#dragon age meta history

[exhausted-archivist]

A really interesting article from EuroGamer talking about map making in fantasy, but specifically Dragon Age, was released yesterday.

I've found it really interesting to hear from map makers of games and fantasy but also Gaider talking about how the Thedas map was made. I will probably break this down later because I have a lot of thoughts.

I'll include the maps below the cut. These are photo copied maps that Gaider made to map out the history of Thedas. Strongly recommend reading the article to hear the thought process that he shared.

It was also shared that while he did these maps, the final map we're all so familiar with was done by an artist without his input. To quote:

Some things bother David Gaider about the Dragon Age 1 map, still, and they occurred when artists prettied his sketches without his involvement. "Oh," he said awkwardly when they were presented to him. "I didn't want it to look like this, exactly." He says they added a lot more rivers and mountains, and flipping between his sketches and the Dragon Age: Origins map, you can see some have moved around, or gained prominence, and places like Redcliffe have shifted. Apparently people would take to the BioWare forums after the game came out to complain about the map's geography. "And I'm like, 'You know what? You got a point,'" Gaider says. This is mostly anger at himself, though, for not doing more about it. Similarly, he wishes he'd been able to sit down with artists and work out what the rest of the continent you don't see in his sketches looked like, so they didn't have to have "the continent just keeps going..."-like messages at the edge of it. "But to where?" Gaider says.

#dragon age #dragon age behind the scenes #dragon age meta history #world building #concept art #interview

[inverswayart]

On Orlais fashion

So, while i was trying to design an outfit for Julie, I stumbled upon a problem - what the hell was considered fashionable in Orlais during Awakening? I scanned through wiki and concept art and then got an idea for a big cool post about it, but my da high is closing in to an end so I'll just ramble for a bit instead.

It's evolving (and too fast)

So yeah, if we look at the concept art and what have appeared in Inquisition, Orlais fashion seems to change at break-neck speed - on par with modern fast fashion. Why is it a problem? Because modern fashion operates in a world of mass-production, which whole kinda alluded to in Thedas, is allegedly haven't been achieved yet. But still, in DAI we see at least 3 pretty distinct silhouettes of women's clothes that feel like different stages of one evolutionary line. I'm talking those beauties:

So, as we can see, one more-or-less consistent thing about all of them is waistline - fairly high one, like something out of 16th century Italy or first two decades of 19th century. But everything else is varied - the neckline from completely closed to pretty plunging, sleeve length and form, construction of skirt...

But looking at them in this order they do resemble a solid development line - tho for me it feels like there should be at least one more phase between first and second stages - no way such high and tight wheel ruffles would collapse without a trace of their existence... Otherwise, there's a couple of noticeable trends here - first, slight widening of skirts; second, slow rising of sleeves; descending neckline.

At third image it feels like someone suddenly invented the crinoline straight out of 1850's, completely foregoing farthingale and panniers (here's all of them for comparison, in the same order):

To be clear, neither panniers or farthingale are prerequisite for crinoline to appear - but considering the alleged time period Dragon Age was inspired by and the fairly 1770's like hairdo's Leliana alludes to in DAO (the "I like your hair" dialogue where she mentions a noblewoman incorporating entire birdcage with living birds into her hair) one would expect them rather then mid-19th century invention.

Still, to line up those dresses is to insert at the very least 5 or so years between them, maybe even 10 or 15 (once again, those high ruffled collars would have not dissapered so smoothly... Imagine orlesians with those huge-ass Elizabethan lacey standing collars, wouldn't that be sick?) But to be honest, at least i can see how Origins noble dress could've evolved into the first one.

All the prerequisites are there - standing collar ready to get taller and rufflier, kinda puffed up sleeves, little cape-like decoration at shoulders, waist accentuated by fairly wide belt ready to turn even wider and more decorative, fairly narrow skirt to expand... And it would've ecen work with the timeline we have - there's roughly 11 years between DAO and DAI, and the silhouette would've had time to change - but then the Inquisition dress would be the latest fashion, not the fairly outdated one we see.

There are also two distinct outliers - Florianne de Chalons and empress Celine with their dresses more or less out of common trends we saw before:

And while Celene's dress I can still place in the general climate we got - like yeah, she's the Empress, she can be the most fashion-forward one and outclass everyone around, and her dress does look like evolution of what we saw, it would be at least 5 more tears before crinoline would start to change it's shape (ironically getting closer to panniers) and while I can read her overdress as on of the exposed underdresses in a "I'm above your backroom dealings and behind the stage machinations and so I have nothing to hide" kinda gesture, it feels like a stretch.

Florianne, on the other hand, while being more in tune with others silhouette-wise... Why does she has those pagoda sleeves? Why the train when even the Empress does not have one? Mystery for ages.

A bit unrelated but one cool canon thing about Orlesian fashion is that codex in DAI that says that it's all about hiding the actuall contour of body behind augmented forms - shoulder pads, structured garments and so on. That actually is pretty close to Elizabethan conception of man as something completely separate from nature that found it's reflection in geometrical fashions of the era.

So yeah, in the end, while very pretty, Orlesian fashion is kind of a mess (as is every other fashion in Thedas we have seen. Can't wait for Dreadwolf to throw even more aestetics wrenches in here).

#tag for words #dragon age #dragon age origins #dao #dragon age inquisition #dai #orlais #fashion #fashion history #dragon age meta #i probably put way more thought into it that devs intended #but what are they gonna do about it?

[raayllum]

This isn’t going to be as coherent as I want it to be because I’m tired and mildly rushing through this (so I may revisit it later) but like, from the bottom of my heart

What the fuck is up with Harrow and the cube’s opposing symbolism?

Because like, Harrow gifts the cube to Callum in hopes of encouraging him. It’s been confirmed that Harrow didn’t totally know or understand what the cube is, but the name Aaravos as a master archmage has been carried down. We know the Orphan Queen started the royal line and had a hand in imprisoning Aaravos according to two sources. All of this symbolism and history indicates the cube will be a positive thing, the way Callum initially hoped it would be: “I just had a feeling this cube thing could help me” (1x04). 

However, these positive associations were pretty smashed to pieces even before S4 came out with this scene in 2x08:

Because like, yes, the scene is Callum rejecting dark magic, and that the only way he can do magic as a human is through dark magic. That’s the surface level. But if that’s the case in the dream state, why draw this heavy association between the keys and dark magic and the cube? After all earlier in the season, Claudia’s book was the primary ‘tempter’ symbol. It’s Claudia’s book that she offers to him alongside lessons in 2x02; seeing Claudia’s book in an old drawing in 2x07 is what gives Callum the idea in the first place; he uses Claudia’s book to help do the spell. It shows up in the end credits. 

Which is to say: if you wanted it to represent Callum just rejecting dark magic, which is the surface level interpretation / clear intended takeaway of the scene, why not just have it be the dark magic book? Why show Harrow encouraging Callum to reject his own gift?  Especially when at this point, Callum has no reason to think anything negative regarding the cube, and he doesn’t. It’s a parting gift from his father, a source of harmless curiosity. 

Furthermore, 4x04 shows the key is explicitly tied to Aaravos claiming Callum as a pawn. This is in line with much of the foreshadowing I’ve pointed out before in the cube being repeatedly called a key and a game piece, as well as the continual connection its been displayed to have with Rayla, her entrance with the Star primal glowing only the tip of the iceberg.

Harrow encourages Callum to reject the dark magic cube because “You are free. You are free from both the past and the future. Fate is a lie. Nothing is written in stone. You are free” and you have Rayla quote this resolve back to him to boot: “Callum, you’re the Destiny Is A Book You Write Yourself guy.” 

The Key is a critical piece in Aaravos’ game with Callum as an extension or tether to it. Ziard was given the ‘gift’ of the staff and died shortly afterwards due to a sun dragon. Viren deciphered the mirror and likewise fell to his death. Both of those are brought together in Callum’s icarus symbolism, of a boy who’s flying too close to the sun - and of a boy who can also die by flying too close to the (Book Five) Ocean. Finding a third, middle path is the crux of the myth and of Callum’s arc with magic so far: not as a dark mage, and not as a powerless human, but as ‘a secret third thing’ in becoming the first human primal mage in centuries. 

The Cube that causes Callum to turn to stone in the intro is a lie. An illusion. Especially when so much of the boys’ relationship with Harrow is also rejecting what he passed down onto them, and striving to be better than he was: to know more, to do more. 

Basically this is just a rambling way to reaffirm that 1) I think the Cube will have an extremely negative consequence and effect first before having a more positive one unless 2) it is somehow used to save Callum outright (although again, I think that’s somewhat thematically unlikely) and 3) I am very, very happy that we are 100% finding out what it’s intended purpose is next season (with Aaravos also likely being released) because I’ve gnawing holes through my brain about it for long enough already.

#tdp callum #the royal family of katolis #the key of aaravos #tdp meta #mini meta #analysis series #analysis #tdp #the dragon prince #parallels #arc 1 #arc 2 #s4 #s5 speculation #2x08 #multi #'reject the Chains of History' and it's a relic passed down through the ages like ok ok #king harrow #mage boy #callum #me looking at tdp as always like 'tony you Chose to do that'

[immawraffle]

Learning about Medieval Christianity in my play analysis class and how it used to be a lot more female-oriented (and erotic) than modern/post-reformation Christianity, and thinking about Andrastianism in Dragon Age and how it would’ve been so cool so see some of that reflected in the game and how we could have had that if the writers could conceive of a world where men and women are actually equal and isn’t saturated with misogyny.

