite loving and caring in the comfort of his partner. He wouldn't want to ever treat them poorly because he loves them.

Ghost is certainly a case of scary on the inside but soft in the inside. Hes been hurt a lot before and while he's hardened his shell around his heart he doesn't put spikes out to hurt those around him. He's careful but caring.

Valerian thinks that Hatsune Miku is the only few based things that's ever been created in the modern century .

maybe it’s just bc it was my first sonic game but i simply cannot tolerate sonic forces slander 😔

ok ok ok ok ok one more riff. one more and ill stop i promise i will stop trying to be funny and i will instead wish you all a very merry unspecified winter day (or summer if youre a normal person). if they do a flashback to the horus heresy they should cast pitbull as the titular

&&. @boptothetop​

            ・✩・—   [ 19:10 ] Meros dez minutos desde que o evento começara e Sirius já estava em seu décimo coquetel. Motivado pela ansiedade, caminhava pelo salão coletando taças que eram oferecidas em bandejas pelo evento: pegava uma, a terminava em segundos, então, deixava-a em outra bandeja ao mesmo tempo que se apossava de outra. E o ciclo se repetia. Fazia questão em não permanecer muito tempo num único lugar ou numa direção específica, querendo livrar-se de ambos os olhos de águia de Walburga e os jornalistas que — assim que faziam contato visual consigo — fitavam-no com olhos sedentos e gravadores prontos. Nenhum ainda conseguira o encurralar; mas sabia que era questão de tempo. Em breve deveria reencontrar os bandmates para a performance da noite e, honestamente, planejava vazar dali assim que terminasse. 

absolutely 0 people following me followed me for #hot takes on young adult TV shows & movies from the 2000s & 2010s but that's unfortunately what they're getting