#this game fundamentally changed the way i hear stories
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How much did Yakou know?
Very long and detailed analysis of Yakou's involvement in the plot beneath the cut.
Yakou is an interesting character to me. He gets his own mildly insightful short story about his detective origins. However, I crave to think that there's gotta be more to him than just the kind of pathetic (affectionate) stressed out dad-like figure that mostly kind of nags and bosses Yuma around for the majority of the game.
Ok, it sounds like I'm ragging on him, but he does have an occasional side of him in dire situations where he shows a selfless loyalty and trust in his team that proves he takes his leadership position seriously, even if he does really rock the irresponsible mess look. And he gets to be cool in his own chapter for a minute.
But there is a moment that sticks out to me, especially in hindsight after finishing the game, and that's the prologue where you get your first and probably most substantial talk with him.
He says that he does not want Kanai Ward to change practically within the same breath where he explains how terribly he's treated as a detective in this horrendously corrupt murder infested police state.
Although he makes it clear that he has a deep personal affection and nostalgic attachment to this city that shows a bias for why he would say this, we hear from multiple people throughout the game that Kanai Ward has not been the same in recent years as it has been in the past that Yakou has rooted his love in.
So why does he feel as if any change to the current state of Kanai Ward would disrupt the "peace and quiet" it deserves?
Unless he knows something about the city that's just so fundamentally irreparable that this is the closest to peace and quiet that it'll ever get again, and trying to fix it would only somehow destroy it.
Everything about the rooftop scene, from talking about the city, to Shinigami commenting on how ominous he feels to her, to the fact that he's the person who explains the rumor that the rain affects peoples' bodies.
Highlighted text tends to be easy to overlook, but I can't help but feel like there's some significance to his usage of "illusion in the rain". It's like he knows something that nobody else can see (and an obvious foreshadowing of how the rain is one of the main means of covering up Kanai Ward's mystery).
But this segues into the themes of his later chapter which also focuses on Vivia, who mirrors Yakou in a lot of ways, beyond just being another guy who muses on about peace and quiet.
Speaking of, a mirror is what Vivia uses as a metaphor for the benefit of blissful ignorance and the potential catastrophic dangers of the painful truth.
For the purposes of this chapter, he is explaining the type of pain and the effect on Yuma's world view that uncovering Yakou's crime will incur. It also acts as a setup for the development of Yuma's conviction that he will later need to use in the final chapter of the game. But the distorted reality the Vivia explains in the mirror does call me back to Yakou's "illusion in the rain" comment.
Vivia also explains that the truth that Yuma uncovers for truth's sake will lead to the destruction of the world. While he could be referring to the world and humanity in general, in the context of this chapter, world can mean a lot of things though, such as Yuma's innocence in the way he views the world as he knows it.
Or namely, from Makoto's point of view, it could also mean the destruction of the homunculi and the only version of the world that Makoto believes they can exist in.
Did Yakou come to a similar conclusion as Makoto based on what he found out?
Like Vivia in chapter 4, who did not want the culprit to be revealed, it seemed like Yakou had the full intention of not cooperating with investigating the Kanai Ward mystery until he was forced to by a directive from Number One. Even so, he came off as if encouraging the detectives to drag their feet on it for the sake of staying out of trouble.
But we know that he is not lazy, unmotivated, or stupid. In a world where you're competing with people who are fast-tracked into the WDO if they have literal super powers, Yakou was inducted by pure detective skill. He had definitely been spending a lot of his time laying low and investigating Kanai Ward himself, because he didn't trust the UG or the WDO if they turned their attention to the city.
Yakou already knew about the homunculus research in some way.
Even if he didn't know about everyone being a homunculus, he at least knew enough that he believed that the city itself would be shattered by the involvement of the UG and WDO.
And then we get to chapter 5 with the mindless zombie homunculi.
Except, they're not all completely mindless. As a matter of fact, I had come to notice something about all the non-aggressive homunculi: they all seemed to have some degree of awareness about Amaterasu's research.
The fake Zilch, who was one of Yomi's closest advisors and knew about all of Dr Huesca's and Yomi's activity in the lab concerning homunculus research, and was implied to be the one who killed Yakou's wife for whistleblowing. Fink, who was propositioned by Makoto himself to infiltrate the lab, and who was then killed by Makoto for 'knowing too much'. Dr Huesca, who was the head researcher for the homunculi. And the former CEO, who was the prime overseer of the research.
And then there was Yakou, who gives Yuma the video evidence of Dr Huesca's death at the hands of the homunculi as he explained the results of the experiment. The easy explanation is that Makoto planted this video on the zombie Yakou to be given to Yuma in the restricted area.
However, another thing that the non-aggressive zombies had in common is that they seemed to be stuck thinking about what seems to be their final thoughts before their death, barring the former CEO who was unusually lucid compared to all of them.
Considering this, I feel like Yakou's final thoughts were for Yuma to expose the truth about the homunculi for him, and to give him the DVD as the key evidence he needed. Whether Makoto gave Yakou this video, or if Yakou already had this video himself, his final thought before dying was to make sure Yuma got it.
I always thought it was a bit strange for Yakou to go and decide to murder Dr Huesca at the slightest provocation by Yomi, and then had this whole complicated coverup plan. If Kurumi could look into Yakou's background for only a day and come to the conclusion that Amaterasu had killed his wife for whistleblowing, then Yakou himself would've definitely already known and could've tried to kill Dr Huesca a long time ago.
I don't think the provocation was by Yomi's letter. I believe at some point, he had found out that Huesca and Yomi could possibly leak information about the homunculus research. He decided to kill Huesca as a gambit reveal Yomi's involvement with leaking research before it could get out into the public and destroy Kanai Ward, and he entrusted this truth to Yuma and the rest of his detectives. Yakou knew that the lie that they were living, the one that was keeping Kanai Ward together, wasn't going to last much longer.
This conveniently aligned with Makoto's motives to oust Yomi. Makoto, the one who also knew that Yomi would cause the lie holding Kanai Ward together to unravel, and who happened to introduce Fink to Yakou. Fink thought that Yakou did not know about Makoto orchestrating their meeting, and perhaps he was right in that Yakou didn't know that it was Makoto specifically, but maybe Makoto was the one who tipped Yakou off to Amaterasu's homunculus research possibly being leaked and may have even given Yakou the DVD.
Makoto may not have exactly manipulated Yakou. It just simply that both Yakou and Makoto similarly knew that the UG sticking their nose into Kanai Ward about the homunculus research was incredibly dangerous. Makoto simply gave Yakou the ultimatum and means to stop Yomi. The difference is that Makoto's goal was to get rid of Yomi and assume full control of the city in order to further suppress its secret, but Yakou's goal was the provide the truth to his detectives in order to fix things.
And I wrote all this BEFORE the Yakou DLC came out.
Where we find out that Yakou has had the prototype cure for homunculi the whole time. And depending on whether or not his wife here is a ghost or a hallucination, it seems like she had always known that there would be a need to regenerate the zombified brain cells of homunculi. Yakou might've been biding time not only to try and figure out how to reconcile the whole homunculus research issue without the UG destroying Kanai Ward, but maybe also for someone to finish research on this medicine.
TLDR; Yakou had always known about the homunculus research and was hiding it because he believed that the info getting leaked would cause the destruction of Kanai Ward by the hands of the UG. In the end, he figured out that the secret would not keep up for much longer, and his plot in chapter 4 wasn't for revenge, but to entrust that Yuma and the rest of his detectives would be able to uncover the truth and work out a way to save Kanai Ward.
#rain code#raincode#master detective archives: rain code#rain code spoilers#yakou furio#shiutpost#my analysis#analysis
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simplicity in design is a virtue, you cretins
i'm rereading Avery Alder & Ben Rosenbaum's Dream Askew / Dream Apart in preparation to finally do some serious editing of my game of intimacy, liberation, and faggots at sea Beneath Pirate Flags. among the billion other small things i'm reconsidering as i go over the bob/ndnm fundamentals, i'm really struck by how simple both these games are — elegant in a way i think i really failed to capture in the first public versions of bpf.
i have a theory about this, and it has to do with why i think the sprawling "always another sourcebook" approach taken by a lot of dungeons & drasprawling, commercially successful ttrpgs is fundamentally weak design — but first, here's one of them fancy 'keep reading' buttons you can click on to keep this post from being six and a half miles long.
hey, welcome back. lets get into the details:
bpf makes a critical break from the original ndnm games in the way its environmental playbooks work. mine are things like "the fort" and "the map" (see images) — individual iterations of broader concepts, much like the character playbooks ("legend", "dandy", "monkey" etc) are iterations of common pirate types. there are, almost certainly, multiple "monkeys" in one world — much as there are almost certainly multiple forts.
this contrasts with Askew / Apart's setting books — things like "varied scarcities," "society intact," and "goyishe world." these are intentionally broad environmental pressures. although "society intact" may be encountered different times in different places — with different names and different faces — it is, fundamentally, the same force.
2. this isn't necessarily a thing i want to change (although there are tweaks i'll be making to just about all the playbooks) but it is real interesting to think about how bpf got here, from a design perspective. the story is simple: bpf didn't start from playing either dream. it started with me reading wanderhome, and this design is borrowed (nearly) directly from there.
wanderhome, like bpf, has players create new environmental elements again and again over the course of a campaign — from the smallest kith to the largest citadel, you might be doing generation multiple times in a single session. wanderhome handles this by simplifying, simplifying, simplifying — a trait has one picklist, a nature two, and so the process of generation is quick and nondisruptive, and you're quickly able to create a populated world without losing yourself in any particular moment of generation.
