#they probably have meta + magic power sets in common too like…..

[mtgacentral]

Landfall Deck Strategies: Secrets to MTG Arena Revealed!

Introduction to Landfall Deck Strategies

If you're a fan of Magic: The Gathering Arena, you've probably heard of Landfall deck strategies. These strategies have been a game-changer for many players, and they could be for you too! Let's dive into the basics of Landfall and why it's such a big deal in MTG Arena. Key Takeaways: Landfall Deck Strategies - Understanding the basics of Landfall and its impact on gameplay. - Building a balanced Landfall deck with the right mix of land and non-land cards. - Mastering the timing of land drops for maximum impact. - Adapting your strategy based on your opponent's deck. - Avoiding common mistakes in building and playing a Landfall deck. Understanding the Basics of Landfall

Landfall is a unique mechanic in Magic: The Gathering that triggers an effect whenever a land card enters the battlefield under your control. It's like getting a bonus every time you play a land card! This mechanic was first introduced in the Zendikar set, and it quickly became a favorite among players. In MTG Arena, Landfall decks are built around cards with Landfall abilities. These decks are designed to maximize the number of land cards you play, triggering as many Landfall effects as possible. It's a strategy that can lead to some powerful and unexpected plays, keeping your opponents on their toes! Why Landfall Decks are a Game Changer Landfall decks have a unique place in the MTG Arena meta. They offer a different way to play the game, focusing on land cards instead of just creatures and spells. This can give you an edge in matches, as your opponents might not be prepared for the kind of strategies a Landfall deck can employ. One of the biggest advantages of Landfall decks is their flexibility. Since Landfall abilities trigger whenever a land enters the battlefield, they can be activated on both your turn and your opponent's turn. This allows for some clever plays and unexpected combos, making Landfall decks unpredictable and fun to play. Another reason why Landfall decks are a game-changer is their scalability. The more land cards you play, the more powerful your Landfall effects become. This means that Landfall decks can start off slow but become incredibly powerful as the game progresses. It's a strategy that rewards careful planning and strategic play, making every match an exciting challenge.

The Mechanics of Landfall

Now that we've covered the basics, let's dive deeper into the mechanics of Landfall. Understanding how Landfall works in MTG Arena and the importance of land cards in Landfall decks is crucial to mastering Landfall deck strategies. How Landfall Works in MTG Arena In MTG Arena, Landfall abilities trigger whenever a land card enters the battlefield under your control. This can happen in several ways: you might play a land card from your hand during your turn, use a spell or ability to put a land card onto the battlefield, or even have a land card return from the graveyard. Each time a land enters the battlefield, all your Landfall abilities trigger. This means that if you have multiple cards with Landfall abilities on the battlefield, each one will trigger separately. It's like setting off a chain reaction of effects every time you play a land card!

Here's an example: Let's say you have a Scute Swarm on the battlefield, a creature card with a Landfall ability that creates a copy of itself whenever a land enters the battlefield. If you play a land card, you'll trigger the Scute Swarm's Landfall ability and create a new Scute Swarm. If you play another land card on your next turn, both Scute Swarms will trigger, and you'll get two more! The Importance of Land Cards in Landfall Decks Land cards are the heart and soul of Landfall decks. They're not just a resource for casting spells—they're also the fuel that powers your Landfall abilities. The more land cards you play, the more Landfall triggers you get, and the more powerful your deck becomes. But it's not just about quantity. The type of land cards you include in your deck can also make a big difference. For example, some land cards have abilities that allow you to play them more than once per turn, or bring them back from the graveyard, giving you even more Landfall triggers. Others might have effects that synergize well with your Landfall abilities, enhancing their impact. Choosing the right land cards for your Landfall deck is a strategic decision. You'll need to consider the balance between the number of land cards and non-land cards in your deck, the colors of mana your deck requires, and the specific Landfall abilities you want to trigger. It's a complex puzzle, but when all the pieces fit together, the result can be a powerful and versatile deck that's a joy to play.

Building Your Landfall Deck

Now that we've covered the mechanics of Landfall, it's time to get into the nitty-gritty of building your own Landfall deck. This is where the real fun begins! From choosing the right land cards to balancing your deck with non-land cards, every decision you make will shape your Landfall deck strategies. Choosing the Right Land Cards The first step in building a Landfall deck is choosing your land cards. As we've discussed, land cards are the engine that drives your Landfall abilities, so you'll want to choose them carefully. In MTG Arena, there are many different types of land cards to choose from. Basic lands like Plains, Islands, Swamps, Mountains, and Forests are a good starting point, but you'll also want to consider non-basic lands that offer additional benefits.

For example, Fabled Passage is a land card that you can sacrifice to search your library for a basic land card and put it onto the battlefield. This not only helps you get the right color of mana when you need it, but it also triggers your Landfall abilities twice—once when Fabled Passage enters the battlefield, and again when the basic land card enters the battlefield.

Another good choice for Landfall decks is Evolving Wilds, which works similarly to Fabled Passage but fetches the basic land card tapped. While this means you won't be able to use the mana from that land card right away, the double Landfall trigger can be worth it. Balancing Your Deck with Non-Land Cards While land cards are important in a Landfall deck, they're not the only cards you need to consider. You'll also need a selection of non-land cards to support your Landfall strategy.

Creature cards with Landfall abilities, like Lotus Cobra or Roil Elemental, can be powerful additions to your deck. Spells that allow you to play extra lands, like Explore, or bring lands back from your graveyard, like Crucible of Worlds, can also be very useful. Balancing the number of land cards and non-land cards in your deck is a delicate task. Too many land cards, and you might not have enough actions to take during your turn. Too few, and you might not trigger your Landfall abilities as often as you'd like. A good rule of thumb is to aim for around 40% land cards in your deck, but this can vary depending on your specific strategy. Building a Landfall deck is like crafting a fine piece of art. It takes time, patience, and a lot of trial and error. But when everything comes together, it's a thing of beauty. So don't be afraid to experiment and find the Landfall deck that's perfect for you!

Strategic Play with Landfall Decks

Building your Landfall deck is just the first step. To truly master Landfall deck strategies, you'll need to learn how to play your deck effectively. This involves timing your land drops for maximum impact and adapting your strategy based on your opponent's deck. Timing Your Land Drops for Maximum Impact In MTG Arena, you can play one land card from your hand during each of your turns. However, with a Landfall deck, you'll often have ways to play additional lands or bring lands back from your graveyard. The question is, when should you play your land cards to get the most out of your Landfall abilities?

The answer depends on the specific cards in your deck and the state of the game. For example, if you have a Scute Swarm on the battlefield, you might want to play a land card as soon as possible to create another Scute Swarm. But if you have a Roil Elemental and your opponent has a powerful creature, you might want to wait until your opponent's turn to play a land card, so you can take control of that creature when they least expect it. Timing your land drops is a skill that comes with practice. The more you play with your Landfall deck, the better you'll get at recognizing the best moments to play your land cards. Adapting Your Strategy Based on Opponent's Deck Another important aspect of playing a Landfall deck is adapting your strategy based on your opponent's deck. Different decks require different approaches, and a strategy that works well against one deck might not work as well against another. For example, if you're playing against a control deck that's full of counterspells and removal, you might want to play your land cards conservatively, holding back until you can make a big play that your opponent can't easily disrupt. But if you're playing against an aggro deck that's trying to win quickly, you might need to play your land cards more aggressively to keep up. Adapting your strategy requires a good understanding of the MTG Arena meta and the different types of decks you might face. It's part of the challenge of playing MTG Arena, but it's also what makes the game so interesting and rewarding.