#the myth of the Dark Ages is Renaissance propaganda #it was a lot less sexist than the majority of people think #women worked and could bring home half the income #they had control of their own reproduction (birth control) #they had influence in their homes and communities #medieval settings not being “realistic” without misogyny is bullshit #medieval christianity #history #dragon age #dragon age meta #andraste #andrastianism #the chantry #I think I’ll draw more medieval Christianity into my DA fanfics from now on #🧇

[felassan]

remember that wild Dragon Age theme park ride (Dragon Age: Flight of the Wardens), originally located in Dubai until it randomly turned up years later (now also oddly-rebranded as "[Not Dragon Age We Swears It]: The Guardian") in, of all places, Skegness England? well, I had to satisfy my curiosity and obsession with obscure pieces of Dragon Age media & archival thereof. and so - actually quite some time ago now - I finally got around to going on a pilgrimage there (which was this whole, like.. heinous harrowing in and of itself, that I will not go into), and I rode it

and to my surprise the original Dragon Age in-ride movie is still part of the ride experience! - complete with references to darkspawn, a Pride demon, dragons, green "rifts", Discount Anders (a Grey Warden[?] mage called 'Eldron'), Discount Yavanna (a Witch of the Wilds called 'Alexia') and Dragon Age: Inquisition soundtrack music. there is also now a new pre-ride movie which replaces the old Dragon Age pre-ride movie as part of the ride's rebranding, and i simply ?¿?

there are also still quite a lot of identifiable Dragon Age props in the fantasy-themed queue-area of the ride (so these must have been part of the whole purchase between parks), including multiple iconic Inquisitor helmets, Grey Warden shields, a Dragon Age dragon (now with DA-dragon identifiable horns.. sawn off??), and several Dragon Age banners, including the Inquisition hairy eyeball, the templar symbol and the Circle symbol. here's some pictures.

[^this image is taken from the video linked below]

I also captured the new pre-ride movie, and you can see it along with the Dragon Age in-ride movie here ⬇️. and so now, with this epilogue to the.. most odyssey of all time, more than two years after the first message about the ride was ever sent to Ghil Dirthalen, this adventure in obscurity and the strange fever-dream meta story of the Dragon Age: Flight of the Wardens era in Dragon Age history is finally complete.

Ghil Dirthalen: The Guardian??? {Overview. - Spoilers All}

[video source & link: Ghil Dirthalen, posted here w/ permission]

some further notes, thoughts and commentary under the cut -

there's a few seconds missing from this capture of the in-ride movie. for the sake of the curious and completion: in them, you're still in the fort and you see lots of 'Wardens' walking and milling around.

a camera in the ride takes two photos of the riders during the ride, which are displayed on a screen on the way out. you can choose to buy these from the Fantasy Island merchandise store. you know those photos of people on log flume rides? it's like those, only of the four riders in a row in the seats. the photos have Fantasy Island branding on them and fire along the bottom, then in two corners there's a bit of a dragon's head and that's about it. the ride photo is the only Guardian-specific merch available at the park.

some of the queue area props appear to be from random other places. like there was a barrel which had something like "1850 distillery" written on it, which is obviously temporally/thematically and universe-ly out of place (not that that's at all unreasonable given the rest of the rideworld lore, there's totally a way it could have gotten there easily hh, see below), and I guess it's a spare or leftover prop from a Western-themed ride or something? others were generic sword'n'sorcery fantasy props (some of these are from the ride's previous life in Dubai though). there are also some pretty random props, like a dead stuffed roe deer's head on the wall and a.. comically large spoon.

there's music playing in the queue area, but it's not DA music, it's generic ye olde fantasy world music.

some folks there mistakenly thought that the long themed lead-up (it was pretty darn long) queue area with the props was the entrance to or start of something completely different, like a haunted house or maze type thing, or was the ride 'experience' in and of itself.

the ride attendant gives you the option of watching the new pre-ride movie or not. I guess they get sick of putting it on and listening to it 9000 times a day (valid), and also cutting it out reduces queue times as it's about five minutes long. it's screened in a little enclosed room at the end of the queue area. you go in and sit down, they show it to you, then you go through another door to the chair machine.

the in-ride movie is blurry and poor quality. I heard someone else who rode it say that it was so blurry that they had no idea what was going on hhh

Now about the new pre-ride movie. in the linked video, the start of the new pre-ride movie isn't included in full at normal speed as it seemed to be a compilation of whatever random fantasy-themed stock footage the video creator could find, stitched together. but again for the curious and the sake of completion: it starts out panning randomly around SPACE, like at the solar system and of planets and at the Milky Way. for a sec I wondered if it was made up of random old Mass Effect assets. then it shows dragons (FROM SPACE) invading an Earth-like planet where I suppose the Ferelden-y kindgom (formerly called "Noathen", now called "Elvia" or something) setting in the rideworld is now supposed to be set. these invading dragons invade either from space or.. another dimension?? or maybe from the future or both?? [see below], entering through a big green rift. (and they still have the green coloring for the rifts and call it/them "rifts" like in DA, which was honestly so funny to me for some reason). the whole panning in from space start to the movie reminded me a lot of the Easter eggs in the DA and ME games that, while they're just Easter eggs for fun and I don't subscribe to this theory myself (as DA is its own great, self-contained thing), could light-heartedly imply that the planet with Thedas on it is a planet in the MEverse (like the krogan head in the Winter Palace in DAI or the ogre in that ME dlc).

in the pre-ride movie, the kingdom of "Elvia" might have actually been called "Albion", which is the earliest-known name for the island of Britain. (it was hard to make out exactly what the king was saying there) the new pre-ride movie seems like it was made in England and ofc thats a common fantasy setting, so I could see it, especially since the king character's name was something like Aethylswyth, which sounded very "Old English". for me personally, if it was "Albion", it adds fuel to the fire of Caitie's cracktheory/"trying to make this fit"-headcanon for the ride story/lore (see Caitie's original video on the ride's previous life for this), that it's set somewhere obscure and backwatery in Ferelden, which is kinda England- or Britain-inspired. (dont take these thoughts or other thoughts in this post about the lore/canon etc too srsly pls hh, it's just crack for fun and I know tis just an off-brand themepark ride)

on the whole the new pre-ride movie is pretty random. there's a giant in it, but it doesn't look like a DAI giant. (is it his big spoon??) it shows a fortress in part of it which looks a bit like Skyhold if you squint, with the long bridge approaching it as the entrance. at one point one of the dragons that pops up is a dragon designed more in the style of a dragon as they are sometimes depicted in, for example, Chinese mythology and folklore. the "communication device" the king described had me rolling, it's exactly like a Dragon Age Skype Crystal or a working set of eluvians from Thedas.. I wondered if the video creator was inspired some by DAI promo images and took cues from the Inquisitor's green hand/the Anchor, since the king has a green glowing thing on (or in?) his chest. and when the king started listing the elements humans are made of, I was reminded of Fullmetal Alchemist.

also, "through a time rift".. I mean technically Dorian's involvement in DAI DOES show green space-time magic right? Where is this other dimension? ofc I know it's not literally Dragon Age, but it's funny to think about and to try and make it "fit" skhskdhfjhe. is it the Fade? the Void? from somewhere in-between like Tevinter Nights implies exists? or is it the dimension which has Thedas's mundane world itself in it - like maybe the dragons are invading this poor guy's kingdom dimension from Thedas? if so what tf is going on in Thedas?? did Solas' explosion at the Conclave ripple through spacetime and rip holes in the fabrics of other worlds as well - like is Solas out here accidentally causing interdimensional Space Dragon invasions? like, theoretically.. the new pre-ride move does reference the in-ride movie, and in turn the in-ride movie is still Dragon Age (!), so technically the new pre-ride movie IS.. kind of.. weirdly.. canon.

((the pre-ride movie references an "outerworld", implying that even in THAT dimension there's an outer world and an inner world, definitely more than one at least. and back on the dimensions thing, I'm not clear - are the dragons coming from Thedas dimension? or are they coming to Thedas dimension? "they came through the rift, human in form but with powers, the ability to fly [that's Eldron] and the ability to transform into dragon-like creatures [that's Alexia]" implies that the dimension on the other side of the rift - if the helpers came through the same rift as the invading dragons - is Thedas, because that's Eldron and Alexia from the Dragon Age in-ride movie being referred to, and Noathen where they're from is in Thedas somewhere. so some Thedosians have travelled to another world to save it?? Dragons are escaping out of Thedas? but.. from space? but also - the narration is telling us that Eldron and Alexia and the other Guardians brought with them from where they came from, as a gift, incredible advanced technology that the people of Elvia have never seen before. he then gives the example of "this communication device" which could be read meta-ly as meaning the television screen, and of plans to build a machine made of metal and advanced technology (meaning the ride machine you go sit on, which is a themepark machine irl obviously and in the 'world' of the ride, some kind of flying machine). so like.. are Eldron and Alexia from Future Thedas (think Avatar Aang/Korra, when by Korra's time there's like lots more machinery and a more modern feel), a Thedas which has advanced complex machines like idk, AEROPLANES? is that what they mean by "time-rift"? because they specifically did say "time". is that to try and explain the modern machinery? does that mean the invading dragons also came from the future, not just from space or another dimension? the other option: Eldron and Alexia came from alternate universe Thedas, which has more modern technology in it. but Thedosians Time-Travelling From The Future And Also Space And Another Dimension is so funny to me so lets go with that. my headcanon is that on the way to Elvia they also timetravelled through a Westernthemed time period and thats why theres a recent-modern period whisky barrel)).

in the ride's previous life, the explanatory hook was that Eldron made you a special harness or saddle thing with which to ride a dragon, which was what the ride machine was simulating. however now, the hook to explain the machine is that it's a gift of advanced technology powered by carbon, hydrogen, organic matter (Big Oil lmao?) etc. (I enjoyed that this explanatory hook got wackier between eras of the ride's life, much like the whole meta story of this piece of media itself. it was already weird because riding dragons isn't really part of DA. though I don't understand meta-ly speaking this convoluted explanation for the machine. dragon-riding isn't an identifiable or key part of the Dragon Age franchise, so they could have kept the idea that you're sitting on a dragon's back and flying around on that in instead of having this wacky explanation about a flying machine gifted from magical strangers from Back To The Future and it would have been fine. I love it though bc its so absurd)

And Tiny Dragon Alexia from the original ride experience is kinda referenced (unintentionally?) when the king introduces the dragon "Guardian" "Mia", as when she comes on-screen her size or scaling looks small/kinda off, so maybe Tiny Dragon lives on. so now we have Tiny Dragon Alexia, Tiny Dragon Mia, and Tiny Dragon queue prop. it's a Tiny Dragon Conference.

and like I just have so many questions. in her original video on the ride, Ghil Dirthalen wondered at length where in Ferelden/Thedas Noathen could be. where is Elvia? why does the pov of the pre-ride movie proceed downstairs into the room where the king is - like why does the king have his throne in a basement? is he in an underground bunker for safety because of the Space Dragon invasion? why does he say we "climbed" up when we have just gone down into his dungeon? why is the tiny dragon introduced as "Mia" when the tiny dragon witch lady in the in-ride movie is called "Alexia"? does the king's green glowing chest thing work like the Anchor - does he have a chest Anchor.. a Chanchor? where did they get Discount Gandalf from the queue area and why is he exactly like the Ghil Dirthalen Stock Theatre Wizards in her original video? why did they change the kingdom's name from "Noathen" to "Elvia" in the pre-ride movie when "Noathen" was already non-existent in Dragon Age lore? why did they scrub Dragon Age from or avoid Dragon Age in the pre-ride movie but leave the whole Dragon Age in-ride movie intact? are the "Guardians" Discount Grey Wardens? is the king's whole schpeel secretly an evil plot so he that can use our bodies for like necromancy-alchemy? why does the ride run on your flesh and are we about to be sacrificed in a blood magic ritual? do we end up like the husks in Mass Effect after our organic forms are broken down into compounds to fuel the King of Elvia's flying anti-dragon defense tank? is the actor of the king a park staffer who is into larping, or someone's fun nerd uncle who likes DnD? does Caitie not in fact agree that I am very handsome and smart, indeed the World's Most Interesting Guy? 😤 why go to the trouble of sawing off the dragon's DA-dragon horns when the in-ride movie is still Dragon Age?? why are the dragons invading from space anyway like what do they want??? how can I obtain the king actor guy's autograph? where are EA's lawyers? and why is there a giant spoon?