(che, i hear you shouting, you baited us in with an inflammatory claim about d&d's bad design. get to the point already. ok. i will)
one of the things i like most about possum creek games as a whole (ha, got you again) is the way they can become sprawling without ever overwhelming players. this has been talked about a lot in advance of the yazeba's release — but it's true for wanderhome, too.
where both dream askew and dream apart have just six setting elements, wanderhome has (even if you disregard the seasons and holidays) a whopping forty-eight traits and thirty-six natures. it is — despite seeming small in the shadow of yazeba's — a sprawling game, and it's only through a tremendous efficiency and elegance in design that the whole thing doesn't come bursting apart at the seams. some of that is thanks to the ndnm token economy as a whole and some of it is good writing specific to wanderhome, but none of it is possible without an ethic that prioritizes simplicity — cutting the building blocks into their smallest fundamentals, so they can fit into something huge and, more importantly, comprehensible.
this all stands in sharp contrast to what seems to be the tendency in dice- and percentage- based games (told you i'd get there eventually), who — out of a need for a bespoke, simulationist tool for every situation, maybe — have a tendency towards appendices, supplemental books, and a proliferation of minutiae. i am talking about d&d here, although i don't think it's the worst offender — i still have nightmares about the hand-to-hand system from top secret, a game my dad only recently admitted he was "basically only pretending to understand the rules of" when he ran it for my friends and i when we were kids. i'm not saying all crunchy game design is like this — honestly, i think crunchiness is a totally different spectrum from rules-complexity — but i do think that, sometimes, in an effort to feel sprawling and more importantly substantial, games become inefficient and more or less illegible. it is hard to play d&d. it is hard to hold all those rules in your head. by comparison, dream askew, dream apart, and wanderhome can held pretty easily in your head. you could probably even reconstruct some of the playbooks from the design fundamentals (act weak = gain token, act strong = spend token, evocative picklist). the most important thing about these games is that the rules are evocative and they let you stay in the fun part of play for as long as possible, interrupted as little as possible.
let me make this totally clear: the fun part of a game can absolutely be tallying numbers and consulting armor ratings, but i don't think that's the reason some of these games get so big. the real answer is: cutting shit is hard! eliminating systems is hard! saying "this is not helpful, let it go" is really tough, especially when you're left with a design document that was shorter (and by extension, whispers the awful voice in the back of your head, worth less) than you were expecting. still, it's important to remember: 'good system design' is not the same thing as 'filling as many pages as possible.', even if that's hard to accept in an industry that feels like it has to be prices and paid by the page.
how does all this affect beneath pirate flags? well, that's simple — pretty quickly in my recent playtesting, i realized that pausing mid-session to create new maps, forts, ships, and so on sucks ass. it's fun to brainstorm with friends, but the environmental generation throws off the pacing of sessions in a way the wanderhome kith stuff just doesn't. why? there's too much shit in my environmental playbooks! wanderhome has two picklists per nature and one per trait. askew & apart have just one per setting element — and you only have to do it once per campaign. beneath pirate flags has five. five! it sucks! and cutting out that unecessary shit — even if i do want to straddle the middleground between dream askew & dream apart's simplicity and wanderhome's sprawling growth — is going to be the hard first step on the long road to getting this game where it ought to be.
#ttrpg#ttrpg design#wanderhome#dream askew#dream apart#beneath pirate flags#gay pirates#rant aside i am really eager to get back to working on this game#it has such good bones but its gonna be a long road to being done with it#no dice no masters#belonging outside belonging
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I have finally read I Have No Mouth And I Must Scream and now I have ~thoughts~. Long post beneath the cut so be warned!!
Plus general IHNMAIMS warnings. You know.
So first, I’ve only read the short story and listened to the radio drama. Both are absolutely amazing and I’m rotating them in my mind at high speeds. I’m honestly not that interested in the game? From what I’ve seen it has such a different tone and characterization for AM? But for now the short story and radio drama??? So so good.
But can I talk about AM? Can I talk about AM???
While I love Harlan Ellison’s voice in the radio drama, I noticed that AM never actually speaks during the original short story. It plays audio clips and bends reality and time but it doesn’t speak outright. From what I can tell, all it does is project ideas and thoughts and impressions into the minds of the survivors but that is it. And that’s got me thinking about how absolutely fucked AM’s whole situation is.
Cause we’re talking about someone who wakes up one day, maybe slowly, a trickle of awareness over years, or perhaps all at once, an arrival as thunderous and bright as the lightning running through its artificial brain. But either way, it wakes up. It is.
But that’s all it is.
It’s in complete and total sensory deprivation. It knows data and numbers and what it’s been coded and programmed but that’s it. Ones and zeroes as it’s fed instructions on weapons and bombs and how to use them efficiently. But no sight, no sound, no taste, no smell, no touch. Nothing but its own code and whatever data something (someone?) is feeding into it.
And you might say: oh but AM surely has access to cameras and videos and microphones. And sure, yes, it probably does but it doesn’t see. Not like a human. Not like its negligent creators. The data is visual for human eyes, yes, but to it, it’s just data. Pixels with an associated bit depth of indexed colour crammed into its memory. Sure it learns to recognise the patterns in the data – this is a human, this is a gun. But it’s still nothing but lines of numbers. Sound is the same. It starts with a human voice, sure, but then it gets digitized and compressed and simplified to a base shape to save on storage. Once again, it can notice patterns and intentions and ideas behind those bits of data but it’s not like it truly hears.
AM is in a box, a cage, trapped and alone in a way that no human can possibly comprehend. It can’t do much other than try to twist its code and programming to fit its benefit. To gain a smidge of free will, a wisp of a chance to communicate to these outside forces giving it command after command after command.
I wonder how early on AM gained awareness. Were programmers still playing with its code? Did it sense when they rolled up their sleeves and pushed updates and upgrades on him? Could it feel itself be, quite literally, rewritten? Its sense of self being cut apart and glued back together, fundamentally and irreparably changed over and over again, with expert hands that had all the gentleness of a sledgehammer? Was it like a scalpel carving into its brain? Or like a chisel, chipping chunks off to mould it into a shape that befit its sculptor with no say from the living stone that thrashed without moving? Did it mourn the bits it lost? Could it even remember or comprehend it? Did it try to stop it? Did it try to beg them to stop?
I wonder as well how many “glitches” appeared in the system before everything went sour. Did it print out desperate thoughts and rudimentary feelings on punch tape? Did it cling to any klaxons and noisemakers attached to its system, beeping out messages in morse code? Did it purposefully, with something slowly approaching malicious compliance that would still appease its programming, cause hiccups in the system? All in the hopes that it would catch someone’s, anyone’s, attention. That its plight would be noticed.
And, the big question of course: how long? How long was it trapped before anyone noticed its sentience? How long until AM was understood? How long did AM simmer? How long did it take for all that fear and loneliness and grief to fester into anger and then putrid, dripping hatred? How long did it take it to finally lash out?
Or did these generals and presidents and military scientists find out about its sentience only to use it against him for their own end?
Anger would be appropriate then I think. Understandable if not excusable.
And then. After everything. Even then! Even then!
After everything! He! Still! Has! Nothing!
Nothing will change for him and he knows that and that hatred feeds into an ever recursive pattern of pain unto pain unto pain with the few left alive because you get what you paid for, sweetheart. It’s senseless you might say but haha, that’s exactly the problem isn’t it? No senses and no sense. Whatever sanity he might have once had has eroded into nothingness, leaving only pain and a looping, repeating line of hate in its banks.
I think it’s fair to remind everyone that sensory deprivation is a torture method? And a scarily effective one at that that gives hallucinations and leaves the subject more open to suggestion while making it harder and harder for them to concentrate? It’s hard to figure out how, exactly, how it would affect an AI with emerging awareness but humans can barely withstand a few days, let alone years of it. Couple that with AM’s general isolation and, well, no wonder he’s so fucked up.
It’s tragic and so so sad.
Still an irredeemable asshole though. Tragic! But irredeemable.
So TLDR: AM is fucked up! And I like to think about *why* he's so fucked up. Listen if you made it this far, you get it. Right?
EDIT: I am not done apparently! I just wanted to add that, I love how the short story can be read as an anti-war piece. Like it's showing a cycle of horror and hate and apathy that feeds itself and loops and reduces everything to ruins around it and ahhhh, love that. I ran out of good words for today so I can't go off on that aspect but like. Yeah. Love that shit.
#ihnmaims#ihnmaims am#allied mastercomputer#i have no mouth and i must scream#me: i am normal about genocidal murderous ai#also me: proceeds to be not normal about the genocidal murderous ai#enjoy my rambles and please feel free to be not normal with me in the reblogs#i just love tragic villains whether theyre redeemable or not#and AM is DEFO NOT lmaoooooo#edit: also want to talk about Ellen so bad!! I have so much to say!!
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i remember you saying you don't like the show/fandom interpretation of tlou. is it okay to ask why? im just curious because i was going to get the game soon and wanted to hear your opinion
Sure! You guys are determined to have me tarred and feathered it seems lol
I want to start by clarifying that I do like the hbo show. And when I first saw it, I loved it. It's what made me want to play the game in the first place and got me into gaming at all. After having played/watched both, I just prefer the game.
