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artsekey · 6 months

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Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”). She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too! Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

#wish #disney #review #magnifico

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rui-drawsbox · 4 months

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remembering the most memorable mc's (with canon appearences) from the otomes i played

all of them are phone games btw. and looong rambling about the games after the cut!

Mystic messenger has been in my radar since i was in elementary school but i played it for the first time after the spanish traslation came out (2017 i think?) Seven shaped my type in such a specific way that im not really sure why loved him so much (it was the whole "he loves you in every route" stuff). I like a lot the default mc, most of the fandom did and that was enough to won me over

Rosa is top tier protagonist tbh, Tears of Themis has really good story and characters (as far i played, not a lot but i enjoyed it) The reason i'm not that much of a fan is bc the game is expensive asf and not very free to play friendly. You're either lucky or have a big wallet with the gacha

i miss my wife man(Marius)

Ephemeral has to be one of the best free to play otomes i've played tbh (if my memories aren't tricking me, it's been years) Good artwork, good storyline, good characters and as far i remember you can unlock one chapter of the character route per day (mabye two days, idk) and the mc's background has an important role in every route (she's a zombie! she's pretty now but eventually will fall apart, aaaaand her story gets expanded in one of the routes!) ((shes also adorable)) There's also a sequel, if you wanted more of the boys! never finished it but i'd recommend it

Honorable mentions! Huellitas Mágicas is a great game! has a really good cast with well fleshed arcs for all the characters, even the scondary ones! The game shines more for the development of *all* the characters rather than just the protagonist/ml. The main theme is overcoming insecurities! Each love interest has a different way of helping our (very insecure) protagonist and helping different characters with their own struggles :DD

10/10 i recommend this game if you want something cute and can be finished in a few hours, if i remember right. It also has a sequel! with like- 12 new love interests, also never finished it bc i didnt found a guide that worked for me but ñek

A3! is my canon event as a gacha player. Discovered the english/global server, tried it and got bored, left it for a few months, tried it again and fell in love, noticed the game was going to shut down bc low sales -HAHA :(-. This is not a otome btw, this is here bc Izumi has to be one of my favorite protagonists in gacha games ever

last but not least! Obey me! Shall we date? oh dear, what have they done to you :(. The original had intense powercreep to force you to pull cards -multiple times bc that makes them stronger- and even now, the company showed a lot of favoritism to some characters, leaving others to dust bc they don't make the same money. Not to say, they released a new game with the same cast and new main story (ignoring all what happend before). And let me say: THEY LITERALLY WANTED TO KILL THE ORIGINAL GAME.

Nightbringer might be a decent game but i don't trust the devs anymore, i still remember what happend with Asmo's birthday right after the release, and honestly i don't want to sit there watching how they disrespect my favorite characters again and again and again. Loved the characters hated the devs. 5/10 you can play it if you want but i don't recommend spending money on it, it's not worth it, just search #obey me here in tumblr and enjoy the amazing fanworks that i can assure you have a lot more love than the game itself

i miss my wife man (mammon and levi)

#got sting by the nostalgia mosquito #thinking about it i kinda want to play huellitas magicas again #mystic messenger #mysme #tears of themis #rosa tears of themis #ephemeral #its that the right tag?#huellitas magicas #a3 #a3! act! addict! actors!#izumi tachibana #obey me #obey me shall we date #otome game #tot

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peachesofteal · 2 months

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ghoap x reader / 18+ mdni / dark themes / prev here

‘C’mon, you never want to go out.”

You rub your temples, eyes closed in exasperation. “I’m broke, Case.”

“I’ll spot you. Come on, it’s Friday. I’ll get us into The Rook.” She pleads and pushes, tugging away your excuses and defenses until you’re backed into a corner with nowhere to run. Finally, you opt for a different tactic, lamely.

“Doesn’t that place have a waiting list?”

“Oh yeah, miles long. But the owner likes me.” The owner. How does she even know the owner of The Rook?

“I don’t know…” you linger, still bent over your tiny kitchen table, back bowed and tired, “isn’t it like, dangerous?”

“The Rook is neutral ground or something, I don’t know. It’s perfectly fine, I’ve been dozens of times.” A litany of stories exists about the speakeasy, from its origins to the current clientele, each as unbelievable as the next, and you’ve always imagined it to be this dark den of sin and debauchery, filled to brim with hitmen and lawlessness. “You have to do something other than work and sleep; you know. You’re missing out on your whole life.” She chides, attempting to launch into the same speech she repeats over and over every few weeks.

“Alright, alright,” you look down at your torn up cuticles and sigh, “I’ll go.”

You weren’t wrong about The Rook being dark.

It’s hollowed out under a club, nooks and crannies and little hallways splitting off in every direction, dim lamps and flickering candlelight casting shadows to the ceiling, bartenders dressed in all black working behind a massive, burnished wood bar along the back wall. Velvet couches, high top tables, overstuff armchairs flow in the space, and Case tells you there are more rooms if you’re keen to explore, explaining in hushed tones how there’s usually a band in one, a card game of sorts in another, a pool table somewhere, all with various styles of seating, and even another bar. It's elegant, decadent, sinful. Most of the people are startlingly beautiful, high heels and skintight dresses, perfectly made-up faces, polished onyx cuff links gleaming against expensive navy suits.

Even the drinks are licentious.