#dragon age #Not Dragon Age We Swears It #bioware #solas #video games #lul #long post #longpost #gpoy #mj and the world #saveserault #mass effect #(shoutout to the DA Archivists) #thanku to ghil for her vids and for permission to post this video here #this whole episode in my life and in the DA fandom feels like a strange shared fever dream. was that real? am i? is Skegness? is DA4? r WE? #lmaoo #skegness the swampy ass crack of england #Fantasy Island - where dreams go to die (but fever dreams live on) #(cant believe one of the pretend Wardens from Ghil Dirthalen's Eldron's fake Warden cult was literally there irl at Fantasy Island. im ded) #and if u are reading this thinking wat the heck fel r u ok its just a rebranded themepark ride like calm down its not That Deep #i grasp ur collar and raise you that #in the time between dai and DA:D i have fully lost my mind #what dragon age does to a guy #while we wait for dragon age 4 this is the plot of dragon age 4 #on my knees constructing elaborate headcanons about and trying to make sense of a Not dragon age theme park ride #surrealism.txt

[asha-mage]

Since it's my birthday my friends got me the amazing gift of 'watching the Wheel of Time show while occasionally stopping to discuss/let me loose my mind' for which I am incredibly grateful. A few random observations from this time through, as I attempted to view it through the lens of the entirely WoT uninitiated (as my friends are)-

The group shots, where the camera passes from one of the Emond's Field 5 to another, do this clever trick where Rand is never actually standing on his own. He's always standing beside or behind someone in one of these shots, so the camera doesn't actually have to cut or pan away from someone else to get to him. This serves the purpose of highlighting him in contrast to his friends, but also to subtlety downplay his presence to the audience, and build up to the Dragon reveal in episode 7 very effectively.

The cinematography in general is so exceedingly rich and delicious- the stark white of the Whitecloak camp contrasted with the bloody reality of their actions. The bright primary colors used to make the Aes Sedai visually pop and feel magical and strange, even as they are dressed (for the most part) practically for their traveling (a complaint I had about the Witcher, aside from everything being brown and grey all the time, is that the mages show up to battles dressed in ballroom dresses instead of you know, clothing that would make sense). The subtle use of lighting and camera angle to create a sense of vast isolation of Shadar Logoth, fear and danger in the Ways, and cramp sweltering heat in the Blight.

Moiraine's opening narration in episode 1 is essentially a summary of the information we get from one of the epigraphs at the ending of the Eye of the World prologue, to whit:

"And the Shadow fell upon the land, and the world was riven, stone from stone. The oceans fled and the mountains where swallowed up. and the nations where scattered to the eight corners of the world. The moon was blood and the sun was as ashes. The seas boiled, and the living envied the dead. All was shattered, and all but memory lost, and one memory above all others, of him who brought the shadow, and the Breaking of the World. And him they named Dragon." - Aleth nin Tearin alta Camora, The Breaking of the World, author unknown, the Fourth Age "The world is broken. Many many years ago men who where born with great power attempted to cage darkness itself. The arrogance. When they failed, the seas boiled, mountains where swallowed up, cities burned, and the women of the Aes Sedai where left to pick up the pieces. These women remembered one thing above all else, the man who brought the Breaking of the World. And him, they. named Dragon." - Moiraine

This makes me suspect their was an earlier version of the script that actually used the epigraph (maybe even both of them). I have mixed on feeling on this, as the epigraphs are one of my favorite artistic choices of Jordan's and really help emphasize the history and depth of his world, but I think filtering it through Moiriane and making it slightly less opaque was a smart choice to convey the information to the audience. I also think this works on a character level as well- here is Moiraine's understanding of this information, shaped by her biases.

Every re-watch also makes me more and more comfortable in my 'the show is a future/past turning of the wheel from the books, the broad events and truths being the same, but seen in one of those endless variations we hear about' interpretation of the series. The heart of the story and characters is the same, and the broad strokes and framework are the same, but it's in the details where things emerge as different. This interpretation has the benefit of fitting really really well with the meta-narrative stuff Jordan always liked to pull, and in freeing I think the show expectations of being a one-to-one recreation.

That said I defiantly felt the cracks in the final two episodes as a result of the Covid shutter and loosing Barney Harris more strongly this time- some of that being that this is my first re watching of season 1 since I've seen season 2. You can practically see the things they wanted/planned to do that had to re-worked because of circumstances beyond their control. Mat's absence in the group argument scene (and the 'I am so tired of you two fighting over her' line that was clearly meant to be Mat's), as well as the lack of bigger/more cohesive battle scene in Tarwin's Gap. You can also tell they hadn't quite figured out how they where going to re-work season 2 yet given that the ending for season 1 had to be changed last minute (for example, their is no reason for Moiraine to just outright admit that she released Lan's bond unless they hadn't yet decided that was where their arc was going yet).

I think the show does an exceedingly good job of structuring it's exposition to the un-intiatited, trying to stagger it so that audience is largely learning new things in pace with the characters. I know people where frustrated that things like the War of Power have yet to come up in earnest even in the Latra and Lews scene, but I think the slow and steady reveal of things matches both the core idea of 'their is always more you don't know', and trying not to overwhelm the audience. My friends had no trouble following what was going and picking up the bigger implications/subtext that underpins a lot of information. 'But why did the Dragon try to cage the Dark One? It doesn't seem like it was that simple.' came up a few times especially.

The detail that what jump-starts Perrin's wolf brother connection is having his wound healed/cleaned by the wolves in that scene from episode 2 is so incredibly clever, and a good twist on the traditional 'werewolf bite' mythology.

I love the deliberate choice to incorporate so many random ruins and remnants of things in the background of shots. Not just the 'dilapidated stone buildings' that the characters camp in, but things like the trio of carved faces that Egwene and Perrin run past while fleeing the Whitecloaks, or the boundary stones Mat and Rand pass on the road, or even just the small carvings and pillars scattered about the cave where they are holding Logain. It all helps to make you feel that ancientness, that brokenness of this world more effectively.

The reoccurring use of the Dragon's Fang to symbolize violence and destruction: the Trollocs using it as a scare tactics, it appearing in the blood in the pool after Nynaeve kills the Trolloc, being burned into Siuan's ruined childhood home....and the way that contrasts with it's use in the finale episode, when we see it whole and unbroken in the seal/yin yang symbol for the first time was really really clever. One of my friends actually gasped out loud and went 'oh' at the first shot of the whole seal when it clicked.

The show does an exceedingly good job of maintaining that core idea of the series that it's about our relationship to violence- violence never being casual or simple or easy, but always raw, hard and bloody and a little bit ugly. EVen subtle things like the way the show depicts Moraine hurling stones at the Trollocs with uncomfortable frankness, trying to literalize what in most fantasy media would be an abstract. Take it from I cast stone 2, to I inflict horrible blunt force trauma on another creature. And of course everything re: Perrin and his ax.

I have more thoughts, but I think I'll save some of them for after we watch season 1, because they relate strongly to stuff from there.

#WoT #Wheel of Time #Wot On PRime #Wheel of Time on Prime #WoT s1 #WoT Meta #Wheel of time Meta #WoT Musing #Rand al'Thor #Moiraine Damodred #Perrin Aybara #Egwene al'Vere

[theeeveetamer]

One subtle thing I like about Fire Emblem Engage so far (no spoilers)

Or: the subtle ways in which game design pushes the societal expectation of Male-As-Default (and how Engage managed to avoid this one simple issue)

If you're a lady gamer, you might have noticed the thing I'm going to talk about. If you are a woman and you haven't noticed this, that's fine too, because it's such a deeply ingrained cultural phenomenon that you probably don't even notice it on a conscious level anymore. But I'm sure you've noticed it somewhere in your life. That's right, I'm talking about Male-As-Default, AKA the assumption that you are male until proven otherwise.

Maybe you got into an internet argument and were repeatedly referred to as "he" (and then you had the conundrum of correcting them and getting called "bitch" instead of "idiot"). Maybe you got a cute new puppy dog and everyone at work kept asking how "he" was doing. Maybe you were hyped for a new game, only to find out that the female protagonist was on exactly 0% (or at least in significantly less) marketing material than the male protagonist. Or, heck, maybe you're even plagued by constant junk emails advertising penis enlargement services despite your lack of one and your lack of interest in acquiring one.

There's far too many broad examples for me to go over, so I'll cut straight to the point.

Whenever there's a character creator, the "man" option is always first

My first Pokemon game, and one of my first games ever, was Pokemon Crystal. And while it's an improvement that there was an option to play as a girl at all, one of the very first things you see is this:

A list, with two options, and "boy" is at the top. If you want to play as a girl, you have to explicitly scroll down to the girl option.

This persisted throughout most of Pokemon's lifespan:

And Pokemon is hardly the only offender in this regard. Dragon Age, Mass Effect, and, heck, even my darling Stardew Valley are all guilty of this design sin.

Fire Emblem, too, has a history of this.