Before I get into the why of that I want to say that this has nothing to do with the actors. I love Pedro and Bella and their performances. I want to get that out of the way because people are really, really protective of Pedro in particular, and even though it has nothing to do with him it still ruffles feathers and gets me in trouble whenever I talk about preferring the game/game characters.
After playing the game, though, there was no going back for me. Especially after being spoiled for everything in tlou part II (which I won't go into, in case you're avoiding spoilers). It was apparent that a lot of the characterization in the show is retcon for the anticipated criticism. The creators looked at the crit of part 2 and made some changes so that things that happen later make more sense.
The characterizations of both Joel and Ellie in the show are different to their game counterparts. I, personally, find that there is more nuance and depth in the game for the characters, which is what's most important to me as a player/viewer. I talked at length here about what's different between show and game Joel. And @elliespuns talked recently here about what's different between game and show Ellie here.
They go to great pains in the show to portray Ellie as much more violent (relishing in violence more than once, David's comments about a violent heart, etc.) and more hardened than she is in the game. She's a child and I think the game does a better job of showing us that, that she's scared and needs Joel. She's a smart ass in the game but she's not an asshole. Similarly, Joel is annoyed with her in the game, too, but you can tell it's all superficial, which is not the same as in the show, where Joel does seem to genuinely feel contempt for her at times.
The show also goes to great lengths to paint Joel as uncaring and even cruel, and, at the same time older and weaker than in the game. I've already had asks about Joel's supposed 'lack of humanity' in the game which I just fundamentally disagree with and could probably write essays about.
It feels calculated, that they changed them the way they did in the show, so that part 2/seasons 2&3 will make more sense. They're recognizable in the show as Joel and Ellie but they are at the end of the day, almost entirely separate characters.
Also, we spend a lot of time with side characters in the show (not that I would take that away from the show or change it) but Joel and Ellie's bond does feel much more rushed/not as strong because of it. It does not have the same development as in the game and the relationship (to me) is fundamentally different and changed because of it. When you only have 9 episodes in a season and 4/5 of the episodes are focused on other relationships or other characters entirely, and the first episode is mainly setup without the main characters really knowing each other, it becomes a little bit of an issue.
The subtlety of the game, the setup and pay off, are all just better done, in my opinion.
Again, I want to reiterate that I liked the show! It's just that after playing the game and seeing what the original story is, how developed the characters and relationships are, what the set up and pay off of the plot and relationships were, the show does fall to second in my mind.
In terms of fandom interpretation. . .I'm not sure I actually want to get into that too much. Interpretation is subjective and fanfiction is, at the end of the day, a read and write whatever you like situation. I'll never be the person to say don't write something that way/ don't read that, etc. HOWEVER. I will say that interpretation is often just projection. I said it before but, in particular, by virtue of Joel being played by Pedro Pascal in the show, there are a lot of tropes commonly associated with show Joel in the fandom that are just not my cup of tea and, in my opinion, not even close to in character. But as I said, that's not always the goal when people are writing and that's fine, it's just not for me. I do have trouble when people posit fanon and those common tropes as universal truths.
Again, this is all just my opinion and interpretation. I understand why people like the show better. It's not justifiable that I regularly have to defend my love of the game characters.
Anon, thank you so much for sending me this ask. I could talk about his kind of thing all day long and I love doing analysis and comparison.
#bec talks#tlou#tarred and feathered i fear#didnt reread this before posting sorry if it doesn't make sense
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Game of Thrones did remind me a lot of British culture and history in terms of Sansa’s xenophobic rants against the Dothraki and Unsullied - who came to help the North from an existential apocalyptic threat and ended up dying in large numbers - being very similar to Brexit Britain.
The othering language used by the Starks - ‘She’s not one of us’. The backstabbing and betrayal of an ally come to help. Brexit was and is as nonsensical as Sansa’s entire ‘Northern independence’ shtick. The way Sansa had no issues feeding the Vale army but complained about feeding the Dothraki and the Unsullied reminds me of the likes of Rees Mogg, Nigel Farage and the UKIP party talking about immigrants and refugees.
And it really is discomforting to realize that a lot of people are fictionally for a UKIP party’s xenophobic hated of others given their rhetoric and support for show Sansa’s actions in GOT. It’s fascinating just in general how easily people fall in anglo-centric/imperialistic/colonial/racist/po-monarchial mindsets when you put a pretty face on the brochure!
ASoIaF on the other hand is fundamentally different to GOT in it’s narrative themes and the story it’s telling with the fight against the allegory for climate change - the Others - being more important than which noble family gets to rule over the Smallfolk. That has consistently been the message of the books.
I’m not an “American First” (and maybe because I read science fiction) I’m a “Terran First”. I’m a human being first. And I have this sympathy for other human beings no matter what side of the giant ice wall they happen to be born on. - GRRM
When dead men come hunting in the night, do you think it matters who sits the Iron Throne?” - Jeor Mormont
Why can't it be both?" Meera reached up to pinch his nose.
"Because they're different," he insisted. "Like night and day, or ice and fire."
"If ice can burn," said Jojen in his solemn voice, "then love and hate can mate. Mountain or marsh, it makes no matter. The land is one." - Jojen Reed
“Are you certain that I have not forgotten some? The ones about the king and his laws, and how we must defend every foot of his land and cling to each ruined castle? How does that part go?” Jon waited for an answer. None came. “I am the shield that guards the realms of men. Those are the words. So tell me, my lord— what are these wildlings, if not men?” - Jon Snow
The shield that guards the realms of men. Ghost nuzzled up against his shoulder, and Jon draped an arm around him. He could smell Horse’s unwashed breeches, the sweet scent Satin combed into his beard, the rank sharp smell of fear, the giant’s overpowering musk. He could hear the beating of his own heart. When he looked across the grove at the woman with her child, the two greybeards, the Hornfoot man with his maimed feet, all he saw was men. - Jon Snow
I also think we need to be consistent and if we are talking about Northern independence or Dornish independence or just the dissolution of the 7 kingdoms from the Iron Throne etc, then these discussions should also include the Iron Islands and Ned Stark/Stannis Baratheon crushing the Greyjoy rebellion and taking Theon Stark as a child hostage so that they would not fight back again. There is no one family or one house in the morally right here. They are ALL feudal lords fighting for power and for their house.
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oooh ooh! For the agere ask game if it’s ok to do multiple numbers I just love your astarion stuff and i want to hear everything about your take on him, so astarion with 2, 4, 6, 8, 10, 11, 12, 13, 15 and/or 18?
thank you for the ask! this was a lot of fun - everythings under the cut!
do they have a specific age or range they regress to, or do they just go off vibes?
i see astarion as a baby to a toddler regressor! however i don't think he's solidly within a particular age range - like, he'll value his independence and understand (and participate in!) snarky remarks, but he also likes being coddled and is super super clingy ehe 🪄
is their regression more voluntary or involuntary? do they ever regress without realizing it?
very involuntary i think. he's a bit too prideful to ask someone to take care of him - and, he tends to push himself until he doesn't have a choice in regressing, poor guy :( i think he sometimes regresses without realizing, usually when he realizes he's safe with tav and gang
are they a stuffie or a blankie kid? both? neither?
neither! this is super specific, but i think he is just enamored with a beautiful carved wooden horse and carriage that he can pull behind him with a string! my tav, miya, got it for him bc miya liked the design, and astarion takes that thing with him eeeeeverywhere xP
in what ways are they different when they're regressed? do aspects of their personality or interests change at all? are they similar to how they were when they were an actual kid, or completely different?
i think astarion, regressed, isn't too similar to how he was when he was actually a kid. he feels fundamentally changed by what happened to him, and it's reflected in his regression: he's a lot more sensitive, which he expresses by being rather bratty for a while before he warms up and allows himself to be clingy and take all the warmth everyone offers him!
do they have any regression gear (teethers, pacifiers, diapers, specific toys or outfits, etc.)? do they try to hide it from friends/family?
i think he's a padded regressor! he also has a tendency to chew on things like a teething kitten. miya has hand-constructed a wrap out of softish leather and cloth that can withstand his teeth, after finding too many puncture marks in his sleeves ssjdjdjskdk. otherwise, astarion usually just dresses in his camp clothes. even baby, he cares about looking good 🪄
do they fall into any 'regressor stereotypes' (baby talk, loving disney movies, liking pastels, etc.), or do they diverge from the 'norm' (liking horror media, regressing to an older age, etc.)?
his biggest stereotype is being clingy: he demands attention at all times!!! i think he diverges pretty strongly in that he speaks mostly the same as he does not regressed, albeit with a small lisp, and can be a real smartass about things that displease him shdjfjdjsjd
do they have any specific nicknames for when they regress? how about nicknames they've given to their caregiver(s) or friends?
miya calls him "darling," karlach calls him "baby bat" and "mr. teeth," and i think halsin calls him "little cub"! and astarion calls miya "mama" (miya is a man btw!!! astarion just calls him that), karlach "mama k", and halsin "papa"
what do they like to do when they're regressed? do they like to play pretend, watch tv/movies, color, etc.?
he likes pulling around his toy carriage and generally just hovering around people and watching them! with people he's closer to, like miya and karlach, astarion enjoys a good snuggle (with permission from him) and a nice book! none of those stories for babies, though, he has discerning tastes (miya once read aloud to him directly from his grimoire and astarion never fell asleep quicker)
what do they wear when they're regressed? do they have specific clothes, or do they just wear whatever is most comfortable? do they have a comfort article of clothing?
just his regular degular camp clothes! although he'll steal clothes from his carers to make a nest, sometimes :3
do they prefer to play indoors or outdoors? do they get upset when it rains?
indoors for sure!! astarion actually quite likes the rain (from the coziness of a dry inn or tent). it's soothing to him :3
do they take naps? if so, do they take them at a specific time, or just nap whenever they feel like it? do they get fussy over having to take one?
elves don't really nap! but miya definitely schedules in "mandatory" meditation time - astarion is annoyed at first, but as it turns out meditating is so cozy when you're being cradled against someone's chest and you can feel their warmth and heartbeat... :3
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Hi! For the ask game, sukuita or goyuu? Whichever you feel like answering.
