Okay, I need a think tank here. This has absolutely nothing to do with anything and will likely never pop up in my writing, but I was thinking about it in the shower and now I can't leave it alone.
So that concept art of apocalypse resistance fighter Draxum.
I mean, yes, he looks way older in general. But the greyscale shows that his hair has definitely gone completely grey.
The 'future' scene we see in the movie takes place in 2044, only 24-26 years after the series if we consider Rise to have taken place over 2018-2020. And Draxum likely died before this, considering he's not seen in the final battle.
25-ish years is nothing to a Yokai. Draxum is confirmed to be a few hundred years old himself. So it's highly unlikely that he just happened to go grey during this time.
Possibly the stress, we see that Huginn and Muninn have obviously died (and demanded to be forever immortalized as his shoulder pads) and depending on when he died, he might have outlived Cassandra, Raph, and Donnie. So losing three of his kids, plus whatever Splinter was to him at the end. That'll age someone. And then there's whatever mystic nonsense that caused Mikey to age rapidly, potentially Draxum was overusing his powers to fight and keep the colony safe and ended up drawing on his own lifeforce.
But I thought of a funnier explanation.
Hair dye.
Do you guys think maybe Draxum is already going gray? And he's just too vain to admit it, so he dyes it back to red so nobody notices. But in the apocalypse he can't justify scavenging for hair dye or wasting their water supply on something so frivolous. Or whatever potion he used, he didn't have the ingredients/couldn't waste resources like that.
I dunno, what do you guys prefer? I kind of like imagining him carefully dyeing his roots before every Major Villain Thing so nobody realizes how old he actually is.
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Okay I thought I was done but apparently I'm not. I need to talk more about this banter you can get during the Legacy DLC between Aveline and Warden Carver because it makes me want to scream.
Aveline: I'm glad you found a place with the Wardens.
Carver: Well, it's not the city guard, but it'll do.
Aveline: Carver... it wasn't the place for you.
Carver: No, it's all right. It is. It cost a lot, but I get it. I really was a bit of a tit those days, wasn't I?
Aveline: Well...
In my last post, I talked about how Aveline had no place telling the guard to refuse Carver's application, regardless of if he was "right" for the job or not. But I believe he would've made a great guard, and getting that job not only would've provided for him and his family during a desperate time, but would've prevented him from either fate of becoming a warden or a templar. He was unfairly robbed of a chance to prove himself because Aveline believed he wasn't right for the guard.
This is one of the banters I brought up but didn't go too in depth about. At this point, it's been between 3-6 years since Act 1, depending on if you decided to do Legacy in Act 2 or Act 3, and every line here is important.
Carver's response to Aveline saying she's glad he "found a place" with the wardens is so telling. Not being accepted by the guard is still on his mind after all this time. He wouldn't bring it up if it didn't still bother him, and implies that he still would've preferred the guard over the wardens.
Which... yeah. Listen, I'm a dedicated "Carver joins the Grey Warden" player. I don't like leaving him behind to become a templar, and I certainly don't like him dying. For me, the Grey Wardens are the best outcome he has. It’s where he seems the happiest and finds the most fulfilment, and it fits well with how I play my Hawke. But it obviously has some tragic issues.
Like the fact that becoming a Grey Warden only delayed his inevitable death within the Deep Roads. Eventually his Calling will come, and Carver will go back down there and fight until the darkspawn eventually kill him. I'm sure that's not traumatic to think about given he was a soldier at Ostagar and then watched Bethany die at the hands of an ogre. Oh, and there's the whole nightmares and voices thing.
Carver didn't choose this life for himself. It was either this or death, but a "what if?" still lingers in his mind about the city guard.
Something Aveline ruined for him.
And continues to ruin.
Aveline: Carver... it wasn't the place for you.
You hear that? In the distance? That's me screaming.