You decidedly do not belong here. Perched on a stool next to Case, you occasionally rub your wrists, casually wondering if it would have been acceptable to wear your braces, your carpal tunnel flaring into a swell of agony.

Wouldn’t that be a sight.

The bartender slides her two generous neat pours of… something, and you raise an eyebrow.

“On the house, from the boss.” He says with a wink, and she tips her head to ceiling with a bubble of a laughter, before pressing one of the tumblers into your hand.

“What is it?”

“Probably bourbon.”

“Oh, no thanks, I don’t-“

“Just shoot it.” She throws it back with ease, showing her teeth afterwards, a hyena leering in the lamplight.

Fuck it. Maybe it will the throbbing in your wrists will quiet down.

It’s thick, syrupy, hot in your throat. Burns all the way down and settles like lava in your stomach, uncomfortable until the sting ebbs into warmth, moving through your bones.

“Not bad.” You rasp, and she smiles.

There are more free drinks. They stick to your insides like tar, slicking you in a heavy cotton, weighing your limbs down, loosening the tension in your neck and shoulders, peeling away your layers of discomfort one by one.

You’re surprised by how at home Case seems in this place, how comfortable she is, smiling and waving to the occasional person, making small talk here and there. She practically floats in her seat, black dress taut against every dimple and dip on her body, hair artfully twisted into something that could be considered modern art. She’s a gazelle. A heron. Something graceful and gorgeous, fine feathered and fabulous.

And you’re… a tired girl in a tired dress, counting her lucky stars that there seem to be so many generous patrons buying drinks tonight.

“Having fun?” She whispers, nudging you with her shoulder.

“How often do you come here?” Her eyes wander, flicking past you and then back, wistful caution etched across her brow.

“Often enough,” She sips her drink and then folds her hands together on the bar top, looking over shoulder, “Most of these people in here… are connected to organized crime somehow.” The information doesn’t surprise you, but hearing it confirmed, knowing it’s not just some story made up, some fairytale about boogeymen, makes you shiver.

“Like, the mafia?”

“The mafia is Italian, but they have a presence in the city.” She shrugs, like it’s all common knowledge. Like you’re out of the loop. “The Rook belongs to Kyle Garrick.” You shake your head, unfamiliar. “Of The 141?” your mouth goes dry.

The 141.

The 141 were a notorious organized crime group who ran half, if not more, of the city. You knew they owned clubs, bars, restaurants, and hotels, but you were never clear on the details of their illegitimate work, and you didn’t want to know.

You knew, for sure: they were men to be feared. Men capable of terrible things. Destruction. Death.

Their ongoing war with The Shadows was the reason the city was soaked in blood.

“Don’t worry,” she rushes out, hand on your arm, “like I said, It’s neutral here. Nothing happens in The Rook.” You nod meekly, head swimming. You’re more than drunk now, stuck in a sloshing ship, floor tilting beneath your feet. The urge to get away, to disappear slams into you like a truck, and you slip off the stool.

“Which way is the bathroom?” She points to one of those dark hallways, and you stumble through the throngs of people like a fresh born fawn, unsteady and teetering on the edge, approaching a hallway that splits into two.

Which way?

You pick one, sure you’ll run into someone who can point you in the right direction, but when it zigs and zags up to a polished wooden door, you stop short, confused. The alcohol has rendered you fuzzy, and your vision spins, trying to look for a recognizable placard.

Is this the bathroom?

It must be.

The first thing you realize when you push the door open, is a chorus of men’s voices, stopping on a dime. You hear them, before you see them, and immediately try to backpedal, tugging the door handle towards you, trying to close it. You’re wayward, with heavy, tired feet, and the movement is slow, slow enough that an opposing force pulls on the other side and then-

rips.

You fly forward into the room, dragged by your grip on the handle, spilling onto your knees with a shocked gasp, and someone curses in the background, another voice barking out a name.

Then, the room goes Sunday church service silent.

You gape at the table of men, transfixed in horror on the two familiar faces staring back at you, the unforgettable Scot and his marble etched partner, who was just in the shop only two days ago. They’re frozen, half risen from their seats, a cigarette burning away in an ash tray filling the air with smoke.

There’s a nickel-plated flash, and your blood curdles.

He has a gun.

“I…” you croak, still on your knees, unable to categorize or rationalize why you’re seeing them here, why one of them has a gun, why any of this is happening. “I’m sorry, I was lo-looking for the bathroom.” There are many men in this room, you realize. More than just the two you’re acquainted with, and your stomach rolls, nausea creeping forward, trying to bring the too many drinks you’ve consumed up through your mouth. “I’m sorry.” You say again, more clearly.

Obviously, you’re interrupting something.

“These aren’t the toilets, little girl.” A Russian voice booms over your head. “Unless you’re going to piss on the floor for us?”

“Nikolai.” The blonde cuts, Manchester accent rougher than sandpaper, and you shake your head frantically.

“N-no, I just got turned around, that’s all.” Your brain screams at you to get up, but your body is immobile, and you look away in fear.

A warm hand takes yours, tanned skin soft and sweet, gentle touch urging your face back up.

“It’s alright, doe. Ye’re alright.” It’s the Scot, crooning in your ear, wrapping an arm around your waist to bring you to your feet. “Let’s get ye to the bathroom then, aye?” You lean against him, breathing in cypress and ocean spray, letting him guide you out of the room, his partner right at your back.