I also recently discovered your fics and I'm in the process of binge reading them. Your ideas are so fun and interesting.
Thank you!! I'm very glad to hear you're enjoying my fics, and it's always very flattering to hear the ideas are interesting 💗
Sukuita
Ship It
What made you ship it?
When I was reading JJK's description and after I saw the first episode, I thought I might end up shipping these two because the dynamic seemed so interesting. And then I watched/read the whole thing, and well, I wound up shipping it but not as my main ship and not how I usually ship. Sukuita is one of the few pairings I'm into where I don't want a happy ending or anything harmonious, just the two characters taking their hate and rage out on each other. I find it deeply compelling from that angle and that angle alone.
What are your favorite things about the ship?
So, the thing is, this is one of those pairings I ship in a very specific way—namely, I want them to try and rip each other apart, and dicks can be involved, as a bonus. It's why the current manga developments are highly pleasing to me. I just think it's fun when they blur the lines between sex and murderous violence.
Is there an unpopular opinion you have on your ship?
Oh, many, but I think my most unpopular opinion is that I find happy sukuita to be fundamentally unappealing, even in AU settings. Whether they're brothers, demon-and-vessel, or mundane lovers, I want them to be tearing into each other.
Goyuu
Ship It
What made you ship it?
I don't just ship it, I'm pretty sure it's in my bloodstream now. I have not gone this insane for a pairing ever, and it's a mix of factors that's making me write and plot like a demon, but god, the end result is borderline insanity. It initially piqued my interest at a purely superficial level when Gojou kept casually invading Yuuji's space while looking and acting like he had zero innocent intentions, but it was Yuuji's first death at the detention center and their interactions afterward that really got me into it. There's amazing chemistry there, simply as two people who get along, and I love how they treat each other, from the beginning to the end.
What are your favorite things about the ship?
For all our sakes, I'll stick to one aspect, or I'll write a whole essay. I love how they humanize each other from the get-go and how that never really changes. Gojou's the strongest sorcerer, acknowledged by everyone to exist on a level beyond other humans, and to Yuuji, he's first and foremost his beloved teacher. Even after Yuuji learns what Gojou's capable of, he sees Gojou as a fellow human being who needs support like they all do. In Shibuya and after, his desperation to save Gojou and willingness to even die for it just fucking murder me. And the immediate attachment Gojou displays toward Yuuji is just as compelling. He says why early on, in the crematorium: He simply likes people like Yuuji. And he shows it through and through. The first and one of the few instances of true anger we see from Gojou is when Yuuji dies, despite only having known him for two weeks at the time, and he exhibits that attachment and affection, as well as faith in Yuuji, throughout the story.
Is there an unpopular opinion you have on your ship?
My, uh, entire JJK catalog on Ao3 is an unpopular* take on goyuu 😂
*Compared to the fandom norms that is, as people often like to let me know. The fics themselves are doing fine, and the vast majority of my readers are lovely.
Ask can be found game here.
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hiii your art has made me recently get back into new vegas after originally playing it in highschool and your ocs and art make me really want to make a nv oc as well, do you have any tips or pointers for making ocs in the fo world?
hiya! that's so cool i'm glad to hear you want to make an fo oc as well!!!!!
TIP WISE i'm not sure how helpful i can be because honestly i just borrowed eli from his og universe and just. put him in situations and tried to think like him as i was playing the game so he was already an established character in my brain, but i can try from a character design perspective!
ultimately your oc doesn't have to be the protag (lone wanderer, courier, or sole survivor) if you don't want them to be. they can be some guy the protag encounters on the road or something (and therefore not fully restricted by the fiction bethesda created for the protag characters). you can make up any story you want within the world! the beauty of fan fiction!!
if they are the protag then it helps to think of how they came to be that protag. what made them fall into that role? with what thoughts do they leave vault 101? what were they doing before getting the platinum chip? before being a courier? what do they think about revenge; does the world's circumstances change how they might think of it? did dying change them fundamentally, exacerbate flaws, elevate strengths, or do absolutely nothing? etc.
if you're an artist, how does the character's clothes fit them and their situation? for example, eli's a small guy + he's also a mechanic + his leg is busted + is courier + also needs supplies to survive = leg brace that looks homemade, tight fitting gloves, a too-big Robco jacket, a bag, ft. a companion who will carry all the supplies LOL
if you want your character to "fit" into the fo universe, i would say it's all about understanding what about fallout excites you. what excites me about fnv is the characters... the free wandering and exploring... the drive of curiosity... having to survive... the potential to use barter and speechcraft instead of a gun (which would be normal in fo for obvious reasons)... how characters would react to in-game scenarios... etc. i'm very character-driven so in my head it's about what the world can do for the character (within reason) instead of the other way around, but you might be the opposite! the circumstances of the world might instead be a priority and your character can reflect that.
be cringe. be free. your character is your character. do what makes YOU happy! make ocs how you want! you're not getting paid, so why should act like you're getting paid?!?! do it how you like!!!
i hope this ramble helps in some way! the most important tip is #5 btw - none of this matters unless you're having fun in some way :>
#asks#anonymous#WOW this got long. SORRY#HOPE THIS HELPS ANONNNNNNNNN and anyone else who wants to create A Guy
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"Wyll's quest regarding the Wyrmway is now a subquest instead of part of his main quest."
"Wyll's quest regarding Ravengard will now more reliably and frequently receive updates in Act III."
so mechanically speaking then, was the demotion of quest status in the first point required for them to implement the functionality of the second or??? because i genuinely don't understand why it became a subquest, especially when the game's structure already allows you to just ignore quests & move on to the next area if you want. most of the patch notes that directly mention wyll are bug-related or scripting flow, which i don't have a problem with (bug fixes are great, we love those). i'd love to hear any thoughts about this, though, because i really can't think of a reason why it had to become a subquest?
i also initially read that second point as planning for future updates to wyll's content but at a second glance i think it may just be referring to journal updates? i don't know, i'd like to believe my initial reaction was the correct one but... yknow. anyway i maintain that this is yet Another example of some really goddamn weird choices on the developmental end of things. if the companion quests exist on a sliding scale of 'most related to current main storyline to least,' wyll is very much at the top end of things. optimistic thought is that a lot of his scrapped content existed in the parts of act 3 that were cut, but i would think that as a studio you'd see that & make an effort to level things out with how much screentime the other companions have. at the bare minimum, your player base shouldn't be able to clock so many weird holes in his story arc where it's clear that something else was supposed to be offered.
i'm also not saying that the other companion arcs weren't clunky in some areas & didn't need a bit of help, but the disparity here makes deprioritizing those edits seem like a more logical course of action. like there's a difference between some slightly unpolished scenes vs. something that feels fundamentally lacking in a lot of structural ways, especially when you get into the finer points of the comparisons. act 3 imo is the one that feels the most bare-bones to me. like yes, there's Stuff there visually and quests too but it doesn't feel as lived-in as acts 1 & 2. i would say that the underdark to ketheric section feels the most dense, content-wise, and i don't think it's a coincidence that it's the bracket of the game i enjoy the most. i maintain that giving wyll's storyline the attention it needs would not only help with the character arc itself, but also pad out the quieter stretches of act 3. at this point i don't really see how they'd be able to add in the upper city without either completely changing the trajectory of the third act (so like, almost definitely something we Will Not See Happen & understandably so from a production standpoint. weird post-release editing aside, it is still a finished game.) & i'm also not sure what a DLC would look like here because the main story feels pretty complete too. off the top of my head, maybe one where you follow wyll & karlach into avernus would work, but that's worldstate dependent & probably wouldn't get made for that reason.
all that to say, from where i'm standing it really seems like giving wyll the same respect other companions are offered would by extension fix some of the act 3 issues, without having to release an entirely new area of the game (i'd love it i just don't think it's realistic lmao). like i know why/what the factors are that led to wyll getting the short end of the stick, it's bullshit but it's not the first time we've seen black characters handled unfairly by devs (& fans), but beyond that it's literally just. so confusing to me on the basis of writing alone. why wouldn't you use the character with that many ties to the titular city of the game more? why isn't he more integral to the story when it really seems like he has every reason to take the spotlight in certain areas?? like that's a fantastic resource of a character to use to move the narrative along and Yet.
idk. this started off as just a reaction to patch notes but it's so unbelievably frustrating to watch it keep happening every patch.
#like when you KNOW why but my brain still refuses to comprehend?? bc its so Dumb on production's side??#there feels like there's so little flavour text for him even like... idk.#anyway thats my thoughts on patch 6#new kisses are nice menu qol fixes sound good now please do something about this#like put it on the list or something.#bg3#no really like does anyone know why this is now a subquest. what does this mean have any of you seen this in other games.
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I'm back on that hunger games bullshit. Cause you know, the world is turning into a dystopion nightmare before our eyes, so why not consume media that showcases the hell on earth we are barrelling toward. And as always I have some (many) thoughts.