I must reiterate; what makes Aveline believe it's her place to tell Carver whether or not the city guard was right for him? Why did she think she should get a say in whether or not the guard takes him? What's made it HER call?
And still, after all this time has passed, she believes it wasn't right for him and she's unwilling to consider otherwise. Maker forbid she do some reflection and question if she was in the right for interfering at all, too!
Carver is standing right there before her, proving everything she said about him wrong, and she just doubles down. There's no reason to say this to him unless she's trying to remind him of his place; he's a Grey Warden, and she's Guard-Captain of Kirkwall's city guard. But c'mon, Aveline, he's hardly a threat to your precious guard anymore given the whole dedication to killing darkspawn thing he has now.
Maybe if you paid more attention to the threats within your guard, Kirkwall would be a safer place with less murder going around? Just saying!
But isn't that how it's always been? Aveline putting him in his place, making sure Carver remembers she's always outranked him?
Carver: Did you approve my application?
Aveline: I can't make you a guard, Carver.
Carver: We were both soldiers. Why won't they take me?
Aveline: I was an officer. And I follow orders.
Carver: [laughs] No you don't.
Aveline: I also think of others before myself. You seem tired of that, and that's dangerous.
Carver: Just when it's not my choice. You told them not to take me, didn't you?
Aveline: Yes.
That he should remember who he's talking to?
Carver: I'm surprised you still travel with us, Aveline.
Aveline: Carver, don't.
Carver: You're ever so busy with the guardsmen. It must be a burden to slum with the refugees.
Aveline: It's oddly comforting that you insult me like I'm family.
Carver: That wasn't... no, I didn't mean that.
Aveline: I know. But you should be glad that's how I took it.
That she's in charge?
Aveline: Your form's sloppy, Carver. Stiffen up or the darkspawn will take your blade.
Carver: Right. I'll keep that in mind.
Aveline: And you're angry, why?
Carver: You didn't fare any better than I did the last time we faced darkspawn.
Aveline: If they take your blade, people die. That's not happening again. Stiffen up.
Carver: Yes ma'am.
Oh, and she used to spy on him [and Hawke].
Aveline: I don't like some of the people you've been associating with, Carver.
Carver: Talk to my brother/sister. He/She's the one in charge.
Aveline: Maybe, but I know you get around. This city's full of people who are dead set on ending badly. I don't want to see you end up the same way.
Carver: Would asking you to stop spying on me help in the least?
Aveline: No.
That's their banter.
But sure, she's glad he found a place in the wardens. I don't think she's being ingenuine when she says that, but I think it's a little more complicated than a mere "congrats on doing well, I knew you could do it."
But Carver's response? Oh Maker's ass. It actually hurts me.
Carver: No, it's all right. It is. It cost a lot, but I get it. I really was a bit of a tit those days, wasn't I?
Aveline: Well...
I... what can I even say?
He accepts it, but you can tell it hurts to do so. It DID cost a lot. More than Aveline will ever understand. And it doesn't matter now! He can't become a guard now anyway, so what would be the point in him disagreeing with her? Carver acts as the bigger person here because he does get it, even if Aveline doesn't.
But it's that last part... that last damn part... Don't be alarmed, that screaming you hear is still me.
Here's the deal; Carver acknowledges that he could be an ass back in Act 1. Hell, he acknowledges it IN Act 1. For example, when you talk to him after finding your grandfather's will, he's an ass to you about Bethany no matter what you say.
But y'know what? You can be the biggest piece of shit to him and have Hawke literally call him a "lazy brat with a chip on his shoulder," and Carver will still be the one to be apologetic for what he said and attempt to explain his feelings.
"Brother/Sister... I feel... I don't know. It's like Mother taking things out on us. She was just scared. I don't have a place in the life she's trying to bring back…"
Carver can be an ass, but he's aware of that and actively tries to change his behavior. If you bring him and Fenris with you on the Mark of the Assassin DLC, there's a moment where Carver says, "You still don't like me? I've tried to change." And if you bring Varric, he once again acknowledges that he used to be an ass.