Top Landfall Cards in MTG Arena

As we delve deeper into Landfall deck strategies, it's important to highlight some of the top Landfall cards in MTG Arena. These cards are the stars of any Landfall deck, providing powerful effects that can turn the tide of a game. Powerful Landfall Cards to Look Out For There are many great Landfall cards in MTG Arena, but a few stand out as particularly powerful. Here are some you might want to consider for your Landfall deck: - Lotus Cobra: This creature gives you one mana of any color whenever a land enters the battlefield under your control. It's a great way to ramp up your mana and play your big cards earlier than usual. - Scute Swarm: As we've mentioned before, Scute Swarm creates a copy of itself whenever a land enters the battlefield under your control. If you have six or more lands, it creates a copy for each land you control! - Roil Elemental: This creature lets you take control of a creature an opponent controls whenever a land enters the battlefield under your control. It's a great way to disrupt your opponent's plans and turn their own creatures against them. - Omnath, Locus of Creation: This legendary creature gives you a different effect for the first, second, third, and fourth lands you play each turn, ranging from gaining life to dealing damage to any target. - Ancient Greenwarden: This creature lets you play lands from your graveyard, and if a land entering the battlefield causes a triggered ability of a permanent you control to trigger, that ability triggers an additional time. How to Use These Cards Effectively Using these cards effectively is all about understanding their abilities and how they fit into your overall strategy. For example, Lotus Cobra is great in a deck that wants to play big, expensive cards, while Scute Swarm is best in a deck that can play a lot of lands quickly. Remember, the key to a successful Landfall deck is synergy. You want your cards to work together, each one enhancing the others and contributing to your overall strategy. So when you're choosing cards for your deck, don't just look at their individual power—consider how they'll work together as a whole.

Sample Landfall Decks for MTG Arena

Now that we've covered the basics of Landfall deck strategies, let's look at some sample Landfall decks for MTG Arena. Whether you're a beginner looking for a friendly introduction to Landfall or an experienced player seeking a competitive edge, these decks can provide a solid foundation for your Landfall journey. Beginner-Friendly Landfall Deck If you're new to Landfall, this beginner-friendly deck is a great place to start. It's built around Scute Swarm and Lotus Cobra, two powerful Landfall cards that are easy to understand and fun to play. Here's the deck list: - 4x Scute Swarm - 4x Lotus Cobra - 4x Fabled Passage - 4x Evolving Wilds - 4x Cultivate (to fetch more lands) - 4x Roiling Regrowth (to fetch more lands) - 12x Forest - 8x Island This deck is all about playing as many lands as possible to trigger your Scute Swarm and Lotus Cobra. Use Cultivate and Roiling Regrowth to fetch more lands from your deck, and Fabled Passage and Evolving Wilds to trigger your Landfall abilities twice. Advanced Landfall Deck for Competitive Play If you're an experienced player looking for a competitive Landfall deck, this one's for you. It's built around Omnath, Locus of Creation and Ancient Greenwarden, two of the most powerful Landfall cards in MTG Arena. Here's the deck list: - 4x Omnath, Locus of Creation - 2x Ancient Greenwarden - 4x Fabled Passage - 4x Evolving Wilds - 4x Uro, Titan of Nature's Wrath (for extra land drops and life gain) - 4x Escape to the Wilds (for card draw and extra land drops) - 4x Genesis Ultimatum (to put multiple cards onto the battlefield) - 4x Forest - 4x Island - 4x Mountain - 4x Plains This deck is a bit more complex than the beginner-friendly deck, but it's also more powerful. It's all about maximizing your Landfall triggers with Omnath and Ancient Greenwarden, while using Uro, Escape to the Wilds, and Genesis Ultimatum to keep the lands and cards flowing. Remember, these are just sample decks. Feel free to tweak them to suit your playstyle and the cards you have available. The most important thing is to have fun and enjoy the game!

Common Mistakes and How to Avoid Them

As we continue to explore Landfall deck strategies, it's important to address some common mistakes players make when building and playing Landfall decks. By being aware of these pitfalls, you can avoid them and improve your gameplay. Missteps in Building a Landfall Deck One common mistake when building a Landfall deck is not including enough land cards. Remember, Landfall abilities trigger when a land enters the battlefield. If your deck doesn't have enough land cards, you won't be able to trigger your Landfall abilities as often as you'd like. A good rule of thumb is to have about 40% of your deck be land cards, but this can vary depending on your specific strategy. Another common mistake is not having a good balance of land cards and non-land cards. While it's important to have enough land cards to trigger your Landfall abilities, you also need non-land cards to support your strategy. Creature cards with Landfall abilities, spells that let you play extra lands, and cards that bring lands back from your graveyard can all be valuable additions to your deck. Pitfalls in Playing a Landfall Deck When it comes to playing a Landfall deck, one common mistake is playing your land cards too quickly. While it can be tempting to play a land card as soon as you draw it, sometimes it's better to hold onto it for a turn or two. For example, if you have a card like Roil Elemental in your deck, you might want to wait until your opponent has a powerful creature on the battlefield before you play your land card. Another common mistake is not adapting your strategy based on your opponent's deck. Different decks require different approaches, and a strategy that works well against one deck might not work as well against another. It's important to be flexible and adjust your strategy as needed. Remember, everyone makes mistakes when they're learning something new. Don't be too hard on yourself if you make some of these mistakes. The important thing is to learn from them and keep improving. With practice and experience, you'll become a master of Landfall deck strategies in no time!

Conclusion: Mastering Landfall Deck Strategies

We've covered a lot of ground in our exploration of Landfall deck strategies. From understanding the basics of Landfall to building your deck and playing it effectively, we've delved into the key aspects of this powerful mechanic in MTG Arena. Recap of Key Points Let's recap some of the key points we've discussed: - Landfall is a mechanic that triggers an ability whenever a land enters the battlefield under your control. Read the full article

#deckbuilding #GameStrategies #Landfall #Magic:TheGathering #MTGArena

[littledead-ridinghood]

Why don’t we see more of Jason and duke bonding over their shared freaky “I can see the future and past” time reading abilities? Like Jason can see multiple time lines(past, present, future all at once) due to his all-caste training and Duke can literally also see into the future and past because like…that’s literally part of his meta power set

All I’m saying is: Duke “Bruce hate all metas except for me” Thomas and Jason “Bruce hates magic even more than metas; he’s such an idiot for not knowing” Todd is like a top tier duo

Like Jason and Duke are both massive nerds; both enjoy literature and can have book club where they discuss and annotate poetry. They can bond over shared experiences of both growing up in the east end(add steph into that too!!) like come on, guys, its right there!