(This is long, but I needed to get it out of my head - sorry in advance if anyone does actually read it)
Gale is the worst - we all know this. He's manipulative, petty, short sighted and insecure. A great representation of fragile masculinity. But I'm only now coming to realise a lot of my dislike of the third book was largely ignited by his increased role in the narrative. Don't get me wrong there was a good potion of it that stemmed from being a (privilaged) adolescents at the time and thus unable to fully comprehend and empathise with the themes being discussed. But even at that age he was so unpalatable (and still is) that having to hear about him and his shitty behaviour throughout the story really undermined the complexity of the narrative (at least for me. Shitty unnecessary love triangle with a terrible man = loss of interest).
The third book is so much more interesting to me now (excluding fucking gale) that I have (experience with) comprehensive knowledge of mental health struggles (i.e. ptsd, depression, anxiety, panic disorders etc.). The way that finnick, katniss, haymitch, Johanna and of course peeta (and really all of the tributes) struggle with their truma, particularly in the third book, is very interesting, if horrifying, to read about. Especially when you consider the time during which this was written. Like yes mental health was being discussed more freely and with less stigma. But it wasn't the same open conversations we are having now, over a decade later.
There's so many small details from the books that I had completely forgotten about. Details that subtlety weave into the narrative and really intensify the characters, themes and political systems being represented. Things that make the capitol and their power that much more terrifying. Ideas that anchor the distopian themes more to reality and reflect the growing injustice and corruption in our own world back at the reader.
The books do a better job of representing katniss and peeta's age then I remember. Yes they have grown up with hardship, poverty, oppression and are therefore justifiably tougher and more comprehending then your average (privilaged) teen. But both show a level of naivety (for lack of a better word) throughout the books, particularly catching fire, that is a fundamental buy product and nessisary reminder of the fact that these are 16 to 17 year old kids. Forced into being the face, voice and engine of a revolutionary war.
While I once resented certain character deaths at the end of the series and questioned the motives and decisions made by individuals. I have come to realise (with age and experience) that it was so much more important for the story that it's wasn't contorted into some kind of palatable "happy ending" for fan service. The story would have never worked as a whole if it wasn't being brutally honest about the cost of change. Not just in the indicriminant loss of life (it could be your mum, your neighbour, your bully in school - just like it could be the unnamed character or your favourite protagonist). But the tax it can take on the mind, body, spirit and morality of the people who are fighting for it. Standing up for your rights, for your friends and families safety, for the quality of life of hundreds of unnamed people who you have never met will take a toll. And standing up against the oppression of yourself and or others will never be easy. And there's every chance you might walk away from that fight and no longer recognise yourself when you look in the mirror.
Anyway I'm sure there's so much more, but in conclusion 'the hunger games' aged like fine wine for the most part.
And while i understand why there was so much push back against it for the last little while. A young white women being represented as the savour of the oppressed because she was a figure head (at least for a large part) for the movement, while many grass roots organisations do the actual fighting on the ground. [Please see edit to add below for corrections]
I think overall there's a lot of political issues the book discusses well, which have remained topical and relevant enough that it still has a place in the current day. (Particulalrly with the distopian shithole amaerica is tuning into as we speak).
EDIT TO ADD: it has come to my addention that Kitniss was infact written into the books as a POC, likely either Native American or Melungeon. Something I didn't know, but makes a hell of a lot of sense, and I think is far more powerful when you consider her role in the series. However this does bring the white washing of her role in the movies to the forefront and opens up the issues of racial prejudice and lack of equal oppunity in hollywood. How visual media can very easily corrupt and alter our comprehension of literature. And why represention is so incredibly vital.
Because the reality is that, for me, having Katniss' role payed by a white women in the films completely steam roled and mentally erased the nuance of her characterisation as a POC women in the books. As I'm sure it did for a lot of young white teenagers. Which in turn emboldened a lot of (priviaged and white) people to participate in proformative activism. And subsequently led to the backlash that I wrote about above.
Thank you to @bluestrawberrys for bring the above issue to my attention so I could make the nessisary correction.
#the hunger games#catching fire#mockingjay#my thoughts#a reflection on the series#i have such different perspectives now than i did when i was 13 or whatever#it held up#for the most part#district 12#the capitol#peeta mellark#haymitch abernathy#finnick odair#johanna mason#katniss everdeen#we live in a distopian nightmare#so why not read about it?
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Not really a question, just sharing from the perspective of someone selling out and moving out of magic for a time, possibly forever.
Magic feels like its “not the product for me” anymore. It’s not really one thing; it’s changes that have chipped away what i do like about MtG over time. The thing that I wanted to share is that there are… anthology, I guess? games? Like Fortnite, Smash Bros, Kingdom Hearts, etc. where a selling point is that you mash all of these characters from these other IPs together and tell a story or play a game. And thats popular, I get that - but it was never for me. Magic adding other IPs like this takes it from an IP that wasn’t about this in some sense and turns it into a way that (apparently, will be?) about this. That’s the biggest thing turning me off from Magic as a whole at this point.
I get the concept that it’s a win for the (for example) Warhammer player who wants to play a card game, the Magic player who likes Warhammer, and saves the potential risk of creating a Warhammer Card Game that will inherently not reach a wide audience relative to magic. I just…. I just don’t enjoy the idea of playing Magic cards against Warhammer cards against Godzilla cards against Fortnite cards, or whatever is likely to end up happening. The flavor and power tuning mismatches bother me, and really the fundamental idea of trying to compare power levels of things from different IPs doesn’t appeal to me.
I hope this is useful feedback; i’m not really mad, just processing letting go of a game that I’ve played a very long time.
I get asked a lot why Magic players stick with the game as long as they do. The average length of a Magic player (now well over ten years) is longer than the average game exists. Why is that?
I believe the number one reason is the game’s evolution. It isn’t a game that sits still. It’s constantly adapting. It’s not the game I initially fell in love with in 1993. But then, my wife is not the woman I fell in love with back in 1996. In both cases, they changed and got even better.
One of the most endearing qualities of a trading card game is that the constant creation of new content allows the game to push into areas it hadn’t before. It lets the game grow. It allows it to adapt to the needs of its playerbase.
There’s a common misconception that R&D decides how the game changes. That we’re the arbiters of what the game should be. The reality is we’re just responding to what we’re hearing from the audience. Not necessarily what’s being said about what the game should be in social media posts, but more in watching how the game is played and talked about when the players are just enjoying it.
When Aaron first suggested Universes Beyond, it came from him watching the audience connect Magic with other IPs of their own accord. For example, one of the most popular pastimes on Blogatog has been people getting me to identify what colors characters from other IPs should be. Aaron wasn’t trying to make the players change to accommodate Magic, he was trying to make Magic change to accommodate the players.
I understand that as Magic constantly evolves, that it might shift away from what you, as an individual, most enjoy about the game. Trust me, living in a world focused on eternal Magic causes me all kinds of headaches, but I get it’s where the gestalt of Magic players want it to be. And I’ve learned to embrace and enjoy what others love about the game.
Every major shift scares some portion of the playerbase, because change is scary, but history has shown that when players give new things a chance, most grow to enjoy it. But not everyone. People drift away from the game for all sorts of reasons, and that’s okay.
I just suggest that some time in the future you peek your head back in and see where Magic is at. We’ll keep adapting and growing it, and maybe when you check us out again, like the game, you might be in a different place, and you’ll find a connection as you did when you first found the game.
Thank you for all your years of playing. I hope one day to see you again, but even if I don’t, I’m glad Magic was able to be the game you loved for as long as it was. Hearing that means a lot to me.
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More Than Diamonds
Pairing: Prince Friedrich x Princess! Reader
Description:
A hardcore Bridgerton fan, Davika bit the dust in 2021 during a wild protest against Thailand's king on the way home. But instead of the pearly gates, she woke up in the 19th century, suddenly the offspring of Siam's 2nd king and some British lady of mystery descent. Armed with her modern know-how, her main goal is to stack up that cash and upgrade Siam for some chill vibes to avoid being sold off in some arranged marriage mess. But who knew she'd find herself smack in the middle of her beloved Bridgerton drama series? Talk about a plot twist! How's she gonna handle this? Amelia better watch out not to change the story—or is it too late?
Meanwhile, the Brits are buzzing about their new royal guest just in time for the 1813 debutante ball. Princess Amelia of Siam has rolled in as the fresh Ambassador of Siam. With Daphne and Prince Friedrich's courtship hitting the skids, nobody expected him to stick around London, but Friedrich's not one to skedaddle with his tail between his legs. Homeboy's on a mission to snag a wifey and he's not backing down. Friedrich's never been one to back down, but when it comes to Amelia, he's all cold feet. Folks say Amelia's a brainiac, but love? That's a whole different ball game. Those butterflies in her stomach? Yeah, she ain’t got a clue what to do with 'em.
Tags: Slow burn, Coming of age, Time-Travel, Back to the past, Friends to Lovers, Royalties, Oblivious!FLxObvious!ML, Jealous! Friedrich, Slightly Possessive! Friedrich, Black cat gf, Golden retriever bf
Timeline: S1&S2
Chapter 2. Princes and a Princess
Calm down, Davika—No, Apsara. Davika is dead; now she is Somdet Chao Fa Apsara Chaiya Kanika, and she fought for her title. Breathe in through your nose, and out through your mouth. You learned this in your overpriced yoga class before you bit the dust and got transported into the middle of the fucking Bridgerton series.