“We’re not finished.” Someone calls out, and the bigger man clips out a response.

“We are now.”

#ghoap x reader #peaches writes #simon riley #simon riley x reader #john soap mactavish #soap x reader

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meanbossart · 4 months

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Pin!

Hi, I'm RJ (Male, 27 years old) I'm a -usually- horror oriented artist and collaborator alongside my partner and better-half @barbatusart, though I'm currently on a Baldur's Gate 3/DnD streak with both my art and writing, specifically centered around the Dark Urge I created for my campaign and his antics, so that's most of what you will find here!

I want to leave a warning right here that I occasionally venture into delicate topics in regards to character lore and history - though none of it strays too far from what the game already delves into and I try to give a heads-up ahead of time whenever I feel like something might catch someone off-guard otherwise.

PATREON WHERE I POST WIPS, SKETCHES, UNRELEASED ART, NSFW CONTENT, ETC : patreon.com/meanbossart/

BLUESKY WHERE I PUT UP FULL VERSIONS OF THE SOME OF THE NSFW THAT I CAN'T POST HERE: bsky.app/profile/meanbossart.bsky.social

TWITCH WHERE I STREAM SOMETIMES: twitch.tv/meanboss14

PSA: I get a lot of asks and I'm slow to go through them, please don't take it personally :U

Anyway, here's the guy of the hour:

🚨FAQ BELOW🚨

Q: Does your Durge have a name? A: Nope! I named him "drow" when I played the game because I didn't feel like thinking up anything special. His lack of a name has become part of the character's lore and you will find him to always be tagged with "DU drow", or referred to as The Drow or just Drow.

Q: Where can I read your BG3 fan-fiction? And what is it about? A: Right here! The main plot follows DU Drow, Astarion, and Shadowheart on a new adventure that fractures into a couple of different directions, but mainly focuses on the aftermath of the spawn that Astarion has released and the personal development of the main cast, alongside a number of original characters that get involved in the narrative. My goal was to create a kind of "DLC" experience, so you can expect a lot of themes that parallel the main game.

Q: Can I draw one of your characters, a scene from your story, or any of your characters interacting with mine/other characters? And can it be NSFW in nature? A: YOU ABSOLUTELY CAN, AND I'LL BE DELIGHTED TO SEE IT IF YOU CARE TO SHARE. I'm equally fine with NSFW as long as everyone involved (in the art and otherwise) is an adult.

Q: What drawing software/tablet/brushes do you use? A: I draw on a Wacom Cintiq 22, using Clip Studio Pro. I switch around brushes quite often but most of what I use comes from the DAUB super-bundle by Paolo Limoncelli.

Q: Where can I find more of your work? A: You can find mine and my partner's comics here, but please bear in mind that most of it is highly violent stuff and you should read the content warnings on the store page carefully before making any purchases - if in doubt of whether or not any of it could be detrimental to your mental health, DON'T BUY IT. Stay safe!

Q: Do you take commissions? A: I am not currently taking any new commission inquiries, sorry!

#text #pin

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summerlinenss · 5 months

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here’s the thing.

if you’re one of the people celebrating our flag means death’s cancellation for whatever reason right now, i need you to realize that this is just a sign that whatever you love is next.

and i’m not saying that out of spite. having your favourite show cancelled is awful, i wouldn’t wish it on anyone. but if our little-gay-pirate-show-that-could can’t get its third and final season, the future of queer media is extremely grim.

ofmd was the definition of a sleeper hit. hbo max had no faith in it when the first season came out. it gained popularity purely through word-of-mouth. but it became one of max’s biggest shows, and it’s since been marketed as their flagship series.

it was the #1 most in-demand series in the world for 8 weeks (7 of those weeks consecutively). it’s currently in the 99.7th percentile of the comedy genre, meaning it’s in higher demand than 99.7% of all comedy series in the u.s. it has a 94% audience and critics score on rotten tomatoes. it’s the most in-demand hbo original series even above euphoria, succession, and the last of us.

it was nominated for 16 awards for the first season alone, including a GLAAD award and a peabody award. the second season was just nominated for an art directors guild award, which it was previously nominated for and won in the same category for season one.

besides awards, ofmd is critically-acclaimed and praised for its representation (including a cast of majority queer, bipoc, and disabled characters) and themes of anti-colonialism, challenging gender norms/toxic masculinity, and self-discovery/acceptance. it also has a diverse team of directors and writers consisting of several bipoc, women, and queer/trans/non-binary people.

on top of all of this, the plan for the show all along was only ever for three seasons. david jenkins only wanted three seasons for the full romcom structure to tell ed and stede’s story. that’s it. nothing more.

this isn’t an attempt to make you care about the show. but ofmd’s cancellation isn’t just a loss for the fanbase and the cast/crew. it’s a sign that it does not matter how successful or profitable shows highlighting lgbtq+ (or otherwise inclusive) narratives are or how many big names are involved. ofmd would not have been cancelled if it were a straight romcom. they would’ve magically found the budget. but corporate greed doesn’t care about us. they have no respect for queer people or queer media. and in the age of streaming, it’s only a matter of time until we lose all of it.