(The only thing I don’t enjoy about their canon relationship is the fact that Duke constantly bringing up the fact Jason died because that’s literally does not help the ptsd/can be very triggering but also in my on little world I can cultivate my own fixes where writers aren’t mean so…..perfection is actually whatever the hell I have going on in my brain)

#‘why don’t I see this more?’ you know exactly why; red; don’t be dumb #they probably have meta + magic power sets in common too like….. #it’d be so fun guys #the chaos they can have together <33333 #add Steph into the mix: dream team set of robins #jason todd #duke thomas

[cluescorner]

The Cookies of Darkness are so Funny to Me

Like, they really just have a weird dynamic where they all hate each other except maybe some of them don’t sometimes and nobody hates the baby. Here’s the list of characters

Pomegranate Cookie: Literally gaslight, gatekeep, girlboss. The worst person you’ve ever met who has also formed a very unhealthy and toxic attachment so you kinda feel bad about that, but then she actively pokes at your trauma and literally sends you into flashbacks. She also is like a priestess who has a mirror that shows you all sorts of bullshit, but IDK if the shit in the mirror is actually true or is just what Pomegranate Cookie wants to see. Either way, troubling.

Poison Mushroom Cookie: The baby who is too cute to for this world but also causes a lot of problems, mostly on accident. They’re kinda being led astray but everyone seems pretty nice to them and don’t really have anything else going on. They want you to try their shrooms and if you say that you like shroomies they’ll probably hug you. You’ll get really fucked up on them, though, so be aware that the hug will cost you. They’re also presumably oblivious to most of the inter-group drama, which is most likely intentional on the part of everyone else.

Red Velvet Cookie: The leader’s son who just kinda…showed up way too late into the narrative but it’s ok because he’s cool. Dogs are the way to his heart and he’s also got like a cake-arm and it’s pretty awesome. He’s got something else going on with a priestess who has a crossbow and their narrative ended without really concluding so there’s gonna be more shit going on with them probably. IDK, he’s a general and is not there most of the time so he’s kinda out of the loop.

Licorice Cookie: A gremlin who is supposed to be a mostly comedic enemy but the game accidentally made him super meta so now it’s the reverse of that ‘character as a boss vs when you get them’ meme. He’s got an inferiority complex but likes to act like he’s super powerful when in reality nobody really takes him seriously. He dropped out of school and is kinda the older brother/babysitter to the baby. Is probably gonna be redeemed by the end of the game’s story because they’ve set him up for that pretty well. Also…he might have a thing for this one princess cake-hound?? IDK it’s comedically hinted at once and then never brought up again.

Dark Choco Cookie: The almost comedically edgy character who I thought was gonna be underwhelming and funny, but then they actually gave him so much trauma that I kinda get why he says shit like ‘everything is futile…’ and ‘Darkness…approaches…’ unironically. He was a prince and then he found a cursed sword and maybe killed his dad, then joined the darkness because he hates himself and now he’s just suffering all the time. He’s an anime character, he’s almost funny to think about sometimes. Almost 100% gonna get a redemption arc unless they decide to fully commit to his ‘oh no the sword is cursed and is gonna overpower me and kill everyone oh no’ thing. He also kinda feels like my first OC sometimes, so that might be part of why I’m fond of him. Also, the wiki says he probably has PTSD and I agree, given…everything going on with him.

And they just…exist in canon as this weird team that lives together and does evil shit because they want to take over the world with their leader, Dark Enchantress Cookie, even though none of them actually know what the fuck is going on besides sometimes Red Velvet and Pomegranate. I want them all to get redemption arcs and to see more bullshit that they do together.

Like…what do they do when they’re not being evil on purpose?? Do they play Scrabble? Do they go to the cookie nightclub?? What do they have in common outside of ‘evil’?? Like, how to they pay for their evil lair? Do they have part-time jobs for when they aren’t being evil? Does Licorice Cookie tutor Poison Mushroom on magic shit and Poison Mushroom just uses it to grow shroomies faster? Do Red Velvet and Dark Choco ever just be edgy and brood together, only to be interrupted by the dogs running up and licking them?? Who let Pomegranate babysit Poison Mushroom, she’s gonna corrupt them and teach them swears. WHY DID RED VELVET ONLY POP IN AFTER LIKE 9 FUCKING CHAPTERS AND GO ‘Hey I’m here now, ok I gotta go have a subplot with a church girl bye’ CAN HE COME BACK IS HE JUST BANISHED? What is gonna happen when they get to the Dark Cacao kingdom??!! WHAT THE FUCK IS GOING TO HAPPEN WHEN THEY GET TO THE DARK CACAO KINGDOM OH NO

TLDR; The Cookie of Darkness are just so funny as a concept to me and I always want more content of them. I can’t wait to see some of them get redeemed and to personally kick Pomegranate Cookie into space.

#cookie run #cookie run kingdom #cookies of darkness #pomegrante cookie #poison mushroom cookie #red velvet cookie #dark choco cookie #licorice cookie #cookies of darkness spoilers #why are they so funny? #like #they put together the most sitcom-esque team to do evil things and honestly I love it #I hope they all get redeemed #but I also wanna punt Pomegranate Cookie #and then she gets redeemed but also has to fucking make up for her actions #I also lowkey hope that they go all in on the 'the sword is cursed' angle and that they kinda make it a self-fulfilling prophecy #more isolation causes more negative feelings which causes more violent outbursts which causes more isolation #I have a lot of feelings about these evil cookies ok #and most of them are comedic #imagine fucking Red Velvet bringing in Pastry Cookie to meet the rest of the evil motherfuckers and they giver her the fucking shovel talk #meanwhile she's just trying to fucking kill them because 'I MUST END EVIL' and Poison Mushroom is just vibing #god why are they like this

[the-black-bulls]

Hello! Original "William is classist" anon here! 😀 It's not just because his squad is strictly noble (though Luck is a good example that he did have other options). It's also that he continuously failed to address the classist bullying toward Yuno in his squad and showed consistent disregard for human life in such a way that disproportionately affects the lower classes.

On bullying: William is the captain and sets the example, but his entire squad was cruel toward Yuno except for Mimosa, a new recruit. William may have been a commoner, but he embraced nobility and its classism wholeheartedly, and this is portrayed in the people that he surrounds himself with.

As for the disregard for human life. Aiding in Patri's plan will hurt the lower class more than the royals, who have greater means of defending themselves. Also allowing Patri to blame all of humanity for crimes of the royals is majorly classist. We know for a fact that William has the knowledge to know that Patri's hatred of ALL humans is completely unjustified when only the ones in power hurt the elves. In addition, he made Langris, who is as unhinged as Luck (if not worse when it comes to killing civilians) the vice captain, which puts even more commoners and such at risk. At that point, it's not just that he's politely ignorant. He's making a series of choices that show his true colors.

It may not be that he's consciously thinking "I'm better than them," but his actions speak louder than his words: and as for words, he is the biggest liar in the series.

Oh finally you showed yourself, “William is Classist” Anon. Do you know how many replies and asks I got because of you? 🤨 (jk)

OK to be perfectly honest I’m not well familiar with William’s character and the only source I take is the manga. I don’t see the anime as a reliable source with character because most of the time it changes things or adds things that don't work with the original source. So I’ll be only talking about myself and my own interpretation of his character based on my personal reading, this will get long and excuse me to use your ask for this half-assed William meta but I have to get this off my chest.

Fair warning: long meta.

For starter William may not be a straight up bad person, but he’s still not a good person. He’s also not a good captain but we will talk about this later. William is a kind and likeable man by nature and he has a tragic backstory, so I can see why people may sympathize with him. However I’ve always seen him as straight up selfish and ignorant and hypocritical person who’s more flawed than you’d think and I love this about his character because humans aren’t perfect.