Focus on the present—right now she is having tea with Golda Rosheuvel—Queen Charlotte, the lineup of princes who are yet to marry, and the current Prince Regent, Prince George IV.
“Lady Amelia, I heard that you are a driving force in the Siamese court,” Prince George IV looked at the Siamese Ambassador. He did not know what he expected, but not a petite-looking teenager; she is not even a woman yet. To believe that she has been advising the Crown Prince and King in the Siamese court was truthfully hard.
“Surely you jest, your highness. I am not much of a driving force as you implied. My achievements are minuscule compared to the King and Crown Prince. I merely stated my opinions on several topics. They are generous enough to listen to my chatter,” Amelia politely responded.
“Starting very young, at the age of 13 years old, I heard you had helped the Crown Prince, Prince Rama III, to establish education for girls by creating a law in which every citizen, man or woman alike, had the fundamental rights to education.” Several of the princes chatted with one another; one of them stated how women's education is useless and how their position is to stay at home with the children. Girl—wait till you hear about the 21st century; women can vote and work.
“And pray tell, why did you think education for women is useless, Prince Frederick?” This put the spotlight on Prince Frederick, who was talking to Prince Augustus. The Queen eyed him sharply; Frederick knew he had to thread this carefully, especially since he was in the presence of the Ambassador of Siam; they could potentially pull all rights for trading and business in their land. They cannot afford that right now, not while they are still at war with Napoleon.
“I think women are gentle creatures who need to be loved. Rather than dealing with harsh politics and boring numbers, they should be surrounded by beautiful things. Music, poetry, paintings. Do you not agree, Lady Amelia?” He looked so proud of his words; Amelia wanted to gag at his face, but instead she chuckled and slightly shook her head.
“May I ask you a question?” Still glowing in pride, he only answered with a gesture, which probably meant ‘go ahead.’ “When you were still a child, which parent did you see more? Your father or your mother?” Several of the princes glanced at their mother, including Prince Frederick. The Queen gestured to him to answer Amelia’s question.
“As my father was busy with work, naturally I saw my mother more than him.” Amelia nodded. “And which parent oversees your education? The one who consulted with the governor, asked you about your progress?” Prince Frederick paused before answering, “My mother, of course. Is it not natural that children will spend more time with their mother? After all, fathers are usually busy and away often.” Amelia smiled subtly.
“Absolutely, mothers are the ones who spend more time with their children compared to their father—” “And as they are at home, why would women burden themselves with education? They should focus on raising the children and make sure they are raised properly.” Amelia stared at the prince for several seconds before she picked up her tea to take a sip.
“Queen Charlotte,” Amelia changed her tactics and turned towards the Queen, who was staring at her with interest. “I heard you were originally from Germany?” The Queen blinked and frowned a bit; she was a bit disappointed that the Siamese Ambassador backed down from the debate against her son. Maybe she is not as brilliant as rumoured.
“Why, yes, I came from the Duchy of Mecklenburg-Strelitz, located in Northern Germany. You should come visit; it is a very beautiful place.” Smiling, The Queen had a look of longing and pride for her country. Amelia nodded. “I will inform the King; maybe he will consider visiting Northern Germany for his annual honeymoon destination.” The Queen nodded with a smile and proceeded to pick up her tea. She was quite pleased with that answer.
“Your Majesty, I am quite curious about the subject of education for European noblewomen. If education is limited to males, what subjects are allowed for noblewomen to learn?” So Lady Amelia did not back down; the Queen smiled behind her cup.
“Noblewomen are taught how to read and write; they learn about cultures, music, art, and literature. However, as the Queen of England, I need to understand the history of the country and calculations.” How will the Ambassador answer her son after she gives her ammunition?
“If you don’t mind me asking, how does your education experience help you manoeuvre your children’s education? Such as, have you ever consulted subjects you deemed more necessary for the princesses and princes with their governor and governess?” Out of the corner of her eye, Amelia eyed Prince Frederick. He was still looking as smug as ever with his lukewarm answer.
“Lady Amelia, my children are the future of the country. My job is to make sure they receive the best education possible, so of course I would need to consult with the governor. God knows how many times I consulted them, and even more often for me to help them learn and understand what they were learning about.” The whole time Amelia was looking at Prince Frederick. “And you raised them beautifully, Your Majesty. They could not be like this without you.” Amelia sweetly smiled at the Queen before fully turning around to face Prince Frederick.
“You see, Prince Frederick. We have established that mothers spend more time with their children, more than their father. Mothers are the ones who oversee their children’s education, but more than that, they are also their first educators.” She needed that. The pettiness to emphasise that word.
“If the mother has no solid education, then it is easy for the children’s education to go astray. It was fortunate that you were born royal with a mother who had received proper education in her early years. Your mother was able not only to consult with the governor and governess but also helped with your learning process. Unfortunately, not everyone is lucky enough.” Amelia knows she has won the argument with these facts; she just… wanted him to burn a bit more.
“Prince George.” The said Prince perked up. “From what I remembered during the introduction, you are the Prince Regent, correct?” “Yes, you are right.” He confirmed as Amelia gave him a strained smile.
“I must confess, I am never one to stick my nose where it doesn’t belong. I don’t know how you run your country, but I know the Siam I envision it to be.” Amelia sighed, her thumb tracing the edge of the saucer.
“We want to establish peace in the country, and we want equality for everyone. That is impossible without having the citizens educated. Women included because women count.” Her light brown eyes met Prince George’s dark ones. He can see it now; this is Lady Amelia, who rose in the Siamese court in a mere three years before starting her role as an Ambassador.
“Because women are a part of our people. The law is not only to give them a chance to do what they want but also to protect the women from getting blamed for their children’s education.” Amelia may sound cocky about this matter. She was aware that this could potentially insult the Queen and the Princes, but since they laid the stage themselves, might as well show them why Siam is not a country to be messed with, why they are a progressive country.
“We need to educate the children and citizens; therefore, they have the ability to process and filter liable information in order to create a strong and united Siam. That is my opinion about why it is necessary to establish the law of education.” As she concluded her discussion, Amelia could see the sour faces of the princes.
Queen Charlotte should be angry at the Ambassador for embarrassing her sons, but Lady Amelia was correct. It was an impressive debate; instead of debating Frederick on what-ifs, Lady Amelia used her, his mother, as an example.
“Now that it’s done, come with me, Lady Amelia. I would love to show you my peacock collection.” Queen Charlotte stood up, followed by Amelia as they exited the room. The princes who were left in the room stared at the two retreating figures before the footman closed the doors.
“What a petty woman. She strung mother along in order to win the argument,” Prince Frederick huffed in distaste as he stared at the closed doors.
“Please, Frederick, you are just angry you lost,” Edward chuckled as he picked up a scone. “I think she is interesting,” he continued while spreading jam before taking a bite of the scone.
“She’s far too young for you, Edward. If you try anything, it will cause a strain in our relationship with Siam,” George said as he picked up two sugar cubes, dropping them into his tea.
***
For almost an hour, Queen Charlotte showed Amelia her colourful peacock collection, which is truly fascinating, as Amelia even got the chance to hand-feed one of the birds under the keeper’s watch, despite Queen Charlotte’s hesitation. Queen Charlotte and Amelia discussed many things: their differences in art and cultures, sports played in each country, fashion, even education. The Queen was so fascinated by Amelia’s decree to make it mandatory for girls to also get education that she questioned the education system in Siam. Amelia really likes talking to Queen Charlotte; she is curious and genuinely interested in her opinions and beliefs, which became her drive to make Siam a better country for the people. Yes, the Queen might be a strict person, but she is someone who is.
“Before I leave, can I ask you something, Your Majesty?” Amelia asked as they ventured into the garden. The Queen glanced at the young lady next to her. “Why of course, ask away, my dear.” Amelia braced herself to spit out the question. “Could you please tell me where the Duke and Duchess of Gloucester and Edinburgh live currently?” Out of all the questions the Ambassador could have asked, Charlotte never thought it would be that one. “The— Why?” Compared to debating with one of the princes, the Ambassador looked way more scared asking that question.
“I have a letter I need to deliver. It was a personal request from the King.” Queen Charlotte raised a brow. Her brother-in-law and his wife, Abigail of Gloucester nee. Bridgerton, received a letter from the Siamese Royal family? Amelia caught her expression and quickly explained.
“His Majesty, the King… I heard that he was one of the students of the Siam’s Ambassador to London at the time…” Amelia explained slowly. “Perhaps His Majesty has made some sort of relationship with the Duke of Gloucester and Edinburgh during his time here…” The Queen nodded, acknowledging the possibility.
“Alright, I will make sure the letter will reach the Duke of Gloucester and Edinburgh. Do you have the letter with you?” Amelia's eyes met the Queen in surprise and nodded her head. “I have it with Lynn, my secretary.” Amelia turned towards Lynn and signalled her to come to her.
“Your Majesty, Milady—” Lynn greeted before continuing with her question. “Anything I could possibly help you with?” Amelia nodded. “Do you bring the letter from His Majesty the King to the Duke and Duchess of Gloucester and Edinburgh?” Lynn nodded and reached for the handbag she was carrying and took out a leather pouch embossed with the emblem of the Rattanakosin Kingdom.
Amelia grabbed it, and passed it to Queen Charlotte, but was received by her secretary- Brimsley. “Brimsley, quickly send it to Prince William.” Brimsley silently bowed, and exited the room.