The assumption with all of these games is that you will want to play as a male character. If you want to play as a female character, you have to explicitly do an extra button press to choose the option. The female character is frequently posed behind the male character, under him, or in shadow initially (if she's shown on screen at all). At the very least, the cursor defaults to the male option first, even if both characters are shown with equal prominence on the screen intially (such as in Pokemon gen 6 and gen 7).

"It's one extra button press!" I hear some of you saying, "Who cares?"

Well, it's not exactly a secret that women have frequently been unwelcome in nerdy spaces in general and gaming spaces specifically. This is a meta-message, a subtle one, but one all the same. "You're unusual in this space. You are not who we are expecting to be here."

So how do you fix it? Easy. Just make men press an extra button too.

Both versions of Alear are presented with equal prominence on the character selection screen in Engage. The game does not automatically default to one or the other. It does not autoselect M!Alear while hiding F!Alear in shadow or behind him. If you want to play male!Alear, you press left and then A. For female!Alear, you press right and then A. Male is not default, just one of two options.

#fire emblem #fire emblem engage #fe engage #fe17 #fe16 #fe14 #fe13 #pokemon #long post #no spoilers #fire emblem alear #FE Alear #Yes I know all the trailers had M!Alear I'm specifically talking about the game itself #marketing departments are a whole other beast

[alpaca-clouds]

The DnD Lore Problem - Accessibility and Characters (and how BG3 might not help)

You know what? I am gonna talk about DnD Lore and the accessibility of that lore. I talked about this exessively before. But to summarize that long blog very shortly:

Wizards of the Coasts currently makes the mistake of putting basically most DnD Lore behind a paywall, rather than offering official ressources. This leads to a lot of tables actually playing with their original worlds, rather than Toril/Faerûn, which in turn also means, that they are not spending money on official products. While my anti-capitalist ass things that the lore should be accessible just so that people can enjoy it, I also think that this inaccessibility actually costs WotC A LOT OF MONEY.

Today I want to talk about another aspect of this inaccessibility, that is kinda linked to some of the stuff I talked about before, but also is linked to the things WotC is currently not doing in terms of both Honor Among Thieves and Baldur's Gate 3. A thing, that also might not quite work with BG3, though.

See, the core problem of this inaccessibility is, that a) there is no official place where you can just get base information about the world and the timeline, b) this world has grown organically for about half a century, which lead to clutter, but also to the fact that things are at times showing their age.

I might actually make a post on the gods and religion in the world at some other point - but for now let me talk about something else: Extended universes and access points.

The Problem with Extended Universes

Okay, let's talk about how a lot of the big franchises for the longest time have told their meta stories - including DnD - and how it kinda struggles to find its audience. The extended universe.

I am frankly not entirely sure what franchise has started this. I am assuming it was Star Trek? But that is just a guess. But at some point in the 60s oder 70s someone had the idea that: "Hey, we could totally give the fans more to chew on by making official tie-in comics and novels!"

And that was how it worked for very long. Like a lot of the big franchises had at times around 10 novels and comics (if not more) releasing per year that would just explore other parts of the universe and allow the very engaged fans to... well, learn more about the world. Now, I am not going to talk about all the drama connected to the Star Wars stuff, but if you know, you know.

DnD did this too. (As did a lot of the big TTRPG systems, like Shadowrun and WoD as well.) Having a lot of tie in stuff - in the case of DnD mostly novels - that told more stories on the world and also established like some big player characters within the world. Elminster Aumar is probably one of the best examples here.

Those established some characters that play a big role within the world and also told just more stories of those big world changing events. In the recent DnD history that would be stuff like the Time of Troubles, the Spellplague and the Second Sundering.

Now, here we have one big issue. And one issue where I am not entirely certain where it arose from. But the fact is: In recent years, people invest way less into those kind of books. This is just a fact.

It is the reason why those big universes went from publishing like ten novels a year to often not more than three. We saw that in the failure of the extended Universe Disney tried to pull off for Pirates of the Caribbean (though I will still maintain that another big problem was that they barely marketed that at all - hi, everyone, who did not know there were extended universe novels for PotC). We also saw that with League of Legends, who really, really tried to tell a lot more stories with short stories and then also some novels set in Runeterra, before finally giving up, because most people didn't care.

In terms of Dungeons & Dragons I can totally see that a lot of people will also say: "I do not care what some other people's characters do within the world." Buuuuuut...

Stories actually can help you understand the world. Which brings me to...

The Elminster Problem

Okay, I do not know how to put this, but... If you look at the novels coming out for DnD literally half of them focus on either Elminster Aumar or Drizzt Do'Urden. Characters that have pretty much been around since the very beginning and. Look, I don't know how to put it but... It shows.

I am currently reading some of the newer novels and the fact is, that they do not really feel like fantasy books from the 2010s and 2020s. Because Elminster and Drizzt are very clearly characters originating in a very different time when stories were told very differently.

I mean, just look at Elminster. He is a wanna-be Gandalf character. He is from the early, early days of fantasy and... Look, I personally just really am unable to identify with a character like this.

And while Drizzt is a bit better as a character, but even he... How to put this delicately? They are both very much characters written by white cishet men for white cishet men. There, I said it.

I am noticing this a lot with reading Salvatore's books currently. Like, female characters are not overly sexualized, which is a plus. But they also very much exist most of the time in service to a man or at least in relation to a man. There is not a lot of female characters running around that have their own agency.

Which kinda leads to another thing. I actually saw this one brought up by one of those very cliché nerdy Youtube channels talking on DnD, who recognized the problem as well: There are basically two large groups of DnD players who barely intersect. One is the cliché nerds, the other is a largely queer and largely diverse group. And the youtube guy, who was very in the white cishet nerd group, suspected that actually the later group makes up more of the player base by now.

Buuuut... that is also the group who really do not get catered to by the canon lore so far. That was until 2023 with DnD:HAT and BG3 - both catering actually a lot to those groups.

Honor Among Thieves and the undermarketed books

Okay, here is the thing: Honor Among Thieves had two novelizations (one for young readers, one for older readers) and two tie-in novels. One featuring Edgin, Holga, Forge and Simon before the stuff with Sofina went down. And the other featuring Simon and Doric taking place at the time while Ed and Holga are in prison.

I am honest: I really, really liked the Ed and Holga novel. It was super cute and charming and really gives a better understanding of the characters.

But of course once again there is the thing: The books - just like the Pirates of the Caribbean books - were super undermarketed. Like, most people I know off do not even know that there were books released. Heck, even within the actual active fandom there are again and again people who will be surprised that those books exist.

And... I actually also think that the books waste one big ass opportunity, by not at all tying into the broader lore. They are super self-contained.

And that is actually just a waste. Because the place were Edgin lived in? Yeah, that place was super affected by the Second Sundering. Heck, that might have had to do something with his troubles.

Why is that an issue? Well, because... there was not a lot going on there that was inviting you to further interact with the world and learn more abotu what is happening. For once, again, because I think it is a super fun and interesting world. But also, because... WotC wants to make money and is so bad at it, that it really boggles my mind.

See, here is the thing: They could've used those characters - that really are fun and sympathetic characters - to create an accesspoint into that world.

Alright, so what about Baldur's Gate 3?

Which brings me to Baldur's Gate 3 and the thing that a lot of people have noticed: The other Baldur's Gate games - as well as some of the other games releasing around 2000 - had their own tie-in novels going into the characters, their background, but also what they were doing in the future.

Something that so far BG3 has not done, which some fans have already critized. Because a lot of people have actually gotten really invested into those characters. A lot of the kind of people especially who so far are underserved by a lot of the tie-in stuff: Queer and generally diverse audiences.

Like, I think there would be a lot of people, who totally would read a novel, about...

Astarion getting drawn into some sort of political intrigue in Baldur's Gate while serving Cazador

Karlach's time in Avernus

Some Adventure Wyll got dragged into while being the Blade of the Frontier.

Shadowheart going onto a mission for Shar (maybe together with Nocturne)

Whatever Gale was doing during the Second Sundering

Lae'zel's youth among the Githyanki

The Dark Urge and Gortash starting up the entire conspiracy

... whatever Halsin had been up to in his long live

Heck, people would eat that stuff up. And you could not only use it to worldbuild but also once more create some access into the world and what happened there. And they are kinda wasting a lot of potential by not bringing out those novels.

Of course, there is one big problem: BG3 makes it kinda hard to write about anything happening after the ending. Because as it is right now, someone is gonna be pissed if a novel set after the game does not go with the decision for a character they go for. Like, Ascended Astarion fans are gonna be pissed, if they go with Spawn Astarion - and the other way around. Same goes with every other character where you have those big decisions happening.

This is something they will have to tackle eventually if they plan on doing something with the characters in the future (no matter if we are talking Larian or WotC), but it is definitely an issue that just arises from the structure of the game.

Bonus of course is, that you just cannot define a canonical Tav. But without a Tav, you also gotta act as if the story of the game happened without a Tav, which still is not ideal. I am honestly not sure with how they are gonna deal with this on the long run.

Access via Characters

Alright, but what is the actual issue here?

Well, basically there are two hurdles to overcome for the accessibility of the lore. The first is the physical accessibility - aka, what I talked about in the last long blog post. The second meanwhile is more related to making the lore engaging. And that happens through characters.

It is for me what happened last year. I actually tried to engage with the lore as the movie came out - but only when BG3, that tied a lot more into the actual lore was released I actually found proper access to the lore. Because I had concrete things I could now look for because the game hinted at so much both through characters and major story events happening.

Here is the thing: If you just have the lore on its own, it is about as engaging as reading a history book. Sure, as your local history nerd I find reading history books fun, but most people really do not want to read a history book to engage with a hobby.

People will however engage with stories and characters that interest them. Which is where we get back to the thing I talked about at the beginning: Right now most canonical novels and stories still cater to an audience that is male, cishet, white and also, let's be frank, definitely over 30 years old. Leaving behind a lot of potential fans that theoretically make up a big part of the player-base, but actually do not engage a lot with the lore for this exact reason.

Look. DnD right now is fairly close to being an actual mainstream hobby, due to the recent proliferation of formerly nerdy stuff. And yet WotC is bleeding money, especially in regards of DnD.

If you ask me, sure... DnD should go into public domain. But it doesn't. And given that there are so many creative, skilled people working on this - no matter how dumb Hasbro is and how shitty of an employer they are - I actually do want them to succeed. I have really become engaged with this world now. And I think it is a pity that they clearly do not know how to market this stuff.