William only cares about two people, Julius and Patri. He becomes captain for Julius, his dreams is Julius’ dream, he wants to redeem himself for Julius first and foremost. He cares about Patri too, probably even more. He cherry-picks the magic knights with elfin souls for Patri, he commits treason and genocide and other awful crimes for Patri, and he keeps himself silent for years despite Patri’s clear danger (I mean he literally leads a terrorist group) to the kingdom because Patri always comes first. He cares only about two people and is only loyal to two people. For this reason he did not make any move until he found himself between two options, the best of which was bitter, so he gave up his responsibility and asked them to solve the matter, with his concern being only directed toward Patri and Julius, not the kingdom or his squad.

This makes him very selfish and ignorant and hypocritical in the sense that his priorities lie with his personal desires. He protects the kingdom while secretly helping terrorists, he leads the best squad and they idolize him but he doesn’t seem to keep an eye on them or is straight up being ignorant, “as long as this doesn’t harm our reputation it’s ok but don’t do it again" is the reaction I expect from William upon learning that Langris tried to kill civilians, and he doesn’t get any close dynamic with them or with his fellow captains. William also knew that he was doing a big mistake but didn’t stop, and it’s not that he “now” regrets his action, William always regretted his actions and saw them as sins since the very beginning, but again never stopped. He’s flawed to his core and I don’t get how people can see him any other way. This is why he’s one of the most interesting character in the series because I can see where he comes from.

Now all of this will make up for a great character, right. Well, nope. Unfortunately the story narrative failed to address his actions. He got little to no consequences. He didn’t even have to talk or show remorse, his inner thoughts were directed for Patri and Julius with no regard to the kingdom, and then when it’s the moment of his judgement Julius did all the talking and took some responsibility of William’s actions (sorry but why?) then gave him a second chance, then William cried and it was over and we moved to other things and, to quote my reaction when I read that part, What The Hell. This moment killed my interest in both William & Julius. There were so much that should be explored, like the captain reactions, the GD reactions, William’s inner thoughts because even if he’s a flawed person he isn’t a monster and I’m sure he has things to say and think about after the black bulls mess in the trial and y’know the kingdom getting destroyed--- *sighs*

Now back to the main topic, should all of this make William a classist person or not? It’s up to how you see his character. I see him as neither, or both depending on the situation. He’s so messed up with little focus so I can’t make up my mind on this topic. I think the “canon” wants you to see him as not, but his actions give you a different impression, so I don’t know. Man, he reminds me of Nozel, and I’m not fan of Nozel, but that’s a topic for another day.

OK this will be my last comment on this topic this is a black bulls blog damnit ask me stuff about them plz (jk lol), y’all are welcome to share your opinions through asks or reblogs but please spare me from the replies drama 😅

#not a quote #black clover #black clover meta #black clover critical #william vangeance #I’ll say it again: I crave a post elf war aftermath where Julius doesn’t exist. #like woohoo the drama the angst the tragedy the suspense #y'all ignore me and focus on anon #I'm just being talkative and I should learn to shut up

[kuiperblog]

Deathloop sure is a video game

Every October, there's pop-up entertainment venues like "haunted houses" (or other haunted attractions) that attempt to artificially recreate the motifs common in horror movies, complete with live actors who are dressed as vampires or zombies or serial killers or whatever who leap out and scare the guests who squeal in delight, if only because it gives them an excuse to tightly cling to their partner.  It's more exciting than going to a horror movie, because it's a more tactile experience, so you're mostly just there to experience the various horror motifs without being concerned about a plot.

The thing is, there are actual horror movies that are set in haunted attractions.  And while this does make for some fun early reveals (like when the teenagers laugh at the knife-wielding man who they assume is an actor and part of the attraction, only to realize that he's actually a homicidal madman), the very idea of a horror movie set in a haunted house kind of feels like cheating.  Haunted attractions are, in a way, a simulacrum of a horror movie, which I suppose is an odd thing to say considering that haunted attractions are real and the events in horror movies are not, but I think that is the main level on which most haunted attractions are designed: a haunted attraction is a "horror movie IRL," so to then make that the setting of your horror movie “horror movie IRL but in a movie” is like a simulacrum of a simulacrum.  It’s shortcutting past the part where you would ordinarily come up with some kind of lore-based explanation for why the teenagers are hanging out in a creepy house and why there’s a demented killer or vampires or whatever who are trying to kill them.

I sort of feel this way about one of the first levels I played in Deathloop, which is a video game both in medium and form. It's a bit like Dishonored (one of Arkane's earlier titles) in the sense that the core objectives boil down to identifying an assassination target, and hunting them down in their mansion or laboratory or whatever.  The first target I assassinated was a fellow by the name of Charlie Montague, who is obsessed with games, and has populated a section of the world where you can speed-run an obstacle course to be rewarded with a gun, because this is a first-person shooter video game that is set on murder island, where everyone's favorite hobby is killing each other because they’re in a timeloop where everyone will revive the next day.  However, when I found Charlie Montague, he was in the middle of a LARP session.  This is literally how the game describes it: Charlie is hosting a game where he invites guests to participate in a game somewhat akin to a murder mystery, or maybe more like Among Us. When I arrived, Charlie announced over the loudspeaker to all of his guests that the killer monster (me) had arrived, and the objective was now for them to hunt me down.  (I, for my part, did my best to avoid the guests, but I had to gun down the entire party before finally getting to Charlie at the top floor.)

So, this is a video game level that felt very much like a video game level.  Which I don't really mean as a knock against it -- it was a fun environment, I had fun hunting down the game designer Charlie Montague and murdering his LARPing buddies, and the environment was set up in a way that made the confrontation with Charlie himself interesting, since Charlie possesses the blink power that lets him teleport across gaps and between floors.  But it kind of feels like cheating to have a video game level where the setting premise is, as explained by the game's fiction, literally a game created by a game designer (as opposed to trying to sell you on the idea that the level you're traipsing through is just some rich dude's mansion, or a military base, or whatever).  It is the video game equivalent of setting your horror movie in a haunted house attraction.

As an Arkane Studios fan (who started with 2006's Dark Messiah of Might and Magic, and counts Dishonored among my personal top 10 games of all time), I quite enjoyed Deathloop.  But it is by far the most video game video game that they've ever released.

Games like Dishonored and Prey (2017) exist in what is sometimes described as the "immersive sim" genre, where there's a big emphasis on player choice and giving the players a bunch of tools to approach objectives without giving them a prescribed route through the game.  Dishonored pushes you in the direction of being stealthy and quiet (with a "chaos" system that causes the world to become more desolate if you kill too many enemies in each level), but there are many routes through the levels -- and sometimes, you'll find your way to an objective through what feels like it isn't a prescribed "route" at all. The objectives are often quite simple -- "infiltrate, kill a dude, exfiltrate" -- but a level that could be completed in just a few minutes might take an hour to complete the first time you play it as you spend time scoping out the target, gradually getting a feel for the environment and learning which parts of the level have lots of enemies and which parts are safe and easy to stealth your way through.

The immersive sim's emphasis on carving your own way through levels leads to a phenomenon where a lot of the progression that you make is "meta" progression that exists entirely outside of your avatar -- you might spend an hour prowling around a level, and your character hasn't gotten any stronger (apart from maybe finding a few optional collectibles), but you as a player have "leveled up" to the point that you now know the level like the back of your hand, which is how you have people who spend hours exploring a level in Hitman so that they can do a perfect 5-minute speedrun of that level.