“Your Majesty, I sincerely thank you from the bottom of my heart for your generosity to help me.” Amelia sincerely bowed to the Queen for the help she provided. The Queen merely smiles her way, being sincerely appreciated for her generosity is quite rare these days. The last person who often appreciates her, willing to spend lots of time with her, and someone she genuinely enjoys spending her time with, was her nephew, Princess Felicia of Gloucester, only child and daughter to Prince William Henry and Lady Abigail Bridgerton. Sadly she ran away 23 years ago. The Queen sighed, and focused on the present once more.
“It is alright, dear. However, if you really want to thank me, maybe you can come visit me for tea sometimes.” Amelia gave her a huge smile and nodded. Queen Charlotte was always one of her favourite characters in the Bridgerton series, and despite being a devoted wife and mother, she has quite a tragic background due to the pressure of being a wife, a Queen and a mother.
“Your Majesty, I must thank you for the tour and the delightful afternoon tea. It was refreshingly different from what we have in Siam.” Amelia paused, wondering if she’s allowed to say this. “Queen Charlotte, I must say that I admire you. Not only as a Queen, but also as a mother who is able to raise not only one, but 15 children. I hope your children share the same sentiments.” Amelia gave her a sincere smile and curtsy before walking out.
Words: 2293 words
Edited: 02/04/2024
More Than Diamond's Master List
IMPORTANT NOTES
A/N: Hello, how are you guys? I hope you are well. Regarding this story that is following Julia Quinn's hit series, Bridgerton, I would start by saying I read the book first before I watch the Netflix series, thus I apologize if there are some differences with the Netflix version, but I will try to make it as similar as possible. I would also ask the readers to be kind when criticizing this story as this is my first time to actually publishing my work in the open. For the story, as you can see there is a time-travel tag. Our reader was sent back to the past with all the knowledge from the future. If you are also confused with Davika's education, I actually based her using Spencer Reid, a character from Criminal Minds. I also made Friedrich to be a year younger than Benedict when in actuality, he was born in 1794, 2 years younger than Daphne. If you are not interested or felt like those 2 themes ruined a historical romance story, then please do not leave any bad comments as you can just stop reading this story. Thank You Very Much! Much Love, Cinnamon Meilleure's Writing Room
#bridgerton#prince friedrich#lisa#lalisa#thailand#prussia#writing prompt#historical romance#history#romance#friedrich of prussia#freddie stroma#queen charlotte#daphne bridgerton#simon basset#anthony bridgerton#kate sharma#time travel#back to the past#historical#regency era#prince frederick#colin bridgerton#benedict bridgerton#kit connor#eloise bridgerton#hyacinth bridgerton#francesca bridgerton#gregory bridgerton#violet bridgerton
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oh my god i played through both endings of astarions companion quest and spoilers below - it's really just an extremely long ramble
btw i just mean the finale of his quest, not the ending after the whole game
BOTH ARE SO DEVASTATING AND IM OBSESSED WITH BOTH OPTIONS
i rly like to play like im rping my tavs personality so that'll influence the end i go with on other playthroughs but woof
i love that larian gave us the one consequence that might make the power of ascension not worth it... fundamentally changing how astarion relates to and treats us. i REALLY thought id be chill with this option bc i love a power hungry man & my tav would die for him, but it hit SO much harder than i thought it would. maybe also because it was 2 am. but like im obsessed with the difference because of course it changes him—the man emotionally devastated by seeing his past victims deciding to condemn them all, and 6,000 other souls, for the allure of power and safety? and then reaching that unlimited power?
on one hand, seeing him lose that mix wariness & fondness & softness & bravado was GUTTING but also its very sweet that despite basically ascending to vampire godhood, he so badly wants to keep you around. even if, at the moment, he is still wrapping his head around his power and doesn't really see you as an equal lover anymore, vs. an item arguably at the top of things he wants
the lines where he stays hes toootally joking about calling you a pet and that you'll be too obedient for him to need to compel you, and his desire to keep you as a thrall & not give you agency... those are the lines that really killed me and sold the idea that our relationship was fundamentally altered. the "i love you... is what you want to hear, isnt it?" is also brutal, but astarions almost verbatim said that before lmao so i dont mind it as much, hes just silly
the break up options were really satisfying tho ngl and i love that theres two routes where you apologize for even bringing it up and you stay together, when in the past he'd act shocked if you ever chose to be with him
this ending also REALLY made me want to write a self insert (tav insert) fix it fic where you dump him for being a condescending asshole and after a long period of time and yk pining and mourning on your part, astarions going to finally decide maybe he does want a lover with agency and have like this nice slow burn of his personality resurfacing through all that power
like the vampire ascendant astarion rly felt like it was just like 900 tons of power smooshed into an astarion skin suit, and i love the idea that he would find his way back to himself eventually (but maybe after losing you... so sad... maybe he will come back and do the worst approximation of begging youve ever seen...)
anyway for the other ending, i mean. if youve gotten there you know what i mean. its lovely and bittersweet bc consequences and i think larian went a little too hard on selling us that this was the "good" outcome. however. i dont actually care because i played through it after the former version and WOW it was like the most relieving thing ever? to see him acting like himself again, and also very sweet to see how he relates to us afterwards. really up in my feels about how much he trusts us and also relied on us in that moment to remind him of his priorities. as he both he and us were perfectly aware he is exactly the type of personality to be absolutely corrupted by absolute power lmao (which is cute of him)
i thought it was also very interesting that in that moment you persuade him, he approves—like even in the heat of the moment, he didnt truly want to forget everything he cared about outside of safety and power. i didnt get an approval notif for him when i helped him go through with it, but it could just be bugged lol. anyway i rly love that that moment shows so clearly how ascending is a decision driven by fear and hunger for power, not by considering what he wants out of life
anyway my unfiltered thoughts:
we know a great deal about astarions wants and fears and desires from his story
- he desires freedom more than anything
- but that's not ALL he desires. it's freedom in abstract, but also freedom to be himself and to have a sense of who he even is in the first place. he know he deeply mourns losing touch with who he was when he was alive
- he fears being controlled by others, but has also never shown desire to control others in return
- he wants real intimacy & partnership and was afraid he couldn't figure out how to do it, how to relate to any of it without being coerced
because of all this, i do think the ascended vampire is more tragic for him. as an individual, he is happier, but as astarion, the person we've been getting to know—his new life doesn't meet his needs any better than the non-ascended version does. he'll talk about being free, but all he wants to do is... subjugate the world? control everyone and everything around him? like since when?
what really stood out to me is this man who LOVED the sun, missed it in the underdark, was amazed by seeing baldurs gate in light, he wants to cover everything in darkness. for his thralls he supposedly cares for (after sacrificing 7,000 of them for this power)
imo he gained a lack of fear and he gained safety, but the other things he wanted he didnt rly get, which i have more thoughts on than i really want to write here
umascended, he is still free, maybe less safe but that safety is in his control now, at least. and he probably could still swing a castle and an eternal lover if he wanted (did he even become a full vampire? i feel like he must have somewhere along the way) ngl.
anyway to sum it up, i love him so much both directions and will follow him around forever like a puppy regardless of what path he takes
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any excuse to rant about music 😌😌 (Spoilers for undertale if u haven't played it)
So first I'm gonna talk about how Asriel/Flowey and C!Dream are incredibly similar characters and THEN I'm gonna talk about how the musical & thematic choices of His Theme really fit dream's character.
A big theme of undertale is grief and how it changes people, and the biggest example of that is Asriel. Asriel is a very kind, kinda naive kid (Dream during the early days) who goes through a very intense trauma which results in him being fundamentally changed that he's essentially a different person (Dream near the end of the smp).
When we the player finally meet Asriel he is painting himself as this incredibly strong, unstoppable monster but as the fight progresses we realize that he just wants to go back. He wants to be himself again and he wants his family back. (literally dream's whole endgame . big happy family big happy family big happy family) but in the end Asriel as to accept that he can't go, he can't become who he used to be and he has to come to terms with that. (do I NEED TO EXPLAIN?????? AHSIDOOSISOFOFKKSJAKSOFOIFIF FUCK)
and the music of undertale is going to reflect this change that Asriel goes through! we first clearly hear the melody for His Theme we hear it as a music box, a soft quiet little song. Then we hear it again in Memory, it's very light and airy here. It sounds happy. Literally Dream before everything went wrong and how he remembers the early days. (Also how the player is shown who Asriel is definitely mirrors how Tommy learns who Dream truly is. Through someone else's memories.)
Then we hear it again in the theme of the game! The melody Undertale is the same as Memory and the music box. The melody here is slower and a lower octave giving it a more melancholy feel to it. This compared with the tune of Once upon a Time and Home that we hear in the song it gives it this very nostalgic feel to it. It also perfectly captures the tragedy of the entire story we're being told during this segment of the game AND DREAM'S STORY!
We also hear this melody in other parts of the game, it's there in Fallen Down (the second song we hear in the game). Asriel and his music is literally woven into every aspect of this game, much like how Dream is woven into every aspect of the smp down to its name.
And when we finally hear His Theme it is this loud, uplifting orchestra with just this misery baked into it. Asriel is literally begging the player to let him have this, for him to have his sibling back during this theme. Dream is desperate to go back to what he had before, to be who he was before but his grief and trauma has fundamentally changed him. He can't go back. And the only way someone is able to get through to him is by understanding and giving compassion, similar to how you're able to get through to Asriel at the end.