#also if you’re happy that ‘taika waititi’s pirate show got cancelled’ because of baseless accusations against him #1) it’s not taika’s show. it’s david jenkins’ show.#taika is just an actor/director/EP #2) even if you don’t like him celebrating the cancellation of a show because someone was falsely accused of zionism #especially when that person (like it or not) is a huge voice for minorities and is the reason so many of them get to tell their stories #is gross and makes you a gross person!#ofmd #our flag means death #ofmd season 3 #save ofmd #renew as a crew #fuck david zaslav #queer media

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reticulating-splines · 6 months

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WIP - West 70th

1880s-1910s row of Upper West Side townhomes.

Been working on this row of late 19th c. brownstones on and off for the past year now, so needless to say when I heard about For Rent I was hype.

Download Here

This initially started because I was homesick for NYC during the pandemic. Specifically for the area of the upper west side my dorm was in while I was a student. I mainly blame this experience for my obsession with historical architecture - walking along central park west past the Dakota on the way to the subway, smoking on the stoops of the brownstones late at night, going to classes in the wedding cake that is the Ansonia - it was just everywhere, and so, so beautiful to look at.

Except a lot of it is faded glory - buildings subdivided, details chipped or covered in the thickest coats of grime or paint. So I wanted to replicate some of the old New York from around the turn of the century. The one I read about in the Luxe series and saw in the Samantha movie lol.

The basement or garden level of each four-story brownstone will be dedicated to the original purpose as the main workplace of the service staff. Unfortunately no room for the actual garden, so laundry lines and planters are on the roof. There are bedrooms and bathrooms for a cook and a housekeeper/butler, along with the staff dining and the kitchen. The butler's pantry is directly upstairs from the kitchen, and the top floor is almost exclusively made up of staff bedrooms and washrooms.

I usually do the service areas first because they're the most interesting, and there was nothing more interesting than a full edwardian brownstone kitchen. Lots of exposed piping, beadboard, subway tile, and shelves of clutter. Has a separate scullery, pantry, and stairs down to a basement storeroom to keep your best champs-le-sims nectar in. There's also a servant's bellboard in the kitchen and the staff dining room. It along with the "boiler" system are made with tool and CC-free.

The main entrance and parlor are doing their best to continue the gothic revival theme of the exterior. The library and dining room follow in the enfilade starting in the parlor. Since this first house is a corner lot, it has a bit more width and space than a true brownstone. The only actual brownstone I've been inside of is Lady Mendl's, so ofc I had to have an extensive tea setup. Def took a lot of inspo from these two pics alone for these rooms.

The main stairwell and picture gallery lead to three large bedrooms on the second floor, and then up to the children's room and nanny's bedroom on the third floor. I really like skylights. I learned the importance of decent lightwells in staving off depression one semester when my window looked out onto a brick wall

The master bedroom and the children's room above it both have their own private sitting rooms and bathrooms. All rooms have either fireplaces or cast iron radiators.

There's no way this is going to be finished by the time For Rent comes out, so im just going to release it in whatever state it's in when it does come out. The exteriors and interior room layout for all the townhomes will (hopefully) most likely be set by then anyway.

Now available for download!

Also the anniversary of Chez Cromwell is coming up! Ive been gone for the better part of the year due to starting a new job, but I havent been idle. C.Cromwell has been updated for infants and ceilings, which led to me redoing the exterior and almost every room, so a rerelease is coming v soon! Sneak peek below. Happy Thanksgiving!

#sunblind by softerhaze #picture amoebe #drift reshade #heyharrie #lilis-palace #felixandresims #pierisim #reticulating builds #west 70th #the sims 4 for rent #ts4cc #the sims 4 #ts4 build #ts4 wip #sims 4 apartment

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gallusrostromegalus · 9 days

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AEIWAM: Which character(s) did you change the most, and which did you change the least?

Hmm. It's hard to say is the "most" different from their canon incarnation, because once a small change is made, they're forever different, but in terms of HOW they've been changed:

1: Smash The Vase Of Canon And Make A Mosaic From The Pieces I took the stated background of the character, worked out what Priorities/Motivations/Skills a character with that background would actually HAVE, then approached the remaining canon events with those motivations, which seems to result in a character totally different from, yet still recognizable as, the original Tousen, Unohana, Komamura, Yamamoto, Byakuya, Ulquiorra, Jugram, Gerard Valkyrie, Ichibei Hyosube, Oetsu Nimiya, Kirio Hikifune, Kon, Giselle Gwelle

2: Yeah They've Always Been Like That This character's background is a fuckin' VOID (or extremely stupid) so I had to make up a past for them to explain Why They're Like That, so while the character didn't really change, the new context totally changes how they're read Gin, Matsumoto, Soi Fon, Mayuri, Aizen, Yhwach, Urahara, Yoruichi, Isshin, Coyote, Hallibel, Yammy, Tenjiro Kirinji, Bambietta, Candice Catnipp, Meninas McAllon, Lillotto Lamperd, Shutara Senjumaru

3: Come To The Front Of The Class This character that previously only existed as a side, background or in extended source material now has a load-bearing role in the plot Kakiyo, Kiganjo, Chikane Iba, Tatsuki, Keigo, Mizuiro, Wonderweiss, James Superfan, Akon, Love Aikawa

4: This Is Not My Beautiful House (The Same As It Ever Was) This character is probably still largely recognizable as the original but because they're now living in a different universe, they're a different person: Ichigo, Chad, Orihime, Rukia, Renji, Uryuu, The Rest of The Captains and Lieutenants