Sometimes, this sense of "meta-progression" is further emphasized by making some of the collectibles information that you as a player can store.  I remember a part in Dishonored where I found a locked safe, and I had to root around the game environment and find the code to the safe before I could come back and get the goodie inside.  But if I wanted to, I could write that number down so that on any subsequent playthrough, I could just go right to the safe and open it right away -- which feels a bit like cheating, but it's no less cheating than sprinting through a specific route through a level because I know from previous playthroughs that the path I'm taking has no guards.

Deathloop isn't quite like that: the game is filled with combinations and whatnot (in one "puzzle" I had to insert specifically-labeled tapes into a machine in a specific order), but all of these are generated randomly: you can't take that information with you across playthroughs, and you can't look the number up in a walkthrough like some older immersive sims would let you do. But Deathloop takes this meta progression and makes it actual progression: it's a time-loop story, and your character (Colt) remembers everything that he encounters across playthrough, so when you find the combination to a door, Colt will make a mental note of it (no need to bust out your pen and paper), and the next time you come to a locked door that requires that combination, you don't even have to punch in the numbers: just hold the triangle button on your Playstation controller and Colt will automatically punch in the numbers that he learned during an earlier loop.

Deathloop is full of little things like this that, on first glance, almost just feel like QoL improvements.  But there's something that feels very different about how things are done in Deathloop: in gameplay terms, it basically boils down to, "Go to this place and press square to read the password, then go to this other place and unlock the door," which is really not that different from "go to this place and press square to pick up the key, then go to this other place to unlock the door."  The "passwords" that exist throughout this game are basically just keys that Colt can store in his brain and take with him whenever you advance to the next loop.

And to be clear, that's not necessarily a *bad* thing.  In fact, immersive sims are kind of a niche genre that don't have a very big audience, so anything that helps streamline and make it more like, well, what you'd expect from a "video game," is probably going to make the game accessible to a lot more people.  And they streamline a *lot* in this game.  The game is all about planning the "perfect loop" where you manage to kill the 8 big baddies in a single day, and everything before that point is just preparing for that final loop.  Even though that seems like an abstract thing that might require you to hold a bunch of disparate information in your head, the game is actually *really* good at making it so that Colt is already mentally mapping out the game plan as you go, to the point where you can just go into the quest book, select a thread, and then just follow the waypoints.  Colt is planning for the "perfect loop" and collecting all the information he needs (including passwords, and memorizing information about how to get certain bosses to go to certain areas where they'll be vulnerable), and Colt is so good at remembering these things that the player never has to: you can play the entire game from start to finish just by traveling from waypoint to waypoint and stealthing or shooting your way past anything that stands in your way.

That is, of course, incredibly reductive.  The process of getting from point A to point B in Deathloop is fun for the same reason that getting from point A to point B is fun in any other game.  The guns feel good to shoot, the levels are interesting to navigate, and the game lets you earn the ability to take certain pieces of gear with you between loops so it always feels like there's forward progression.  But I think that there's a critical thing that's missing:

Immersive sims aren't just about getting from point A to point B.  Before you can get to point B, you have to discover where point B is.  *Where* in this mansion is the assassination target?  Better spend some time skulking around and listening to his staff gossip about his daily habits so you know which parts of the mansion he's likely to appear in.  Oh wait, I don't want to just get in the same room with this guy, I want to get myself in the same room with him *when he's not surrounded by his guards*.  How do I do that?  Better do some more snooping.  And in a sense, Deathloop *sort* of does this.  Before you can follow the waypoint objective marker to your target, you have to find out where they are.  But the "find out where they are" is often, "follow this *other* waypoint objective marker to find the slip of paper that tells you where they're going to be, at which point you can follow the waypoint objective marker to their exact location!"

And to be fair to Deathloop, it's not *all* like that.  There are some times where the game sort of just points you in the right direction and leaves you to figure it out, like one dude who has hosted a masquerade party where he and his guests are all wearing the same masks, and so you have to figure out a way to ferret him out.  (Or you can just murder everyone at the party to figure it out by process of elimination -- which is actually much easier said than done, because this is murder island and everybody is packing heat, and this is an exclusive party so his guests are the type of people who carry around heavy weapons.)

Another way that Deathloop takes the "meta progression" inherent to immersive sims and makes it explicit in-game progression is by having a time loop where you can encounter and kill the same targets over and over again.  That's the kind of thing that tends to happen in immersive sims across multiple playthroughs -- Hitman doesn't *require* you to play each level multiple times, but you generally want to, because each level is filled with tons of different routes to explore and different ways to deal with each of the targets.  But that's all on the player: it's not as if in the fiction of the Hitman universe, Agent 47 is repeatedly murdering a bunch of people who magically revive so that he can kill them again, whereas in Deathloop, that is very explicitly what is happening.

The thing is, because Deathloop is kind of designed with the assumption that you'll kill each target multiple times, the first time you encounter them and blow their head off, it doesn't feel like the grand emotional climax.  In fact, in a way, it feels like the *start* of a relationship.  "Goodbye, Charlie Montague.  I hardly knew ye.  But I'm sure I'll know you better by the third time I'm leaving your LARPing session with that slab upgrade you're carrying."  I feel like that robs the kills of some of their impact, and maybe that's just inherent to what kind of game this is: in Dishonored, you feel as though over the course of a level, you get to know your target as you snoop through their quarters, overhear what their staff have to say about them, read the journals of their rivals while looking for possible weaknesses, and so on.  Because it's a stealth game, it makes sense to hide in the background and learn about their life.  Stalking a character through a level while waiting for the perfect opportunity to strike can actually feel incredibly intimate, because as  the eponymous Visible Man in Chuck Klosterman’s novel says, to truly know who someone is, you have to see them when they’re alone at home; their behavior anywhere else is just a performance.

But when I'm chasing down Charlie Montague with an SMG in one hand and a pistol in the other, the only thing I really know about him is what he's announcing over the loudspeaker.  (I don't really remember exactly what he said, but the subtext is that he's mentally unstable, and he's obsessed with games.)  And even though Charlie Montague was shouting at me what kind of person he said, I feel like I never really got to *know* him like I got to know some targets in Dishonored.  In fact, the moments when I got to know Charlie best weren't when he was yelling at my over the loudspeaker as I ran through his level as Shooty McFPS guy, but the moments when I got to read his notes or chat correspondence (which is *entirely optional*, because even if I don't learn the relevant facts from Charlie Montague's notes, Cole will -- and he'll verbally narrate the cliffsnotes version of them as I'm headed to the next objective)

Despite feeling like a clear descendant of Arkane’s earlier titles, Deathloop feels neither "immersive" nor "sim."  It's constantly doing things that remind me that I'm playing a video game -- which, to be clear, is not a bad thing!  It’s fun to be Shooty McFPS guy without worrying about hiding guards bodies or making noise. More than any other Arkane Studios game, it does everything it can to minimize player frustration, whether that means feeling lost, or feeling like you're not making forward progress, or feeling like your progress is being gated by a huge spike in difficulty.