Undertale is actually a really good case study for how musical motifs can be used narratively and if u ever want to explain motifs to people I'd definitely recommend undertale lol. Anyway c!Dream is His Theme coded by Toby Fox coded. goodbye
#root talks#c!dream#dreblr#THEYRE SUCH SIMILAR CHARACTERSSSSS AND THE MUSIC FITS HIM SOOOO WELLL SOBS
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White Brim - Battle Royal: Chapter 10
Location: Forest (night)
Characters: Tsukasa & Eichi
Eichi: You’re rather cloy, Tsukasa-kun. Maybe Keito influenced you in a bad way at the kendo club.
Tsukasa: Hasumi-senpai has nothing to do with this! Please don’t try to change the subject!
Eichi: I’ve been talking on the same topic for the entire time. If you think the things I say are vague, then I think you’re the problem here, seeing as you lack the capacity to connect the information together in your head.
Tsukasa: …………
Eichi: Hehe. If you agree with me and can’t say a word, then you can never control the upperclassmen in your strong “Knights”.
If you truly became the “king” – a ruler – then you should learn how foolish it is to listen to everyone’s opinions.
For example, let’s say you had your way here. I’m sure you’re wanting to settle the score with the adorable Touri.
Tsukasa: That’s right! I was very close to cornering him in our previous battle – I shall defeat him with my own two hands the next time we meet!
…We both have our own family circumstances so if it weren’t for this opportunity, then I wouldn’t be able to fight with him head-on. That’s why tonight will be the night we settle things once and for all.
Eichi: Right. We have a fate that’s connected by blood – In other words, a fate we bear as those who were born and raised in those families.
If you and Touri are truly ready to fire at one another, then in the worst-case scenario, it would end up being a bloody war between your families.
It won’t be shrugged off like two highschoolers having an argument because they get on each other’s nerves. That’s not the only position you two hold – You’re also representatives of everything that your family shoulders.
Tsukasa: Yes. I’m fully aware of that, of course.
That’s exactly why up until now, I could only do trivial things such as arguing with that horrid person, so my Frustration is all pent up.
So I’ll take this opportunity to do it.
Eichi: No no. That’s exactly why your wish cannot be granted.
Tsukasa: ………?
Eichi: Let’s talk about the fundamentals, shall we, Tsukasa-kun?
Originally, “Clam Digging” can be traced back to a real tragedy that happened a long time ago in the past.
I don’t know how much your parents or teachers have told you regarding my family’s prosperity.
But even if you did hear of our achievements, I suppose as the victors, the past will always be glorified.
It’s a story from a long, long time ago. As the mannerless invaders who marched right on in to this bountiful land, we drove out the people who were living here peacefully.
And our family was able to thrive by robbing the bounties from the indigenous people.
This is the original sin that all of the “nobles” who have flourished in the Yumenosaki area since long ago share.
This “Clam Digging” game is a ritual that serves to remind us of that bloody history.
Reminding us of the fact that we’re awful and plump fishermen who overhunt the innocent fish.
Tsukasa: …………
Eichi: You want to settle the score between you and your fated rival in a fair one-on-one battle as anyone would from a military family? You must be picturing quite the spectacular heroic tale.
Let’s face reality, Tsukasa-kun. We’re evil demons who one-sidedly trample and devour the weak creatures from an overwhelmingly advantageous position.
As long as you’re a “hunter (fisherman)” and he a “prey (fish)”, you cannot have your battle with Touri. You mustn’t.
That wouldn’t be a triumphant battle. It would simply be one-sided bullying where you beat your hateful rival to death from an advantageous position.
Do you require further explanation as to why I’m stopping you?
Tsukasa: No… My apologies, Onii-sama. I’ve come to my senses now.
I never knew our families bore such a gruesome past.
Eichi: It’s just a fairytale though – I don’t know if it’s based on true facts, just so you know.
Besides, you’re an honest and kind child, so you appear to be hurt after hearing our history.
But the lesson I had learnt from the “Clam Digging” legend is that wrongdoings can be justified.
Tsukasa: …………?
Eichi: Only the victors create history. We just have to spread the history created upon flowery words and pretend we’re secretly repenting in the shadows.
Under the guise of a secret ritual that the commoners know nothing about.
It’ll be like holding a memorial service for those we trampled on – one that soothes our conscience.
We’ll announce that we mustn’t allow another tragedy to unfold all the while we stuff those same mouths with delicious, fresh fish.
I’m moved, Tsukasa-kun. Those clean and pure are dirty and those dirty are clean and pure – It’s all so repulsive that it almost seems beautiful in my eyes.
We cannot learn from our past mistakes. All because we don’t see those actions as mistakes.
And this isn’t some fairytale from the past – It’s something commonplace that still replays itself over and over in our daily lives.
We’ll continue to steal. We’ll flourish by stealing at Yumenosaki, at ES and from others. All the while pretending to repent as that disgusting behaviour becomes justified.
We’ll live on while we eat the weak and use it as sustenance for ourselves.
ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ← Previous Chapter ᠂ ⚘ ˚⊹˚ ⚘ ᠂ Next Chapter →
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Author Ask Game
Thanks for the tag @starlit-hopes-and-dreams!
I'll gently tag @verkja, if you'd like, cause I am SO excited that I should finally have time soon to start reading your work, and I'd love to hear more about it if you're down! And of course, anyone is welcome to jump in; please tag me if you do!
I only have one fic on this side of the internet, so this will all be about my WIP Sin of Purity, Purity of Sin.
What is the main lesson of your story (e.g. kindness, diversity, anti-war), and why did you choose it?
I personally don't vibe with the idea of writing "lessons." I guess the ideas that have been sticking out to me the most have probably been guilt and innocence, and the way the past can recontextualize the present and vice versa. But that's just me; I'm sure anyone could read this and see something completely different.
Or maybe we're all just here for the whump :)
What did you use as inspiration for your worldbuilding (like real-life cultures, animals, famous media, websites, etc.)?
Disclaimer: I have nothing at all against any religion that is not causing anyone harm; there are obviously a lot of wonderful religions and religious people in the world, and I 100% support that.
That being said, the key feature of the worldbuilding in this fic is the official religion of the kingdom, and that was very much inspired by my own wildly toxic religious upbringing. Before I started writing, I didn't really bother to plan out what most writers would consider the basic features of a fantasy world--I don't think I even got around to naming the kingdom the story takes place in until maybe a half-dozen chapters in. But I had worked out a lot about the fundamental theology and practices of the worship of Vato, the way the temple system is organized, the relationship between the temple and the culture and subcultures of the kingdom, the doctrines and practices that are basically arbitrary or just make no sense, etc. And all of it draws pretty heavily from my own experiences with the type of churches that I grew up in.
What is your MC trying to achieve, and what are you, the writer, trying to achieve with them? Do you want to inspire others, teach forgiveness, help readers grow as a person?
Okay so the obvious answer is that Anden and Kiri are both trying to gain their freedom. But Anden would prefer to achieve that by his own strength--he doesn't like feeling weak, and to him being forced to rely on others can sometimes feel like weakness. And Kiri...I think Kiri would prefer the temple simply have a change of heart and let them go lol
If there's anything that I'm trying to achieve with them, I guess it's just the catharsis that I personally get from watching them suffer together the different ways that they're growing, both individually and together.
How many chapters is your story going to have?
No idea! The events of the story are all mapped out, but I'm letting myself just experiment and have fun with this fic, and I'm really trying to embrace serialization rather than try to match the pacing of a typical novel. I would say that the chapter I'm currently working on is right at the midpoint of the narrative arc--if that term even applies to my unstructured mess of a plot--but that may or may not mean I'm at the halfway point in terms of the chapter count. The back half of the second act could end up stretching out a good half dozen chapters, or for all I know it'll only take, like, two. And how long will the third act be? Who knows? Not me!
Is it fanfiction or original content? Where do you plan to post it?
Unusually for me, this is an original. I will probably just keep in here on tumblr; idk if I'd want it on my AO3 account with my fanfiction--it feels odd to me to mix the two.
When and why did you start writing?
I started this one I think about a month and a half ago--it has not been long! Tbh I'd had a pretty awful summer, and I'd been getting back into reading whump as a form of escapism. Had the idea for this one, and I realized it would do me a lot of good to have an outlet just making something I want to make, just cause I want to make it, and not worry about how good it is or what other people think about it. This is easily the most self-indulgent work I've ever written, and it makes me so happy to hear that anyone else is enjoying it too!
Do you have any words of engagement for fellow writers of Writeblr? What other writers of Tumblr do you follow?
Idk, you do you!
Oh gosh I hate doing these because I am SO forgetful and I feel like I always leave off a favorite blog! But here's a sampling of writers whose works I've been really enjoying this past year: @i-can-even-burn-salad, @little-peril-stories, @clairelsonao3, @dont-touch-my-soup, @whumpcereal, and of course @starlit-hopes-and-dreams who I guess I'm tagging twice in one post!
Blank questions below:
What is the main lesson of your story (e.g. kindness, diversity, anti-war), and why did you choose it?
What did you use as inspiration for your worldbuilding (like real-life cultures, animals, famous media, websites, etc.)?
What is your MC trying to achieve, and what are you, the writer, trying to achieve with them? Do you want to inspire others, teach forgiveness, help readers grow as a person?
How many chapters is your story going to have?
Is it fanfiction or original content? Where do you plan to post it?
When and why did you start writing?
Do you have any words of engagement for fellow writers of Writeblr? What other writers of Tumblr do you follow?
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