5: Death To The Patriarchy: This character would be doing a SHITLOAD more in the story if Kubo didn't keep forgetting/nerfing/killing his Queer and Female Cast: LITERALLY EVERY FEMALE CHARACTER, but esp: the female captains, the femritter, Ikkaku and Yumichika, Yoruichi and Urahara (T4T), Chizuru, MASAKI KUROSAKI, KANAE KATAGIRI

6: I Just Think They're Neat This character is so fun to write they get more page space, and change other characters more than themselves Don Kanonji, Shinji, Yachiru, Mimihagi, As Nodt, Gimmjow

7: YOU MUST CONSTRUCT ADDITIONAL PYLONS I wholesale made this character up to fill a void in the Plot Tama Nikuya, She Who Rules The Sky By The Mandate Of Heaven, Quincy Freishutz, Kenpachi Tokagero, Miss Believe

8: There Are None Above Me In Heaven Or On Earth: After Smashing the vase of Canon, I realized that this character i has the strength to pull together like eight metanarrative themes while carrying like, Half the Worldbuilding Zaraki Kenpachi

#aeiwam #an elephant is warm and mushy #Bleach #Bleach fanfic

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mothmans-side-ho · 3 days

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Armand called Lestat a clown in the most round about way

s2e3 hot wired the two passions in my brain into this info dump, however seeing as a central theme of this episode (and the season) is power, status, and their subversions, it seems relevant. for context, I have 2 degrees in theatre, specifically theatre history and how trends effect form. (I am in no way an expert though, and this is very simplified). long story short, I'm relishing in being a big ol nerd about this entire season

FINALLY, we got to see Lestat (a version of) strutting his stuff on stage in a scene with peak commedia dell'arte shenanigans. Commedia dell'arte is/was an originally Italian form of theatre which was defined by lazzi (comedic bits), improv, and stock characters. these stock characters have been around from Roman times and are still super familiar to us today - the young lovers, the pervy old rich man, the soldier with bravado, etc. It's been seen as a somewhat formulaic form of theatre which relied on quickly identifiable characters and situations so audiences can sit back and enjoy the butt jokes and servant beatings.

In the book - specifically The Vampire Lestat - our beloved Lestat RELISHES in playing a character called Lelio, one of the young lovers. It is in playing Lelio that he "found a tongue for verses and wit [he]'d never had in life" (TVL pg 31). It is in playing Lelio that Lestat first gets a taste of the person he can become, and it is in Lelio that we see the first glimpses of the Lestat which so fully seduces Louis. In short, Lestat casts himself as the suave and handsome romantic protagonist, here to sweep people off their feet. The young lovers are also notably some of the only roles portrayed without masks, to emphasize their youth and natural beauty.

SO IMAGINE MY SURPRISE WHEN LESTAT SHOWS UP IN S2E3 DRESSED LIKE THIS:

He has a half mask! He's wearing all sorts of colors! He's clearly acting as a go between between two other characters who seem to be of a higher status than him! As I said before, commedia dell'arte can be very formulaic (especially by the late 1700s when it is being codified away from being improv focused to being cemented into scripts). From all of these visual and characterization clues, Lestat is not playing Lelio the young lover, he's playing a Harlequin! And his costume seems to be heavily based off of this Harlequin (Arlecchino, Arlecino, etc.) which is literally the wikipedia image of a Harlequin.

(note, if you give a fuck, this image is depicting an Arlechino from 1671, roughly 125 years before Lestat on stage. in my mind, this accounts for the changes in silhouette, styling, why Lestat doesn't wear the mask for the entirety of the performance, etc. Also, just while we're talking about costuming, I believe the late 18th Century was still a time in which actors would have been expected to provide their own costumes, which would explain why Lestat's version is made with expensive fabrics and includes cunty little details like the bow in his hair. At the very least, I can see him making looking good a priority as the owner of the theater and as...well...Lestat.)

Okay, okay, okay. Why does this matter?

Harlequins are not characters of any social status. They're servants who are quick witted enough to get into antics but stupid enough to be commanded by animalistic instincts (lust, food, you name it). The Harlequin being beaten by their master was ENORMOUSLY funny, and is the origin of the term "slapstick comedy". They a memorable iteration of clown.

In this scene, which I'm willing to bet was inspired by (if not outright) Carlo Goldoni's A Servant of Two Masters, Lestat plays a servant who interacts with two characters. One appears to be a young woman in a breeches part - another common trope of commedia performance. The other appears to be the young male lover! We see Lestat prancing between the two, seemingly facilitating some romance plot, being paid for his compliance, and doing a good ol fashioned butt lazzi. (Could he be presenting his ass for beating? Maybe.)

So why is Lestat not the young valiant lover, but instead A LITERAL CLOWN? Three potential, not conflicting, reasons. By the time Lestat is performing (mid to late 1790s, based off Armand's earlier comment about Robespierre's 1794 execution), the Harlequin characters were the most sought after roles! At this time, we are seeing the emergence of "Celebrity Culture" where audiences sought out actors for their off-stage personalities as much as their on-stage ones. This is an extremely fitting position for Lestat to fall into. Yay a semblance of historical accuracy!