#dungeons & dragons #baldurs gate 3 #dnd #baldur's gate 3 #bg3 #dungeons & dragons: honor among thieves #honor among thieves #dnd:hat #tie in #novels #dnd lore #accessibility #astarion #karlach #shadowheart #wyll ravengard #halsin #gale dekarios #lae'zel #elminster #drizzt do'urden #edgin darvis #holga kilgore #wizards of the coast #wotc #star wars #league of legends

[razumdars]

I have a few criticisms for the endgame of Baldur's Gate 3, but one of my big ones is that the Netherbrain is...not a good villain.

Yes, we've been hearing about the 'Absolute' the entire game. The mysterious god who has a vast, terrifying cult under her control. The mystery builds and builds until you discover, at the end of Act 2, that the Absolute is in fact an Elder Brain being puppeteered by the Chosen Three (one of whom was the main villain of Act 2). Throughout all this time, there is also the mystery of the Dream Visitor.

We then spend the entirety of Act 3 dealing with the remaining Chosen and the revelation that the Dream Visitor is the Emperor. The Netherbrain is a looming threat, but it is abstract in comparison to the real, tangible threats that are Orin, Gortash, and the Emperor.

And none of them are the final boss.

Yes, depending on your actions, the Emperor may ally with the Netherbrain at the very end; but at that point he has become a puppet of the Netherbrain; another thrall, a stepping stone to reaching the true threat: the Netherbrain.

But it is just exhausting to go through fighting Orin and Gortash, to only then have to go against the Elder Brain and sit through a scene where no matter what you do, no matter what you roll or what choices you make, the same outcome always occurs: the Netherbrain breaks free and a bigger and even more exhausting end battle waits for you.

The game tries to spin it so that the Netherbrain was actually the secret mastermind the entire time - manipulating the Chosen Three and biding its time - but it just doesn't feel earned. They've already done a villain switcheroo on us: the Absolute isn't a god, it's an Elder Brain being controlled by the Chosen of the Dead Three. Switching it back and saying "Psych! The Netherbrain was the real final boss the entire time" feels cheap. What's more, the Netherbrain just isn't a compelling villain.

I know Dragon Age and Baldur's Gate comparisons are tired at this point, but look at Dragon Age: Origins. The Archdemon may be the final boss, but the villain most people talk and engage with is Loghain. He's compelling, he has motivations and drives, and depending on what background you picked his actions could have serious repercussions for your characters' friends and family. Loghain is the villain; the Archdemon is just a big monster. And it's the same with the Netherbrain.

Just look at how people are engaging with the characters; there's a plethora of meta being written about Thorm, Gortash, Orin, and the Emperor. I'm not seeing the Netherbrain get that same level of interaction. Though it is sentient and has its desires (the Illithid Grand Design), it's just a slightly more intelligent Big Monster that needs slaying. And for an RPG, a game that should be character focused, that is an immensely disappointing final boss.

I think instead, depending on player choice, one of the three Act 3 antagonists - Orin, Gortash, or the Emperor - ascends, takes full control of the Netherbrain, and they're who you have to fight. The final battle has more impact that way - you're fighting against a villain who has actual character, who you potentially have built an actual relationship and history with, and who you actually care about fighting. Imagine how satisfying it would be for the final battle to be against Gortash if you're playing Origin Wyll or Karlach? How much more tragic it would be if the Dark Urge's duel with Orin was the final battle instead of a mid-Act 3 moment? How earned it would feel for it to be the Emperor you're fighting against if you've spent the entire game being manipulated by him?

There are a plethora of interesting and compelling villains in Baldur's Gate 3, and for some reason none of them are the final boss. The final boss is just a big monster. And that's such a big letdown.

#sophie.txt #baldur's gate #bg3 #bg3 meta #bg3 critical #kinda? this is more Constructive Critique but i'm putting the critical tag just in case #netherbrain #enver gortash #orin the red #the emperor #bg3 emperor

[iodrawsandtalks]

Criticism of Penacony and why i think HYV shouldve quit while they were ahead.

//vent towards the end, references to suicide while those references are quest spoilers Recently I've been doing world quests and grinding out the new region and been repeatedly finding myself walking straight into microagressions and slights to the point where it's been jarring enough for me to put my game down. As a black dude playing HYV games i know well enough not to act like the stupid billion dollar game company cares about appealing to minorities but its 2024 man.

First off, the obvious issue. Penacony has been repeatedly mentioned by the devs themselves to be based off of the Jazz Age from the U.S. a few decades ago.

The Jazz age was a period of time in American History between the 1920's and 1930s where the popularity of Jazz just boomed from being like an indie type of music to one of worldwide popularity. Obviously, Black people in that era are wholly responsible for Jazz itself.

So yeah, Penacony takes its origins from a key black history movement. Penacony, the region that released at the start of February. Black History Month. Star Rail is arguably one of the most popular games right now in terms of outreach because it's free, its new, and its colorful/futurisric etc.... And yet....

Just like with the rest of the HYV games that take real world inspirations, they fucked over black people and their stories.

In Honkai Impact 3rd, basically we had this one black girl who's like sandpaper brown and complains about how much her DARK SKIN ruins her look and how she bleaches her skin using various products to keep it lighter. She is ashamed of her DARK SKINNED mother who's a military woman. Her father is absent. Her mother is also a grown adult who is a B-rank soldier(main character white teenagers are S-rank for reference). Carole Peppers is her name if you want to go further down that rabbit hole.

In Genshin Impact, besides the fact that people with different skin tones are CLEARLY sectioned into certain regions(no seriously there's no real reason why i shouldnt see a black person in any of the existing regions.), and besides the unnecessary amount of whitewashing and besides the perpetuation of the idea of melanin NOT being natural, every single brown/black character in the game has awful playstyles and/or poor matching with weapons/artifacts, inaccessibilty, and they NEVER make it to the top of any meta tierlists. I'm not outright saying they're bad they're just harder and almost never get specialized weapons.

The only previously relevant example in Star Rail was Arlan, a lightning/destruction character. He chews through his own HP and unlike characters like blade/clara, does not have resistance or healing to handle that. Serval, the other lightning 4 star, out-dps's him veryyyyyyy easily. So yeah, the ashy black person character basically dies if you use him for too long and is never relevant TO ANY quests except where he needs to be the sidekick.

sometimes these games have dragons, animals that can understand and process english, or magic.... but then not black people...

Penacony has no black main characters. No black stories of relevance. Yesterday found an NPC whose name was detracted from chocolate and the player had the option to let commit suicide.

yeah ill get to that 💀. This large mass of at least 4 supernatural looking characters and yet no black person. NOT EVEN ANY OF THE CHARACTERS FROM penacony itself are black.

so yesterday I was grinding clockwork quests and had to help out some apathetic shopkeeper named Cocona. Her story was almost a bit sad but midway into going through her background i realized her name is one letter off of cocoa. now imagine being on a creative team coming up with a name for a melanated NPC and somebody decides on fucking CHOCOLATE with an extra letter. before anybody implies that one was something i shoehorned, think about how itd go if i had a bunch of POC characters and one white girl named crackerella.

Cocona and her once again sad backstory reach a hard tipping point as the player follows her to the edge of a building and can either grab her to stop her from jumping or simply let her end her life jumping off the building.

Yes we've seen how this game lets you make choices and watch the consequences of your actions, but there have been established rule-breaking predecents. Take Ruan Mei's quest where you have no choice but to eat the cake she offers you and once again lose the ability to make a choice on saying anything related to her. or any time the trailblazer gets pushed into a fight and cannot de-escalate. ....with this in mind consider why was saving the cocoa girl from killing herself NOT a forced option.

normally id be the kind of silly person looking for lore bits and stuff and making theories, (like how clockie is from the path of elation :v)but as a black dude this whole region is disgusting. THEY ARE GENTRIFIYING JAZZ AND COVERING UP ITS BLACK ORIGINS idk who said HYV cared about their audiences they fucking dont.

wouldve posted this on reddit but whoop dee do i am NOT getting doxxed today.

#honkai star rail #iotalks #penacony #discussion #hoyoverse #mihoyo #gaming while black #the jazz age #hsr discussion #hsr #sometime id like to play a fantasy game as a black person and not feel like a clown #tw sucidal ideation #jazz music #i hope they lose money im so serious like i hope kotaku or some gaming forum writes an article abt this shit #genshin mention #hi3 mention #anti blackness #id be mad but there's more important things to be mad about on the other end of the world so im just miffed abt this #Youtube

[autumnmobile12]

Felt like sharing some speculation today:

All right, so we know My Hero Academia has the something of the same premise as X-Men in the sense that select a group of humans were suddenly born with powers, the whole 'evolution leaps forward’ deal.

We see in My Hero how the First Generation of people with Quirks, especially the ones who appeared non-human or semi non-human, were originally ostracized like the mutants of X-Men are, but then more people were born with powers and then more people had powers until it became a widespread phenomenon and ‘normal’ people became the minority and society had to restructure itself to accommodate the new normal.

But have you read The Resurrectionist: The Lost Work of Dr. Spencer Black?

The plot is a 19th century doctor who theorizes that mythical creatures like the minotaur, harpies, sirens, and the like all existed millions of years ago but slowly interbred with humanity and eventually died out altogether.  So he believed that when someone was born with extra fingers, limbs, a tail or otherwise didn’t have the typical human shape, it wasn’t so much a mistake in genetic coding as it was the extremely recessive genetics of those ancient creatures trying to reoccur in the modern day.

...

Definitely an interesting premise, so now I’m wondering if the My Hero world has a cult, conspiracy theorists, or even some scientists/historians that have similar views regarding mythology.

If this whole Quirk thing happened back in the Stone Age where no one had the benefit of science or awareness of DNA, anyone born with an otherworldly power would have been worshipped as a deity. Or the ones born with a non-human appearance would have been reviled as monsters.

So following the idea of The Resurrectionist, maybe the sudden appearance of superpowers did lead people to take a closer look at the old myths and consider the stories of the gods/goddesses of old were originally stories of people with 'Quirks' who rose to power.  Humans with meta-powers ruled the world for a few centuries, then those powers inexplicably died off. For a variety of reasons or maybe unknown reasons, humanity lost that history but remembered the old stories and chalked them up to just myth until the powers that made it possible began to reappear full force several millennia later.