BUT... that being said. If you don't remember, "I really was a bit of a tit those days, wasn't I?" is referencing back to this conversation in the barracks of Act 1:
Hawke: This must be a very different pace from serving King Cailan.
Aveline: It's just one more change, though. The real end for me was Ostagar. What about you Carver? You were there. Do you feel something similar?
Carver: No.
Aveline: All right, then. Bit of a tit, your brother.
Now, I've already expressed my beef with Aveline over insulting Carver in the middle of the barracks just because he doesn't agree with her view point on Ostagar... but consider the fact that Carver says nothing. He just lets her insult him without a complaint! Carver Hawke, who tends to complain! And he says nothing!
Not only that, but he actually internalized that insult enough that years later he's able to repeat it back to Aveline word for word, and all she has to say is, "Well..."
This isn't the same thing as him reflecting on his past behavior and acknowledging his flaws. This is Carver accepting a snide jab Aveline made that hurt him because apparently he was wrong for not wanting to discuss any trauma Ostagar left him with as openly as she does.
Oh, and don't forget that any other companion you brought along dogpiles on, too!
Carver: No, it's all right. It is. It cost a lot, but I get it. I really was a bit of a tit those days, wasn't I?
Aveline: Well...
Varric: No shit.
Fenris: Insufferable.
Isabela: Legendary.
Anders: Maker, yes.
Sebastian: I've heard as much.
[If Hawke has a humorous/charming personality] Hawke: Spoiled, annoying, thick-headed, brattish little nitwit of a... oh, have we stopped?
Y'all ever wonder why he's so on edge or hostile with the other companions?
Also, I have to point out that Merrill is the only companion who doesn't say anything in agreement if she's there. In fact, across all their banter, Merrill's never been rude or insulting toward him. All she does is ask him if he's talking dirty to her and compliments him on what a great sworder he is. It's pretty obvious why Carver develops a crush on her, c'mon.
But to wrap this up-
This banter strikes a nerve due to how telling it is about both characters involved.
Carver has grown and done what he can to improve himself, but there's regret that lingers, a longing for a better life he could've had if given a chance. Maybe he would've failed, maybe he would've succeeded. But there's nothing he can do now, so he looks forward, just as he's always wanted to do. He's a damn good Grey Warden who wants to do right.
Aveline remains stagnant. She hasn't changed, nor has she improved, and maybe she would if she could figure out how to dislodge her head from her own ass. She still believes she was in the right to tell the guard not to accept Carver's application despite knowing the Hawke's were desperate and that Fereldan refugees couldn't find work. She knew Carver's a skilled soldier who fought at Ostagar just as she did. The guard wasn't the place for him so she's in the right to deny him any chance. Aveline knows best.
And y'know what, I think all I have left to say is...
Fine, Aveline. You're right. It wasn't the place for him.
Carver was too good for your city guard.
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Thinking about an AU where 18-year-old Sam on the verge of leaving comes home to her mother screaming at her little sister. Sam's still high, the shouts ringing in her ears but the words formless. She's about to intervene when a slap cuts through it all. Her sister's on the floor and in the blink of an eye Sam has a hand wrapped around her mother's throat, slamming her against the wall.
Tara's climbing to her feet, eyes wide with fear at the scene. Sam doesn't look away from her mother as she says "Tara, go upstairs and pack a bag." Her sister doesn't move, so Sam turns away to look at her and repeats herself. Tara must see something in her wild eyes, because she runs up the stairs.
By the time Sam escorts her downstairs half an hour later, their mother is nowhere to be seen. Tara's led through the packing and into the car in silence. The what's happening?, the where are we going?, the are you ok? sits on the tip of her tongue, choked back by uncertainty and confusion.
Sam drives out of Woodsboro and doesn't look back.