Secondly, Lestat's ENTIRE ROLE in season two is to come between this season's new pair of young(ish) lovers: Louis & Armand. Lestat's function is to repeatedly detract and distract from their relationship through Dreamstat's antics (appearing at the piano calling Louis a whore, having Louis re-kill him, etc.). Additionally, simply put, Lestat (and Sam Reid as Lestat) is a lot of fun to watch. He is absolutely a stand out (if not THE stand out) of the show! His constant ability to serve cunt is often what your eye is drawn to, he pulls focus to himself, and often undercuts the more subdued, philosophical, and morose nature of others. Both on-stage and on-screen, Lestat continuously upstages his screen partners. He does kinda function as a Harlequin. But in the end, the Harlequin's antics are also what ultimately drive the young lovers together. If not for Lestat's actions, Louis and Armand would have never met nor bonded over knowing this fucked up brat prince.

But we also have to remember! This portion of the episode is presented by Armand the mind fuckery master. It is absolutely in his best interests to paint Lestat as some sort of ridiculous, lesser being driven by animalistic nature. Especially if - by extension of the metaphor - this frames he and Louis as the virtuous and optimistic young lovers, striving to cling to each other in a world of chaos. I would be EXTREMELY interested to see if, when recollected by someone else, Lestat appears in a different role or characterized differently.

Again, given the celebrity culture of the time and Lestat being himself, it is entirely believable that he would appear in the Harlequin role (Truffaldino, if this is Goldoni's Servant). However, I think it's extremely telling that in Armand's iteration of the story Lestat is not the dignified, refined, and sympathetic young romantic. He is instead a literal fucking clown.

#amc iwtv #iwtv #memory is a monster #loustat #loumand #interview with the vampire #lestat #lestat de lioncourt #the vampire lestat #sam reid #commedia dell'arte #louis de pointe du lac #the vampire armand #armand #theatre #theatre des vampires #long post #claudia iwtv #theatre history

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powdermelonkeg · 5 months

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just saw ur gale/mystra analysis post. im new to the game and dnd lore and honestly… ur take on their relationship feels like the most natural/compelling one??? esp since its all too easy to simplify topics that have many facets and nuance….

thanks for sharing i love analysis and reading people’s takes on narratives : D

My pleasure! (Bee from the future here: congrats, you spawned another meta!)

I love complicated characters, WAY more than I like a clear cut-and-dry case. Flaws, to me, are what make a character compelling and lead to interesting stories about them with choices that can get them into situations. I'm both writing a fanfic and running a campaign where I'm playing as Gale, and in the interest of portraying him properly and in-character, I've gone into SUCH a deep dive into all the decisions and facts that make him him.

It helps to, y'know, also be in love with the fictional wizard, but I digress

The thing about Baldur's Gate 3 is that no character in there is perfect. I've seen a couple analyses about the theme of continuing cycles of abuse vs breaking out of them, but in my mind, in terms of the characters themselves, it goes like this:

The origin characters have just come out of the lowest situation of their lives (Lae'zel being the exception; being tadpoled is a gith's worst nightmare. You're seeing that lowest situation in real time).

Not the lowest point, mind. Gale's lowest was probably the day after he got the Orb. Wyll's was probably the day his father cast him out. Karlach's was the day she lost her heart. But the lowest, accepted normal for them is what they've just left.

They're then thrown out of their depth and forced to rely on you to live. That's #1 priority: living. We get the extremes of these characters before we get their nuances, because they're quite literally at their breaking points.

Then once we get to know them, we see their wants, their hopes, their fears, as they open up to us. Every companion's story is at their own pace, but they all have a moment where they ping-pong between despondency and desire. Sometimes that desire is what we know isn't good for them, like Shadowheart wanting to be a Dark Justiciar. Sometimes that despondency is only for a flicker, like Astarion's realization that he's condemned 7000 people to a half-life of tortured spawnhood for as long as he's been a vampire.

Romance lets us crack all that open more, because if you pursue a romantic partner, they see you as their closest confidant. They WANT to trust you, so they're more willing to explain how they see the world and what decisions they want to chase.

And then their endings. Those often get simplified as good/bad, continuing the cycle vs breaking away from it. But how is Duke Wyll on the same platform as Ascended Astarion? He's not evil, he's not even entirely unhappy. He might even have broken out of his abusive cycle with Mizora, if you played your cards right. And Ascended Astarion is overjoyed, even if he is remarkably more cold.

I think that the endings are less a dichotomy of "this is good for them" vs "this is bad for them," and more one of "bringing out their best traits" vs "bringing out their worst."

Wyll's worst trait is being willing to sacrifice his own wants for whatever people desire of him. His best is standing for what he believes in and ensuring people are safe. Duke Wyll leans into that necessity to turn the other cheek in the name of people who count on him, while the Blade of Avernus has seized that moral compass of his and forged it out of mithral.

Shadowheart's worst trait is blind obedience at the cost of her individuality, while her best is her desire to be kind to things that don't deserve to be hurt. Mother Superior Shadowheart's whole life is defined by Shar. Selûnite Shadowheart's life is defined by her hospitality, especially towards animals.

Karlach's worst trait is how willing she is to accept that things are (to quote her) fucked, letting despair override hope. Her best is her durability in the face of horror. Exploded Karlach would rather die than try to work out a solution in the Hells, because she's terrified of facing Zariel alone. Mindflayer Karlach has accepted her fate and decides to give up her heart and soul to go out a hero, losing who she is. Fury of Avernus Karlach is willing to keep fighting for a solution, and by the time the epilogue happens, she's got her sights set on one.