Some myths began as historical events but in being handed down hundreds of generations, the multiple tellings and retellings exaggerated them into the realm of impossibility.

Lightning/electricity powers:  Zeus, Thor, Hinon

Fire powers:  Hephaistos, Surtr, Hestia, the phoenix

Foresight:  Any seer, prophet, or oracle that appears in any myth ever

Ice powers:  Yuki-onna, Skadi, Morana

Water powers:  Poseidon, Chalchiuhtlicue, Anuket, Tlaloc

Plant-related Quirks:  Demeter

Gigantification Quirks: Giants, titans, nephilim

Ryukyu:  Is a dragon.  ‘nuff said.

All Might:  Herakles

Tokoyami having a bird head but otherwise appearing human is pretty reminiscent of the old Egyptian gods.

Hawks:  Any winged creature; take your pick.  Personally, the one that comes to mind for me is Hermes.  He only had wings on his sandals, sure, but the trickster archetype resonates.

Tsuyu: Naiads, nymphs, rusalki, any kind of water fae

Momo: Sedna (created sea life from her finger bones), Ukemochi no Kami (produces food from her own body)

Best Jeanist: This one's a bit of a reach, but the fabric thread thing coupled with the long, spider-like limbs kinda brings to mind the story of Arachne the weaver.

We do get a nod to Ancient Greek mythology with the prison Tartarus.  What better place to lock away beings with god-like powers than the prison of the Titans itself?

Obviously an incomplete list, but you see my point.

Personally, I'm leaning toward cultist ideology with this one as I find it hard to believe every civilization would have forgotten about a previous appearance of Quirks. But civilizations die off, civilizations are overrun by others and their histories are suppressed, maybe this hypothetical 'previous Quirk phenomenon' wasn't as widespread as the current one and so fewer people were affected and therefore fewer people were alive to verify the truth of facts, maybe this hypothetical time was from an age of oral history and nothing was documented properly, so not impossible just really, really improbable.

Still, I love mythology and I find it an interesting headcanon to think about.

#my hero academia #the resurrectionist #hawks #fumikage tokoyami #keigo takami #ryukyu #mythology #folklore #bnha #mha #boku no hero academia #headcanons #quirks #all might #yagi toshinori #tsuyu asui #momo yaoyorozu #denki kaminari #tartarus #best jeanist #dabi #endeavor #shouto todoroki #heteromorphs

[thana-topsy]

I love your TES magic headcanons!! Do you have any thoughts about the Thuum? I'm curious about how 'bend will' would feel to the person it was being cast on. I imagine it depends a lot on the intent/mindset of the caster.

Also, what do you think was the deal with the mind control thing that Miraak had going on in Solstheim?

I live for well written TES worldbuilding/lore, the official stuff we're given simply isn't enough. :)

Wow! This ask got SO buried and I totally meant to answer it sooner! My apologies. I got caught up in the thinky thinks over my own headcanons on the Thu'um and then my brain wandered off into the great wild unknown.

As with all TES lore meta, I really enjoy approaching it from an in-world view as opposed from an omniscient, definitive "this is the way it is" view. So I'm going to use this as a writing prompt and allows some of my Dragonborns to answer with their opinions:

---

Aerik: "Well, I'm not sure if it's because I've got Nord blood or because I grew up in Skyrim, but the Thu'um is as much a part of my culture as poetry and song. It's another form of expression, albeit a bit more expressive and, uh, explosive than just belting out The Age of Aggression. Though I guess it depends on the tavern you're in... Anyways, it's just another form of language at the end of the day. Sure, it was a language that was never meant to be used by mortals. But, as history will attest, us mortals love to stick our noses into places they don't belong. We not only learned the Thu'um, but learned how to create our own Shouts never before used by dragons. How great is that? "But as far as Bend Will goes, I've only ever used it on dragons. But I have been robbed of my own free will before, and it's not an experience I'm looking to repeat. Not even on other people. I'll keep my opinions of Miraak to myself for the time being, but desperate men do desperate things. And when those men have a tremendous amount of unchecked power, those 'things' can end up hurting a lot of people."

Elanwe: "All language is a form of creation! The Thu'um is no different. There was a time that we spoke spells out loud in order to cast them, before we refined and reshaped the way we commune with our connections to Magnus. To speak is to create. The Thu'um presents this concept in a very literal form. "I have yet to encounter a Shout that can bend the Will of others, though I have no doubt that it exists. I would hesitate to use it, unless absolutely necessary. Dark magic, that. To control the mind of another. I imagine it would feel like being a prisoner in your own body. Perhaps a bit like when your arm goes numb from sleeping on it. Only walking and talking. Brr... unsettling."

[This Dragonborn wishes to remain anonymous, as they have yet to be revealed]: Well, hmm. I'll be honest, I haven't been able to do much research into the Thu'um yet. And Nordic customs are a bit... beyond me. But I can describe what it feels like, I suppose. When I encounter new words. It's like remembering something you forgot, but you don't remember when you learned it. Like a very, very distant memory. Maybe I'm explaining this terribly. It's like you know you know the word, and you have this deep understanding of what it means. Without ever having learned it. Wow, this makes no sense. I'm so sorry. I'm... gonna go."

#topsy's asks #oc: aerik #oc: elanwe #mystery dragonborn #skyrim #tesblr #q

[poibynt]

This is a really long-winded work up to a fic idea/vague character analysis BEAR WITH ME.

this'll be the last HTTYD meta post of the night. It's hard to pinpoint when Cowell fully created the later book's storyline (The seeds really start getting planted in 5, but of course 8 kicks things off, but was that the book when she first truly knew? who knows) but it's obvious the end game plot wasn't conceived by the start of the series. Cowell manages to transition from mostly episodic style adventure books to an overarching plot pretty well but there's some occasional wonkyness. The most fascinating weirdness to me is how the earlier books treat dragons and their societal standing.

I am doing a very out of order re-listen rn so I could be very wrong but while dragons are treated as 'creatures to own' from the start the slavery and mistreatment of dragons by humans starts to really become more textual rather than messy implications by like the 3rd and 4th books. But I don't think Cowell knew if she wanted to Unpack All That Right Now just yet when writing those books, so we get this weird ground where the mistreatment of dragons is there and explicit but none of the characters linger or reflect on it. Specifically in book 4 Oneye is all very "y'all are fucking pig slave drivers" and Hiccup doesn't object or anything but does not think about or engage with Oneye's rhetoric at all. This was a tad jarring coming off of listening to Hiccup giving a massive impassioned speech about how slavery is disgusting and needs to be eradicated in 10 to Hiccup meekly telling Snotlout not to whip dragons for fun in 4. Of course, Hiccup is a child and very rarely do elementary schooler age members of the oppressor class fully understand the abusive systems they profit off of (and obviously Hiccup not standing up to Snotlout is a whole other thing bc Snotlout is a horrible little shit. I'm not condemning Hiccup for not doing much here). Hiccup has all the groundwork of becoming the little leftist abolitionist revolutionary he ends up but he isn't there just yet.

This should have been ground for a bit of a character arc. And yet, it sort of wasn't?? Kinda?? It is but isnt. I think by 7 Cressida knew where the series was going enough to know that Hiccup needed to have a personal reconing with slavery & that's what the Northern Wanderers were for. Hiccup has a close brush with human slaves, gets marked as a slave and comes to see their humanity and dignity despite the rest of his friends and his culture not respecting them or their personhood. On paper, that's decent. Maybe not very good indigenous rep, but decent plot wise. However, it doesn't entirely work. Firstly because Hiccup should already know that captial S Slavery is Bad because of 5. That's a large part of 5. And yet I do not remember Hiccup ever really having much dialogue or internal introspection about slavery and the horrors of it & how it has effected Windwalker and those around him. The narration drills in it's awfulness but Hiccup sort of...doesn't super acknowledge it. Which is weird bc Hiccup is so pro dragon and such a good person you think he might be a bit angry or have some shit to say about Lavalout island or what happened to Humongous (I think there was some 'wow that's awfuls' but nothing much more then that. Or maybe I'm mis remembering grain of salt) 5 should have already done this, but again in 7 we don't get any introspection! The wanderers say a lot of things to Hiccup. They call him a devil, they say that all of history is against his kind, they think that he is inherently irredeemable and should be killed before he himself does harm. Hiccup doesn't think about any of this. And so the attempted arc kind of...falls flat for me. But cool Hiccup is in theory like yeah capital S slavery is bad. Then 8 is what REALLY starts off on Hiccup's abolitionism. Hiccup saves Furious, empathises with the chained monster against possible best judgement, and is disgusted by his torture. He wants to free all the prisoners, everyone locked away on Berserk. This is finally when Hiccup starts having a bit more of a reaction to slavery and imprisonment, and then he starts truly pushing against it out of his own accord and disgust and anger at it.

And yet. Not much inner monologue or reflection or dialogue about slavery outside of Hiccup's talk with Furious. It stays that way until book 9, where Hiccup faces the concept of being a king for the first time and then fights his father for the throne, knowing his father won't do the right thing. So, character arc! We get all the beats but I feel like we sort of don't get the development that goes along with the beats so it doesn't totally feeel like a character arc. Why the internal radio silence? Truly it's probably something about Cowell not wanting to make the books too depressing too early on by lingering on the messed up stuff too hard or something else but. I think there's a very in character and plausible explanation for Hiccup's arc around slavery. And it's all about his father.

The Hooligans are later named as one of the 'kinder tribes' who don't engage in slavery and don't agree with it morally but turn a blind eye to rampant slavery happening elsewhere. Slavery seems to really not be discussed much on Berk, but Hiccup and the other Hooligan boys his age probably grew up with some vague sense of pride in being 'the better ones', for having more honour and morals, something shared by the older tribe members. But this inaction is immoral and even though the Hooligans and other tribes aren't slave fairing, they do abuse and exploit dragons on a daily basis. Book 9 is about Hiccup finally acknowledging what has stopped him from thinking too hard or engaging with the enslavement and mistreatment of dragons. The Hooligans are still in the wrong, doing the wrong thing, upholding a bad system. Which means his father is. Stoick is the HTTYD equivalent of a neo-liberal. He dislikes the disdainful messy bits of capitalism, but he ultimately upholds the abusive and violent capitalist system while helping put down leftist organising. And seeing that in your beloved father, for someone as impassioned as Hiccup, is a fucking bitch. It's what makes their fight so heartbreaking. Hiccup couldn't let himself start down the path of unpacking the suffering of dragons and other humans until it was VITAL to do so because I think he knew things would lead back to the feet of his father, and also Hiccup's own. You don't grow up in an abusive system as a member of the oppressor class without being at least a bit complicit in violence and oppression, and I think that eats at hiccup.