Dishonored is a game that rewards patience.  This is one of my favorite things about it, but the fact that it rewards patience so generously means that it also *asks* patience of the player in order to get its best moments, which means that some players will never experience them.  Deathloop asks very little from the player.  Deathloop is a very "even" and "smooth" experience, but that's both for better and for worse.  The lows aren't as low, but the highs aren't nearly as high. Deathloop is a good game.  And it will probably be a "good game" to a greater number of people than Arkane's previous titles, but it didn’t have nearly the same impact on me.

Anyway, more than anything, my time with Deathloop has convinced that I should go back and play Prey (2017).

#deathloop #arkane studios #I apologize for such a long letter #dishonored #prey 2017 #immersive sim #video games

[mybg3notebook]

The "Stew" Scene

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in June 2021.

In these “scene posts” I will explore the scene of the title looking for the information in the dialogues. What I will be looking for is how much Gale “lies”, how much lore is provided, and any extra detail that may be of our interest to highlight. At the end of these posts there are summary points for those who don't want to read the whole post.

Additional disclaimers about meta-knowledge and interpretations in this (post) while disclaimers about Context in this (one).

The scene of the "stew" has two versions. One for medium or higher approval (in which we see the stew reference) and one for neutral or lower approval (in which we lack any stew). Let's analyse first the most common one. 

I'm a bit surprised at the lack of reading skill of some players. Many claim that Gale is coercing you to give him artefacts and agree to this deal before even telling you such a request. If you read the scene, and you understand what he is saying, it's clearly not the case:

[Medium approval version] Gale: [stew and list of good actions] In short: I've grown to trust you. […] I need you to place your trust in me. […] I feel compelled to speak. I say this because there is something I desperately need, but while I'll tell you what that something is, I won't tell you why. I have to ask you to agree to this before carrying on with this conversation. Tav: No. It's unfair to demand blind faith in you. Gale: I understand that I'm asking for a lot, but I can't tell you everything. Not yet anyway. Please, reconsider. […] I have a... condition. A condition different from the tadpole, but just as deadly. [...] The only way to “appease” said condition is for me to take a powerful magical artefact and absorb the Weave inside. It's been days since I last consumed an artefact, before we were abducted. It is time. By that I mean it's Imperative that I find and consume powerful strands of Weave at the earliest possible juncture. 

I don't want to explain the obvious, but it is apparently needed: Gale is not asking Tav to agree to give him artefacts before explaining the situation. Gale is asking Tav to refrain from their curiosity despite the secrecy of the situation. He will explain "what" he needs (artefacts), but he won't explain "why" he needs them (he won't disclose the “orb” and its link with Mystra). This situation is pretty close to talking to an ill person who needs some drug: they are asking you to give it but they won't disclose their illness and their origin, because it's private information that a stranger is not entitled to have. Specially if such illness will not affect you (as Gale tries to maintain his situation under control so nobody has to deal with it) 

Some players are spreading the misconception that Gale forces you to agree to give him artefacts before establishing the deal.... when he only is asking you not to question why he needs artefacts. Why are these people reading so wrong?

Later, we can understand that the "why" also has deep personal implications he doesn't want to disclose yet. It's also funny that Gale says he won't explain the why, but you can have a blunt indirect answer of the 'why' when you ask him about what happens if he doesn't consume artefacts: "catastrophe". Which exposes that, whatever is happening with him, is very worrisome. In the end, Gale said a very generalised 'why he needs artefacts' in one word. If we are allowed to have a far-stretched interpretation, we could almost consider that Tav outsmarted Gale with that question: we are well aware 'why' he needs to consume artefacts, because otherwise a catastrophe will happen.

So, once more—as it happened during his meeting on the road—what he is doing is setting a boundary. I don't know why some people angrily think he is "coercing" the player into giving him artefacts at this point of the conversation. It's not what's written! He is asking to respect his privacy when it comes to personal information.

In this way, he is setting the conditions in which this conversation will happen from the beginning. This is a gesture of the trust exchange he wants to have with Tav. The easiest way for Gale to avoid all this situation would have been plainly lying, but he opted for an honest approach with clear voiced reservations.

If we refuse to agree to listen to the "what" because the "why" won't be explained, Gale will be disappointed. 

Tav: I'm still going to say no. / No, I won't. And that's final. Gale: That's... truly disappointing. I see now that I misjudged you, so we'll dwell on the matter no longer. And at least I know where I stand. This is a part of the journey I must walk alone. Good night.

Again, some people understand this as a "coercion". We need to look for the meaning of the words once more: oversimplifying it, coercion is the practice of influencing someone to do something by using force, social pressure, or threats. I can't see where the threat or the force is done by Gale. He is voicing facts: Gale explicitly says he is disappointed; he was trusting Tav in accepting that boundary before talking. This is a diplomatic and explicit negotiation with clear terms. He says he misjudged Tav, which is also true, since he thought the exchange of trust was possible despite that boundary set due to Tav's good heart. Gale knows that this Tav cares for the well-being of creatures since it is obvious after witnessing their good deeds done up to the moment. Then, Gale stated that he would solve this problem alone without any “guilt trip” as some players say. Later in the game we know that one way he finds to do it is with Raphael's deal, an action described by the game archives and some players as “Gale's betrayal”. Everything in Gale's quests feel like an over-magnification of everything when it's supposed to be a game for adults. This detail made me wonder if Gale's character was not modified several times until being part of the game. More details of this are commented on in the post of the"Orb".

If we intrude into his mind with the tadpole and fail, we obtain this:

Tav: [Wisdom] you sense secrecy and danger. Use your tadpole to probe Gale's thoughts. [Failure] Gale: I'm afraid that's not going to work on me. Look, I appreciate your curiosity, but don't pursue this path. Let's agree on actions first and explanations later, yes?

He isn't angry with Tav because he can block their intrusion before they could see anything, but he insists once more that Tav should give him an answer about whether they accept to talk in his terms about not asking the "why" of his need (now more obvious than before that Tav wants to know). The "explanations" will come later. And this curious line of Gale also shows, in my personal interpretation, how much he has been burnt with Mystra's words that seemed to be weak by the lack of actions. He needs actions to trust in someone now, words are not enough. He had been called Chosen, and it ended up not being the case. However, he keeps doing an honest approach: instead of lying to avoid any questioning, Gale explicitly states his limits, and Tav can agree or not to them. Diplomacy rather than manipulation.

If Tav uses the tadpole before agreeing, succeeds, and then is honest with Gale about what they saw in his mind, Gale will attempt to leave the party because, at this point, he realises he is in danger: Tav is using the tadpole and he is not aware of it because he trusted Tav. Gale probably thinks that Tav may find out how dire his condition is and would consider him a danger to exterminate. As an extra, there is also the horror situation of having the privacy of his own head violated. If Tav manages to reason with Gale and keeps him in the party, he will reinforce his need for privacy and explain the reason of why: 

Tav [persuasion]: Be reasonable, Gale. I'm responsible for our party. I had to know.  [success] Gale: The need remains debatable, but I recognise your responsibility. Perhaps I spoke in haste, it's just that... there are things... things I cannot speak of. Besides, what you saw... You read the opening line of a very big book, no more. The darkness you perceived, that is my primary condition. A condition different from the tadpole, but just as deadly. The only way to “appease” said condition... [same as before]. 

If Tav doesn't play too evil, Gale will eventually open up to explain his secrecy in the future. The Loss scene is a very good example of how truly hard this situation is for him: the verbose char who can't shut up, can't find the words to explain what he lost. This is a potent narrative tool used to tell us that something deep and painful is stuck in him. More details in the post "Loss Scene".