Astarion's worst trait is his desire for power over people. His best trait is using the tools he has to his advantage. Ascended Astarion has let his powerhungry nature and paranoia lead all of his decisions, with his sights set on dominating mankind. Spawn Astarion has embraced what he is, and carved out a life for himself where he can do as he pleases.

Lae'zel's worst trait is her blind fanaticism, while her best trait is her individual dedication, making her loyalty a marriage of the two. Ascended Lae'zel is a meal for the lich queen, turning a blind eye to all Vlaakith's tried to do to her and literally being consumed by her fervor. Champion of Orpheus Lae'zel has turned her loyalty into something productive for diplomacy. Faerûnian Lae'zel has seized her individuality by the throat and decided her own future.

And then Gale. Gale's worst traits are his hubris and, paradoxically, his low self worth. His best traits are his creativity and wonder for the world. God Gale is the embodiment of ambition, having burned away all but that in pursuit of perfection. Exploded Gale has let his remorse blot out all hope for a redemption in which he does not die, because he thinks he's earned it. Professor Gale leads his life by embracing the school of Illusion and letting his creativity thrive, teaching others to do the same. House Husband Gale has multiple creative projects he's working on, and Adventurer Gale is always finding new sights to see and wanting to share them with you.

There are arguments to be made on which ending the origins are happiest in, certainly, or which one benefits them the most, but each ending represents the extreme of a facet they possess.

So with all that, there's a sort of malleable method to figuring out the ins and outs of a character.

You take their endings—all of them, all variables they can have—and reverse-engineer the flaws and details they carry. Then you start to notice how those work into their approvals for minor things: Astarion approving of your taking of the Blood of Lathander, or Shadowheart approving of standing up for Arabella. Getting a list of approvals and disapprovals is helpful, but having those endings on hand tells you why they react like that to a majority of their decisions.

You take their romance-route explanations of how they act, and apply those to earlier decisions. Astarion's confession to manipulating you and Araj-prompted admittance to using himself as a tool brings to light how he reacts to your decisions, regardless of his actual opinions on them. Wyll's fairytale romance and love of poetic adages speaks to his idealistic nature, and why he takes a sometimes-blinded approach to decisions in which the "right" answer isn't always the smart one.

You take their beginning reactions to stress and use that to measure how future decisions impact them. Lae'zel locks down and gets snappy when she's scared, while Gale immediately turns to diplomacy. Shadowheart has gallows humor, while Wyll turns to quiet acceptance. If they break from these and seem even worse, you know the situation is more dire in their minds than having seven days to live.

And then you factor in all their fun facts and dialogue choices and backstories.

A wizard falls in love with a goddess and her magic, attempts to retrieve a piece of her power for her, is scorned for his attempt and is cursed to die.

Give that backstory to a Tav. Look at how it changes.

A chaotic good wizard fell in love with a goddess, thought retrieving a piece of power for her would be a showy bouquet of love, and was punished for not thinking things through.

A lawful evil wizard fell in love with a goddess's power, snatched the most precious thing she owned, tried to use it to barter his way through to the secrets she kept, and was given a swift retribution.

Same backstory. Same class, same act, same goddess. Wildly different connotations. Wildly different conclusions as to who is in the wrong.

If you take all there is to Gale, all that the game shows us makes up his character, and apply it to this backstory, you get what really happened:

A wizard, enamored with magic, fell in love with a goddess. His desires led him to want more than she was willing to give. In his well-buried fear of inadequacy, he concluded that the reason she wouldn't indulge his ambitions was because he just hadn't proven himself worthy enough. So he tried to prove himself, but he lacked the context for what he was proving himself with. And the goddess, seeing a weapon that had killed her predecessor, saw this ambitious wizard as losing his way and coming for her just like the weapon's creator had. She was angry, she withdrew his link to her, and he didn't know why. So he drew the conclusion that she took his powers to punish him, and let that encompass his fall from grace.

Was he wrong to reach for what was out there?

If you knew that the answers to everything you cared about were not only known, but kept by someone you loved—someone who adored you—what would you do to ask to see them? What if your curiosities were if there were other planets with life out there, or how dark matter worked, or whether or not we could one day travel in the stars? What if it was the potential cure to an illness that's little-understood, or the way to make a program you dreamt up, or the scope of the true limits of your artistic talents? Would your answer change?

Was she wrong to cut him off?

If you were once hurt, and the person you loved—the person who adored you—brought the thing that caused it to your door, believing you'd want it, how would you react to seeing it? What if that thing was someone you thought you'd broken contact with, like a friend or family member you'd been trying to avoid? Would your answer change?

That's the sort of scope that needs to be applied to this, on both sides. You have to take the perspectives of each party, and apply two analogies instead of one.

Gale saw the vastness of the universe, untold wonders, the solution to every question he could ever dream up, and saw Mystra as withholding this from him because she thought he just wasn't worthy enough. To claim Mystra knew his perspective does her a disservice.

Mystra saw a cruel weapon she thought long gone, in the hands of someone who could use it, brought right to her, and thought Gale was willingly following the path of Karsus. To claim Gale knew her perspective does him a disservice.