ANYWAY fic idea what if I actually fleshed this all out through fic via like snapshots of Hiccup's various radicalisation moments which then focuses on the gap between 9 and 10 where Hiccup is in the woods for like a year with nothing but dragons, anti war domestic terrorism/sabotage and his thoughts for company while showing more anti war rebellion groups bc surely Hiccup and Cami were not the only ones. Cami's team getting a spotlight. ....thuggory pov??? I have vague fic soup rn and it's threatening to engulf me so I had to get this out somehow.

#httyd books #httyd book spoilers #listen idk if this makes sense I have a couple of beans rattling around in my brain as the main processing power #shut up flynn #Explicitly leftist anti-establishment readings of vaguely leftist anti-establishment children's books? more likely than you might think. #not sw

[celestialcrowley]

for the gomens ask game! 1, 11, 18, 22, 24

Hi, @midnights-dragon! Thank you for the asks!

1. When did you first watch/discover Good Omens, and when did you find out about it? I first watched and discovered Good Omens a bit after its original release if I’m remembering correctly. Not quite in 2019. I found out about it by perusing Prime and played it as soon as I read what it was about.

11. What is your favorite type of human AU for Good Omens? Could I link the fic itself? Explicit content ahead. Rated E. I’m Beginning To See The Light by @ineffabildaddy.

18. What is your favorite moment throughout history, and why? 1941! After my friend watched Good Omens, I typed exactly this way 1941! THAT’S THE YEAR, BABY! I don’t have a specific favorite scene from 1941, but if I had to choose one, it would be this.

22. What is your favorite Crowley hairstyle through the ages? 1941. Hands down.

24. What’s a theory for season 3 that you need to be included? From my own theory (and others) I need Aziraphale to make it rain down on Heaven. Below this is part of my meta this took 6,000 years to put together.

This smile —

— closely resembles this smile.

So, Angel, bring the rain.

These were so fun to answer!

#the ghost speaks

[felassan]

its that time again! 🍵 

Thoughts/wonderings on Dragon Age: The Missing #4, under a cut due to spoilers for The Missing -

I'm probably becoming a lil unhealthily obsessed with this building. what do we think it is? the Archon's Palace is the highest building in Minrathous (tho I guess not, as it has sewers and this is floating). A Circle? it has a similar shape to the logo for the Circle of Magi. the meeting place for the Magisterium senate, lording over everyone below from high above? whatever it is it looks cool and it must be important to be featured on the map. I wanna go there (๑*ᗜ*)

I love Neve Gallus' design. it's fresh and cool, and she just looks so cute and neat okay. also full of detail - the snake pattern on the headpiece, shoulder 'scales' and scales elsewhere, collar & jacket like one of those hooded snakes, snake-'tailcapped' footwear (rather than steel toe-capped), the serpent belt and of course most of all the beautiful snake design of her prosthetic limb. 10/10 character/costume design

this page had me on my knees basically. my heart.

surely this panel is a new meme format hh? same goes for the one where Varric is saying "Then perhaps all this is linked" and Harding says "And we've led them here"

you walked into the wrong neighborhood bro

I also liked this pair of illustrations, they had a nice 'bookend' feel and reminded me a lot of Lord of the Rings.

Other thoughts:

Minrathous looks kinda cyberpunk and (despite what Harding says in the opening panels) feels quite clean in this comic

Is that the person tailing them lurking in the doorway that Harding is catching sight of here?

These holes in Varric's ear seem to be new. What happened? Injury from the leopard attack?

confused a bit by the perspective flip in this issue. In issue 1, Varric was more like 'stop', and Harding was more like 'talk to him'. it's flipped around a bit here.

Varric smiled when he thought about Neve and then lit up when he saw her. she calls him an "old friend". I wonder how they met and how long they've known each other. something to do with varric's spy network?

This panel felt a bit meta hh.

When Neve says "Your friend is quite intense" is she referring to Solas or Harding?

Then we come to the two main things we learn in this issue:

We learn that Solas has been in Minrathous causing trouble. He's been attacking Venatori locations in the city, stealing artifacts from them and freeing elven slaves in the process, which has greatly angered the Venatori. The Venatori now want revenge and a "bunch of rebellious elves" are "causing trouble throughout the city, presumably in the name of the one who freed them". I wonder if the artifacts weaken the Veil, are connected to the idol somehow, or are simply sources of great power that Solas either needs for himself/his plans or that he simply thinks should be taken away from the Venatori so that they don't cause harm using them? Tevinter Nights showed agents of Fen'Harel seeking artifacts and referenced rumors of elven artifacts that strengthen the Veil, like the ones from DA:I. freeing folks also makes sense, "I am not a monster" and it's something he has a history of doing

In this issue we also learn that Neve works with a group called the Shadow Dragons, who have been trying to help the former slaves. indeed they're trying to help anyone who is held as slaves in Minrathous. this is our first time hearing about this new group. they make it their business to help those in need and Neve makes it her business to help them. I'm a bit ¿ about their name, just due to how it sounds, but it's exciting to learn about a new group/faction. Each issue of this DA:D prequel comic has shone a spotlight on a faction - Grey Wardens, Antivan Crows, the Veil Jumpers and the Shadow Dragons. two new, two old. it's a nice balance. and it brings to mind the common fan theory/speculation about the PC of DA:D having a different faction background depending on the player's choice. at the very least it feels like a way of saying 'these four groups [or characters from them] will feature in a significant way/be 'players on the board' in DA:D".

thinking about the Shadow Dragons' name in an in-world context, like thinking about why they may have chosen their name: dragons are emblematic of Tevinter. dragon imagery is everywhere there, dragons are a symbol of power and Tevinter heraldry shows a dragon. the Tevinter Imperium is a 'dragon', or several (metaphorically) - Magisters, ruling over the classes below. the "shadow dragons" feel like "the other side" of Tevinter, the side in shadow, the underside, the 'anti-Tevinter'. I'd guess that they are the "Tevinter you forgot", i.e. the Viper's faction. (and if you look at Tevinter heraldry, there is also a snake 'in opposition' to the dragon.) before Missing #4 I wondered if “the Tevinter you forgot” "means they are a group of folks who have fallen through the cracks in Tevinter society or who are the downtrodden in Tevinter society. is it some sort of uprising or anti-Magisterium movement?" - here we learn they're trying to help people Tevinter 'forgot' like slaves and former slaves. I also commented "from the story it sounds like the dark-clad card dealer is the Viper. the magister in the story is afraid of him and tries to claim that the Viper is just a tale, implying that the Viper’s name has become known as a sort of shadowy, stealthy urban legend in Minrathous and that it has a sort of bogeyman effect on magisters." Shadow indeed. Neve later comments that the Shadow Dragons are trying to "help anyone held as slaves in Minrathous". I think it was in the Dorian short story in Tevinter Nights that there's a reference to how there's now an anti-slavery movement in Tevinter. Is that the Shadow Dragons? you can see possible echoes of "the Tevinter you forgot" in later comic dialogue "The Shadow Dragons have vowed to help us restore our dignity. To get back the lives that were stolen from us by the Venatori. To make sure we don't have to scrabble in the dirt for food and warm", imo.

I wonder if Dorian, Mae and the Lucerni know anything about the Shadow Dragons? maybe they've done some work together?

and while the Viper/Viper's faction/the Shadow Dragons themselves didn't appear in issue 4, issue 4 still highlighted them, continuing the pattern I speculated about, of the DA Day short stories (Evka/Antoine/Wardens, Teia/Viago/Crows, Strife/Irelin/Veil Jumpers and Viper's faction/Shadow Dragons), one from each of those short stories per issue.

Varric is still having a bad time. also he was born in 9:1, and so if DA:D is set in 9:52, he's now over 50. from these comics, he's feeling old and tired. I don't expect that he'll be a companion in DA:D. more like an advisor (off-field), a contact or quest-giver, or the person that recruits us.

"But why? What did he get out of it? Surely, he wanted something in return" was an interesting line. because like on one hand "I am not a monster", he has a history of freeing people who were enslaved and he's shown as valuing freedom and not enjoying needless suffering. setting people free definitely is the only decent thing. but he's also smart and does things with purpose, always playing 4-D chess, and has been outwitting Varric and Harding at every turn throughout these comic issues, always one step ahead. it seems like a 'it's both' situation. like two birds, one stone. he would free people and it's the right thing to do, and he also gains from it strategically. Varric lampshades this in the final page: and it's three stones, actually. Solas freed people, dealt with the Venatori on his tail and slowed Varric/Harding down long enough to escape all in one move.

Also, at first I wondered if the brown-haired elf was sort've projecting his own perceptions on Solas (with the "his kin" lines). but look here. the leader of these Venatori has a pouch round their neck. the others don't, it's prominently placed and it's consistent on this Venatori in every panel they're in here. and where have we seen that before? around the neck of the Venatori stalker that saved Varric from the leopard in Issue 3. I think we're supposed to conclude that the ringleader of the Venatori that attack the elves in this issue is the Venatori person that's been tailing Varric and Harding all throughout these comic issues. the Venatori ringleader seems to recognize Varric in a later panel, with the "You!". They fight and Varric starts demanding answers from the Venatori leader. but then, just as he's about to get answers, the brown-haired elf intervenes and kills them at that very moment. they won't hurt their people anymore, and conveniently also (more than one purpose to things again..), now Varric and Harding won't get any answers. and also this:

another - not two, but - three stones. when the brown-haired elf kills the Venatori ringleader, A) preventing them from further harming his people and B) preventing them from giving any answers to Varric and Harding, C) the killing blow also cuts that pouch from their neck. a very specific thing to depict. presumably in the chaos of the Venatori leader's death (you can't see the elf's hands in the very next panel) the brown-haired elf has grabbed the pouch, and part of his goal all along was to take it. I think we're supposed to conclude that the pouch contained the crucious stone and that the brown-haired elf works for Solas. so the "You're too late, I already have the crucious stone" letter from issue 3 was a Solas fakeout, the Venatori at that point in time did in fact have the stone (having beaten Solas to the vault, and as-shown by the Venatori who saved Varric from the leopard having the pouch around their neck), and the events of issue 4 were part of Solas' plan to steal it/steal it back from them (and going by Neve's earlier dialogue, it's not the first artifact he's stolen from them). so two things here: one, Solas' 'three stones' are actually-actually four (free the slaves, deal with the Venatori on his tail, delay Varric/Harding long enough to escape, and steal the crucious stone artifact from the Venatori [my head hurts]). and two, the brown-haired elf was working for Solas after all. he'll give the pouch (and the contents, the stone) to Solas, "he set us, his kin, free" wasn't projection considering that he does work for him, and him being there in the alleyway when he was, with the information that he had, was part of Solas' plan to escape and get the stone. otherwise, it's pretty convenient that one of the former slaves at the place Neve's aware of where former slaves have been eating scraps, at the time when she takes Varric/Harding there, just happened to have helpful info about the meeting that Varric/Harding needed and also happened to kill the Venatori leader and in the process cut the pouch from their neck. idk if it means all the elves here were working for Solas or just the brownhaired one or the brownhaired one & the blond one, but yea. definitely the brownhaired elf is I think.