Now, if we see the “stew” scene with a neutral or lower approval [watch video], we obtain a very different one:

[Neutral or lower approval version] Gale: Spare me a moment, if you please. I've something important to discuss with you. We've been travelling together for a while now and it's just about time that I shared something with you. It's a rather personal matter that I'd have preferred to keep quiet, but needs must when the devil drives. I have no choice but to speak. You see, I have a... condition. A condition different from the tadpole, but just as deadly. The only way to “appease” said condition [same as before]

First, the scene will trigger after a longer time, implying that Gale is trying to not speak with a Tav whose actions are keeping him in neutral or lower approval (we can infer Tav is rpg-playing rather evil since Gale is quite an approval compulser). So Gale wants to keep his primary condition a secret as long as possible since he doesn't trust in this Tav.

Second, since Tav clearly is playing somewhat an evil path, Gale doesn't like this Tav, so he doesn't care in giving them meaningful gestures of courtesy. Again, we see a diplomatic but honest approach: Gale will explicitly voice his dislike for this Tav if the disapproval continues. This would be an uncommon attitude if Gale were a truly manipulative character: no matter their approval, they will remain pleasing Tav until they obtain what they are looking for. It's not the case here. Gale is not interested in exchanging trust with this “evil” Tav, he just wants to deal with the situation and parts ways (the lower approval, the clearer this concept). Therefore, the whole scene about the friendly stew and the "let's agree first that you won't ask why I have this condition" is not present at all. This shows that the stew scene was an honest friendly gesture he won't offer to someone he doesn't like/trust. Gale is so mistrustful of this Tav that there won't be a chance to have access to his mind via tadpole either (See this point in the post of “The Tadpole”).

With a neutral or lower approval, Gale will not ask Tav to trust in him. He doesn't trust Tav either, and there is no promise to speak and disclose his condition later. Gale clearly is more mindful and caring with a medium or higher approval Tav that he is starting to see as a good companion/friend, while with a neutral or lower approval Tav he cares little about keeping the contact with them.

In any case, both versions converge once Tav is informed about the need for artefacts. Tav has four options to determine if they agree or not in giving Gale artefacts. The options in which Tav doubts are:

Tav: When I acquire powerful magic items, I'm not so sure I'll choose you over them. / I can tell you right now I don't care at all for this wild Gale chase. Gale: That's your decision to make. I expect you to make the right one. Much is at stake. More than my own meagre life alone.

When Tav makes clear they won't probably give him artefacts, Gale is giving them a free choice. I repeat: giving artefacts to Gale was never decided before. Even after this conversation is not even decided, since it's still Tav's decision to make his words into actions. Gale was also more than clear in his narration that there is more at stake than his own life alone. And considering what we know in retrospect, Gale is right: he is desperate to live but also wants to avoid killing innocents in a massive way (a concept he repeats every time his life is in danger, showing that he keeps the idea constantly present). Some people insist this is coercion, again. Could these words be interpreted as a threat? Anyone is free to interpret anything in the way they want to; I personally can't see any threat, because it's a fact, a real problem: we know that Gale without artefacts can explode dramatically and cause Game Over. He is not threatening Tav, he is being clear about the consequences of not taking his request seriously. If this were not enough, when the scene finishes, we can have extra information talking with him:

Tav: Tell me more about that condition of yours [Tav saw it with the Tadpole] Gale: You've already seen more than I was willing to share, remember? Best leave the darkness in darkness for now. [Tav did not use the Tadpole] Gale: That's part of the 'why' you agreed not to discuss. Wouldn't want to make an oath breaker out of you.

If the player did not understand previously what they were agreeing with, Gale repeats it here. It's the “why”, not the unconditional delivery of powerful artefacts. This is why I'm worried about the comprehension skills of some players. This is not a matter of interpretation: it's plainly written and repeated in the game many times.

Curiously, despite having agreed not to ask about the why, Tav can push Gale a little bit, and he still provides a small details that give a bigger perspective of his issue:

Tav: What happens if you don't consume any artefact? Gale: Catastrophe.

This is the answer for the question "why do you need to consume artefacts?" In the end, Gale provided it without details. So, saying that Tav is completely oblivious to the danger in Gale's chest seems rather unfair. Because this information is provided to any Tav, no matter their picked options across the dialogues. It's true that Tav doesn't know the details of it, but the big picture of it is clear. The only way a Tav can't have this information is a Tav who never interacted with Gale at all.

Whether Tav accepted to deliver artefacts or not, the scene finishes with:

Gale: I know the allure these artefacts hold, I understand their value and their power. All this to say: I understand the sacrifice I ask of you. I hope I can count on you. 

Again, some people understand that last sentence as coercive. Given the context in which it is made, I personally consider this as the confirmation of how important this matter is for Gale. Gale is simply communicating that he is very aware this trust is a leap of faith in a stranger, but he still hopes.

It's not by chance that this scene is required to happen to trigger the Weave scene later. From a narrative and integral point of view, the trust that Tav gave him during the Stew scene is afterward paid with the Weave and the Loss scene. Let's remember that Gale would only ask for that trust if Tav is of medium or higher approval, so the Weave scene comes naturally (bugs aside, of course). The neutral and low approval Tav is never asked for that trust and therefore the Weave scene never happens (if their approval keeps going down). In fact, Gale can leave permanently without any chance of convincing him to stay if he reaches very low approval (a really evil, maddening path can accomplish this). What I mean is that, from a narrative point of view, the Weave and the Loss scenes are Gale's way to return that trust that Tav gave him first during the stew scene and the first artefact consumption.

The Weave was not a premeditated scene by Gale, as it's stated in the Dev's notes:

Dev's notes: When the player approaches, he dispels the image and he feels embarrassed to have been caught doing what he was doing. The conversation turns to his passion for magic however, and he invites the player to try to cast a spell with him together. […] He was recalling Mystra as a lover, but doesn’t say that out loud. 

This scene happened by surprise, triggered by Gale's deep loneliness: Tav startled him when he was longing for Mystra while seeing her image in his incantation. We know Gale's mental state in this moment is a very lonely one since if Tav tells Gale to go to sleep, preventing the Weave scene, Gale will explicitly say: "Long days, yes. And long, lonesome nights.” 

He shares in that moment how important and vital magic is in his life, and only then, considering the previous actions done by Tav (for sure the consumption of one artefact, additionally could be the death protocol), Gale finds himself willing to share this experience. It's important to highlight that this is too personal for Gale, too important, and a bit painful too, since we know later (second dream) that every time he connects with the Weave, he meets Mystra's disappointment: "What magic I can still weave is met only with undercurrents of disappointing silence.”

After a moment of rambling, Gale invites Tav to share the Weave. Here is where all the branches about explicit display of Tav's romantic interests can be developed, a neutral option for a friendship path, or Tav can have very aggressive and violent reactions. More details about this scene can be read in the post of "Gale Hypotheses- Part 2", section: "Proposition to Cheat". And again, for a char so guarded of his own privacy and personal stuff, sharing the Weave can be clearly seen as the return of the trust that Gale received from Tav during the stew scene.

Similar analysis can be done with the Loss Scene, where Gale will try to open up about what he lost, and depending on Tav's options, he may confess his pain in losing Mystra. For more details, read the post of "Loss Scene". This scene can be interpreted as another gesture of trusting Tav after they helped him with his chest problem. 