Should Gale have researched his prize more, so he knew just what he was obtaining? Should he have kept his hands off a cursed book that would devour him? Of course he should have.

Should he have given up on chasing his dreams?

Should Mystra have understood that Gale's pursuit of power was nothing like Karsus'? Should she have communicated when she was angry instead of giving the cold shoulder? Of course she should have.

Should she have given him the benefit of the doubt?

That's the root of their falling out. That's what leads to hurt being inflicted. Understandable, human reactions to the situations they perceive. Unhealthy, unwise choices made afterwards.

You work backwards from this to figure out their dynamic as Chosen and goddess. You work forward from this to understand more of where Gale and Mystra are during the events of Baldur's Gate 3. Gale reached too high, and understands this. His goddess hates him, and he regrets this. Mystra isolated Gale, and understands this. Her Chosen wants redemption, and she wants to make it happen.

Just like we took Gale's character into account, we also have to take Mystra's.

A goddess is faced with a problem. She uses someone who's desperate for approval to solve it, by telling him to kill himself.

An evil goddess is faced with a threat to her reign. She sees someone who's unfailingly loyal and hates himself, and elects to have him tear himself apart rather than do anything about it.

A good goddess is terrified of the future. She sees someone who tried to hurt her, who's going to die anyways, and tells him to use it to save the world.

Same story. Same act, same power, same pawn. Different character. Different perspective. Different outlook on whether or not this is the right thing to do.

Mystra has died, multiple times, to people trying to stake claim to her domain. Someone appears with the very thing that could do it again, right as she's regained her stability.

She does not see mortals the way mortals do. She is timeless. She is eternal. She has a duty to protect billions of people, and one person lost to protect that number is more than worth the sacrifice.

People like to bring up the Seven Sisters as proof of Mystra's cruelty. For those unaware, Mystra asked permission to, then possessed, a woman, used her to court a man (with dubious consent from the woman), and bore seven children, all of whom were capable of bearing Mystra's power as Chosen without dying. The woman she possessed was killed in the process (reduced to no more than a husk, then slain by her now-husband, hoping to end her suffering), and the husband was horrified by the whole story.

Mystra needed Chosen in order to restore herself in the event that she was killed again, to prevent magic as a whole from collapsing and wreaking havoc on the mortal realm, like it had in the few seconds Mystryl had been dead. Elminster, Khelben Blackstaff, and the Seven Sisters contributed to this. The more Chosen she has, the better; what happens if Elminster dies? She can't afford to have all her eggs in one basket.

Mystra has Volo (yeah, that Volo) as a Weave Anchor, imparted with a portion of her power to prevent the Weave from shredding itself to pieces in her absence. All Chosen of Mystra are Weave Anchors by nature. The creation of Weave Anchors was mandated by Ao, the Overgod, and Chosen are the best way to make sure those anchors aren't drained by ambitious people hoping for godlike power. Chosen can, and will, defend themselves, unlike static locations (which Mystra also has). The anchors are why the Weave wasn't completely obliterated during Mystra's last death, when the Spellplague rose up, because they stabilized the Weave around them.

Everything Mystra does is in the name of the big picture, to prevent a catastrophe like the fall of Netheril from happening again. Her restriction of magic, her numerous Chosen, her creation of Weave Anchors, her destruction of those who would claim her power, it's all in the name of the stability she's been charged with. Dornal Silverhand's grief and Elué Silverhand's death, while regrettable, were worth it to bring seven more anchors into existence to save all of the Material.

So someone appears with the Crown of Karsus, potentially powerful enough to try to kill the other gods in the name of the Dead Three. She can't risk being a target of them. She can't risk the destruction of magic again.

Gale is going to die. He lives in fear. He begs for forgiveness.

In Mystra's eyes, she's offering him the best outcome. She'll let him die in service to her, to save Faerûn, and she'll forgive him. He's going to die anyways, and if he does this, she'll give him everything (she thinks) he could ever want in her realm. She's asking him to do what (she thinks) is the right thing.

"She would consider what she considers to be forgiveness."

Notably, she leaves the decision in his hands. She doesn't have Elminster lead him to the Nether Brain. She doesn't activate him as soon as he's there. When he lives yet, she doesn't revoke the charm that keeps him stable. And when he declines, when he lets it go and starts pursuing Karsus' path, she doesn't smite him on the spot.

She is (she thinks) being incredibly patient. If Gale is going to try to be Karsus II, she's ready for him. If he decides to walk off and keep the Orb, he's dug his own grave in the Fugue Plane (those who don't have a god to claim them roam endlessly as husks and form a wall of bodies around the City of Judgement).

From her perspective, she's not being unreasonable. But from the perspective of a mortal, she absolutely is.

"Now, I have a question for thee: what is the worth of a single mortal's life?"

This is a question she cannot answer properly.

I think a lot of characterization is lost whenever someone paints one of them as being totally in the right. But I also think you have to be invested in them as characters to want to see that characterization. If you want to write about Mystra, you have to try to get into her head, analyze the decisions she made, figure out why she thinks she was right, and follow the pattern.

Gale's sacrifice is a very predictable thing for her to ask for.

#bg3 #gale dekarios #gale of waterdeep #mystra #long post #like really long post holy hells #did not expect this to go on for this long #swearing tw #< for karlach #oh yeah #astarion #karlach #wyll ravengard #shadowheart #lae'zel #ask bee

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