OR
Sam, 19-years-old, long since kicked out of the house and on her way out of Woodsboro. She just has one stop to make, a goodbye she has to give first.
She sneaks into the house. The door is unlocked, she doesn't even need the key Tara hid outside for her, and it enrages her. Her baby sister is upstairs sleeping and anyone can just walk in.
Her mother is passed out on the floor leaning against the couch, snoring away and a bottle still in her lap. She creeps past her and up the stairs.
Sam perches herself on the edge of Tara's bed. Her sister is sprawled out on the mattress, the covers kicked off, and it makes her smile. She brushes Tara's hair back from her face and the smile falls from her face.
Her fingers trail down to the shadow around her neck. Sam reaches over to turn on the bedside lamp, catching sight of Tara's wrist at the same time. These are bruises. She wakes her sister up and demands answers from her. She doesn't like the answers she eventually coaxes from her. She likes Tara's attempt to lie to her even less.
She makes her pack, tells her to wait out front, that she'll be out in a minute. She kicks her mother awake, tells her she's leaving for good, and that she's not leaving alone. She tells her that she will never have the chance to hurt them again, and if she tries, well, she'll learn exactly how much like her father she can be,
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A few quick random tidbits about Yanshang Teahouse:
— Teahouse/casino. While said to be 'disguised' as a teahouse, Yanshang does seem to genuinely function as one, or at least during the daytime. And it's primarily during the evening hours that it functions more actively as a casino. Now I need to note, the latter is not public knowledge. Or rather, it's more so a rumor that holds a fair bit of truth to it. But a rumor is a rumor nonetheless. This is vital, because it is because of this that it is still running. I've spoken a fair bit about this behind the scenes lately, but Yanshang functions as a casino because it draws 'less than good people' into a surrounding that has everything playing against them, and through that, Yelan is able to gather intelligence that benefits everyone, especially Ning. So if the latter for example, Ningguang were to know its full ins and outs, it would actually mean that she'd have to turn a blind eye to something that is not fully legal, which spells all kinds of trouble for the person responsible for, well, the law in Liyue Harbor?
— Gambling. Yelan has gained a reputation for her gambling skills, and is even rumored to cheat when the need calls for it (though of course, this isn't picked up on, it seems!), as is noted in her fifth character story: "If there is a draw, that could only mean one thing: Her opponents are cheating too.", and so potential opponents are advised to steer clear of playing against her through word on the streets of the harbor.
— Home? While this is not Yelan's home whatsoever, there is an upstairs area that is something akin to her 'private quarters'. It holds no personal affects that are tied to her directly, but to an extent, if one were to ever intrude/break in (past The Halbert and the Fang, somehow), you'd find the 'guise' tied to this notorious woman who owns Yanshang. But this guise is not quite her. Again, she works in personas, some much more realistically than others (the art of it, is knowing what of yourself you put into personas as to add to their authenticity's longevity). Either way, there is a comfort and peace that she finds in it, and the room is somewhat styled into a decorum that Yelan appreciates, beyond the 'keeping up appearances' aspect to it. It is hers in the end, to some degree.
— Finances. While one would be led to believe that Yelan gains a lot of financial benefits through Ningguang, Yelan's second character story might beg to differ: 'The way (Yelan) sees it, she is not so much working for Ningguang as making good on her end of the deal, or rather... she is honoring a certain pact. She plucks the fruits of intelligence from the tree of danger for Ningguang, and in return, all she asks for is danger itself and the sense of achievement.' While I'm decently certain that Yelan might occasionally stand to gain some sort of financial gain through the Qixing, it seems evident that it's not what her primary motive is. Yelan seems to not be interested in luxury by default (she lived in a hut for a long time), and more so seeks a sense of freedom, thrill and personal achievement. Now do I think that because of this, she's not well off? No, I simply think that the majority of her income may actually come from Yanshang Teahouse, and, to put it not-so-eloquently, ripping off bandits, and hopefully, specifically some Fatui in the process.
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