Neve fighting was cool: staff-less magic and then as a mage using a dagger or shortsword.

party combo-kill! ice spell + finishing blow - a comic depiction of Shattering :)

Brown-haired elf missing his elven ear here.

A cool panel. Also, you can't see his other hand..

just really liked these two panels :) also, they missed their chance, they missed this chance, in this, a comic called The Missing... is that why it's called that?

[clenches fist] vowing to protect Neve and her good heart at all costs

and he stole the crucious stone artifact from the Venatori.

I am not sure that I agree with the premise of this article that BioWare retweeted, that The Missing is required reading before DA:D. I enjoyed issues 2 & 3 a lot! I was hoping for a bit more from the end of issue 4, perhaps a small Solas appearance like at the end of Dark Fortress or just a bit more insight into his plans or things in/the setup for DA:D. finishing on the Dread Wolf mural from the DA:D TGA 2020 trailer as a reminder was neat but the highlight reveal from these comics as a whole was definitely the new mural depicted in issue 3.

"He knows us too well, we need to find/use people he doesn't know" is the same conclusion that was reached at the end of Trespasser (and Harding was present for that conversation). I guess the meta irl reasons for The Missing are: A] since it'll be almost 10 years irl between games, to refresh folks about that conclusion and the fact that it will be a new PC and why it has to be 'someone he doesn't know', since most new players to the franchise at DA:D aren't going to buy years old DA:I and DLC and play til it the end of Trespasser B] fill some irl time C] do some marketing/advertizing and D] highlight these four groups/factions and introduce the two new ones (Veil Jumpers and Shadow Dragons) in advance of DA:D, and possibly highlight these specific characters (Strife, Teia, Evka etc) the same way (though I speculate those characters are more like DA:D 'contact' cameos rather than that they will be companions themselves). Certainly if I was Varric at the moment when Harding asks "So who are you thinking?" at the end here, after the events I had experienced and people & groups I had met in recent weeks, with those being fresh in my mind, I would be thinking about the Grey Wardens, the Antivan Crows, the Veil Jumpers and the Shadow Dragons, both as groups and terms of the mental list of people that I had recently met who Solas doesn't know. again it makes you think about the popular speculation that the DA:D PC will have the background of being from one of these groups. also, those 4 groups aren't ones which were referenced in Tevinter Nights as keeping an eye on Solas/as Solas having some info on them in turn (unlike some other groups like the Mortalitasi, the Executors, the Ben-Hassrath etc).

#dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #dragon age: the missing #dragon age: the missing spoilers #bioware #video games #solas #late bc ive been working on other posts #long post #longpost #tevinter nights #strife

[daenerysoftarth]

meta: Arya + Dany parallels

(Warning: long post)

Both far down in the line of succession

Daenerys was born with Rhaegar, Viserys, and baby Aegon all ahead of her in the line of succession. Through tragedy after tragedy, she now has a claim to the throne

Arya was born with Robb, Sansa, and Bran ahead of her in the line of succession (if we disregard Robb’s will). Through tragedy after tragedy, she may have a claim to Winterfell

Both have magical connections to magical animals ofc

Daenerys ofc becomes mother of dragons in book 1. Though she doesn’t appear to be able to Warg with them as the Starks can, she does seem to have a preternatural connection to her dragons, and them to her.

Arya is spiritually connected to Nymeria, and Wargs into her every night. Even after being apart for years, their spiritual connection is unbroken

Both lived as ‘lowborn’ either because they had no resources, or because they were in hiding

The circumstances of Dany’s childhood are vague, but she does mention several times that Viserys at least told her that they were being pursued by assassins hired by Robert Baratheon. Even when they were able to use their name and nobility to gain housing and resources, it was often in between periods of poverty. Dany fondly describes running around with the poor children in Pentos, and considered herself one of them

After the sack at King’s Landing, Arya obviously had to go into hiding as a peasant for months (maybe years?). Though there were exceptions where her nobility offered her opportunities that she wouldn’t have had otherwise, she still affectively lived as a common born girl after escaping King’s Landing. Even now in Braavos, she is not considered a member of nobility.

Both use violence to achieve justice and change. Two sides of the same coin

This one is a bit more complex, but still applies. The Targaryen’s house words are “Fire and Blood”, which Daenerys remembers multiple times throughout the series. True to the words, Daenerys uses fire and blood to bring an end to slavery in Slaver’s Bay. She fights for justice for the downtrodden around her, and uses her dragons to forcibly enact change where it would otherwise remain the same. However, she also struggles with the broad nature of such power, and desires more intimate methods of change.

Arya’s goals are a bit different, but similar. While Daenerys longs for revenge against ‘the Usurper’, she hasn’t actually achieved any revenge, and is currently questioning its validity as Selmy continues to offer alternate viewpoints onto her family history. Arya longs for justice, but often ends up enacting revenge (which I would is a form of justice). She’s unable to enact systemic change with the power at her disposal, so she uses shadows and stealth to enact revenge against evil doers. Though she is unable to achieve sustainable change, she does consider herself as delivering justice on behalf of the victims of those she kills. When she kills The Tickler, she recites the names of his victims as she kills him, thereby getting justice for their pain and deaths.

They both believe they’re the only ones left

Feeling alone in the world is a consistent theme running through Daenerys’ chapters. Even when Viserys is alive, she clearly feels as though she has no one to rely on. It is only when she feels secure in her position with her new family that Daenerys finally cuts the ties with the only family that she has ever known. Only for her new family to perish weeks later. This clearly isn’t the first time that this has happened to Daenerys, as she grew up as an orphan, forced to flee from home to home. Willem Darry operated as her surrogate father and The House With the Red Door was her home, and both were ripped from her at a very young age. She is continually reminded by Viserys about how alone they are in the world, and when Khal Drogo and Rhaego die, that is more true than ever. Even now on Daenerys’ journey, she still feels alone in the world. She is surrounded by adversaries in Mereen who seek to dispose her, and is ostracized even from those closest to her given her position as queen. She believes that she is the last Targaryen left in the world, and that she must walk her path alone. She desperately longs for home and family, but it feels unattainable to her, and so she tries to manage without. But the loneliness still plagues her.

Arya is even more isolated, if that’s possible. By joining the Faceless Men, she is forced to become a stranger to those around her and even to herself. By abandoning her previous identity as Arya Stark, even her own mind is forced into isolation. She cannot even allow her hopes, desires, memories to interact with her present day self, as it is a supposed breech of the contract the Faceless Men made. Inside of the House of Black and White, she must hide her true feelings and desires to return home behind a mask of devotion and piety. Outside of the House of Black and White is even worse, as she operates on two levels of deception. She is not only forced to hide her identity as Arya Stark, daughter of Ned, sister to Jon, but also she must hide her day-to-day identity as a Faceless Man. She takes on an entirely new persona to complete her assassinations, forging false friendships, all while Arya’s true identity remains more ensconced in the shadows than ever. The only time Arya’s old self is allowed to come out is in moments of immense violence, when she allows her desire for revenge and justice to overpower her supposed antipathy towards her past life. She is supposed to be a different person, until she just can’t take it anymore, and the little girl that is cowering in a shack and clamoring for justice as The Tickler tortures peasants, until that little girl can no longer be contained and emerges in a burst of fire and fury.

Building on the previous point, the struggle between what they want vs. what is required of them

Both girls obviously struggle intensely with their desires, and allowing themselves to have them. Daenerys intensely desires a home, a family, and a partner. The simple things in life, you could say. However, her position as queen hinders her ability to pursue this, as every aspect of her life becomes fodder for politics. She feels an intense sense of responsibility towards the world and humanity as a whole, and is willing to sacrifice her wants if it means saving them all. (Of course, the reality isn’t quite that simple, and in reality she’s being forced into a position of compromise by duplicitous actors.) Being raised by an abusive brother and growing up in poverty, I think Daenerys feels as though it is selfish even to want anything. So instead of accepting or pursuing her desires, she pushes them deep down in order to tend to her responsibilities as a queen. But no one can push their wants down forever, and I imagine Dany’s will end up coming out sooner or later.

Arya meanwhile, also desperately desires her family and wants to return home. Yet, given her position as a Faceless Man, she is once against forced into a nameless and story-less existence. She cannot acknowledge her desires or pursue them, as her job as a Faceless Man prevents any connection to your past life. Despite herself, Arya cannot entirely give up the pieces of her former life, as evidenced by hiding her sword and continuously Warging into Nymeria every night. Even if Arya’s conscious mind will not allow her to think about her home and family, her subconscious brain almost forced the connection. While Arya always had wolf dreams since running off Nymeria, these dreams increase in intensity and frequency when she enters the House of the Faceless Men. Almost as though her own body refuses to let her forget her past, even if her brain is determined to not think about it. Both girls push their true desires away into the depths of their psyches so they can play their role, and yet their wants end up becoming revealed in one way or another throughout the story.

Sorry for the long post. And I’m sure there’s a lot more similarities, but these are just off the top of my head

#my posts #my meta #daenerys targaryen #arya stark #house stark #house targaryen #asoiaf #got #valyrianscrolls #I might add sources later on #ie highlights of the text