Summary of the Stew Scene: 

Medium or higher approval version: Gale introduces his request with the stew. He makes a friendly approach, asking for an exchange of trust: he needs Tav to agree not to ask him why he has his condition. Gale presents this as a personal boundary since the explanation is personal matter related to his experience with the orb and his romantic life with Mystra. He doesn't ask Tav to agree in giving him artefacts before explaining the request, as some players seem to misunderstand. Then, he presents the problem and his need for consuming artefacts, leaving the decision to Tav to give him them or not.

Neutral or lower approval version: There is no need to place a boundary. Gale is certain that Tav cares little for him, so they will not ask about his condition and well-being. He presents the problem and his need for consuming artefacts, leaving the decision to Tav to give them or not to him.

This post was written in June 2021. → For more Gale: Analysis Series Index

#bg3 meta #gale #gale of waterdeep #bg3 gale

[rachelbethhines]

Tangled Salt Marathon - Lost and Found

Another plot episode and another mountain of missed opportunities, failed set ups, and foreshadowing that goes nowhere. But outside of that it’s pretty entertaining. Are we seeing a pattern yet? 

Summary: Rapunzel and Eugene go on a journey to retrieve the fourth and final piece of the scroll that will lead them to the Dark Kingdom. They receive help from Vigor the Visionary, who reveals himself to be Lord Demanitus himself, the author of the scroll depicting the purpose of the Sundrop and Moonstone. He leads them to the maze that he hid the last piece of the scroll in. Guiding them through the maze, they obtain the last piece, which united the four into one singular map. As they are about to leave, they are attacked by a stone monster.

Maybe That’s Why You Should Have Brought the Only Person Who Can Read It Along?!

Once again, having the characters acknowledge their stupidity in meta dialogue doesn’t alleviate the fact that the audience is going to think them stupid.

Regardless of your personal feelings towards Varian or what he has done in the past that does not change the fact that he is literally the only character in the show thus far who can translate the scroll. The mains knew that before leaving and they knew from the get go that they were going to need the scroll piece which is why they took it from him.  

Not bringing him along, not getting a translation key from him before leaving, nor even showing us a scene of Raps trying to ask him to translate the scroll for them before leaving and then having him refuse to do so, is a plot hole. 

Timeline Hint...Sort Of...

Rapunzel said last episode that it had been almost year since they left Corona, and it’s now close enough to her birthday again that Eugene could be tricked by it but not enough to actually be her birthday. 

So...when are we again? 

I’m going to guess 10 months after Secret of the Sun Drop? Maybe... It could also be 9 or 11 who knows... but I am still seeing fall like trees which is our only indication of a changing season in this show because the creators don’t understand climate apparently.  

Maybe cause we’re now further north of Corona we see fall/winter leaves even into early spring? 

Where Was This Rapunzel In Season 3? 

Rapunzel actually giving a crap about what Eugene wants is as rare as seeing a fawn in the woods. It happens, but most of the time you forget it's even there. 

While come season three, Rapunzel will just shoot the poor deer dead. 

Madame Canardist is a Wasted Character

I’ve already discussed at length the biggest problems with Madame Carnardist in my Vigor the Visionary and Curses reviews. So I won’t rehash those talking points here again. However what I spoke about were larger problems with the media industry and bigotry as a whole and not the specific impact the character has on the story. Which is next to none. 

The crew went through all of this trouble to make a deleted character from the film relevant to the series’s plot, and even there they failed. Madame Canardist is nothing more than a translator for Vigor when Demantius isn’t around. The story doesn’t utilize her properly despite her connections to one of the more plot important characters. 

What is her relationship to Demantius and Zhan Tiri? How did Vigor come into her care? Why is she the only person who understands him when Demantius isn’t in control? If Vigor is centuries old by this point than how old is she? What is her stake in all this and why does she bother with Rapunzel at all if she has nothing to gain from it? Why doesn’t she go along on this important quest through the maze seeing as how she is Vigor’s caretaker? 

She’s not completely useless, but like with Lady Caine, Xavier, and Hector before her, she has far more potential than the series is willing to explore with her.  

So Much For Caring About What Eugene Wants 

Welp that lasted all of five seconds. 

Man, Rapunzel is a shit girlfriend.  

The Pay Off Works, But It Then Serves No Purpose Afterwards 

I don’t mind the idea of Demantius being the monkey. I mean it is one of the very few plot points in the show with proper foreshadowing and follow through. And yes, Demantius does accomplish one thing here, by helping Raps obtain the last scroll piece. 

The problem is, nothing changes with this revelation. 

No one’s perceptions or interactions with Demantius/Vigor are altered after this reveal. No one changes their plans, goals, or motivations afterwards. Things carry on more or less afterwards the same as if they had never met. The only thing of importance here is the scroll pecice and that’s only relevant in Cassandra's Revenge and is then forgotten about completely for the rest of the series. 

What’s the point of having a plot twist if the status quo still remains?    

If the information being revealed doesn’t alter the story then why keep it secret to begin with? 

How Could You Research Them If You Never Found Them?

So did Demantius write the incantations or not? 

He is the one who put them on the scroll, so it’s natural to conclude that he did create them, but he couldn’t have done that unless he had studied both the moonstone and sundrop to see the effects the two macguffins had to the spells. 

Now according to this exposition dump, the sundrop and moonstone had been around for ages before Demantius and had become legends by his time. It is possible that someone else studied the two macguffins before him and came up with those incantations, but who? 

The ancient people of the Dark Kingdom might have studied the moonstone since they were tasked with guarding it, but no one knew where the sundrop was until Gothel found it. 

The audience needs to know this sort of information in order to understand the motivations driving the conflicts of the characters. 

Imagine a Lord of the Rings trilogy that never bothered to say where the one ring of power came from or how it came into Gollum’s possession. You’d be left wondering why everyone was fighting over what amounts to an invisibility spell that once belonged to a small deformed hobbit who used to catch fish.   

This Explanation Goes Nowhere 

Why did the disciples betray Demantius? What did they gain from siding with Zhan Tiri? Why was Gothel with them? Did she betray everyone once she found the sundrop? What was Demantius and Zhan Tiri fighting over to begin with? 

Don’t expect any of those questions to be answered. The series inexplicably makes a big deal over Gothel being connected to Zhan Tiri, but then never actually explains what that connection is, what they’re relationship dynamic was, nor how it connects back to Rapunzel’s and Cassandra’s current conflict. 

That’s the real failing of the show’s lore and backstories. They don’t connect back to the current conflict. It’s just there. 

In a well constructed show, Demantius would have been a parallel to Rapunzel who was also ‘betrayed’ by people she trusted. It would have been revealed that it was Demantius’ own actions that drove away his followers and caused them to side with Zhan Tiri. Thereby serving as a warning to Rapunzel herself and forcing her to realize in the end that in order to save everyone she’s have to apologize to those she hurt. We also would have gotten three betrayals instead of two since that’s more thematically impactful. 

But this isn’t a well constructed show and the characters in it don’t ever evolve.   

This Contradicts What We Find Out In Season 3

We find out in the last season that Zhan Tiri was originally from this world and that the only reason she was ‘bent on destruction’ was because of Demantius ticked her off somehow.  She also had no magical powers of her own until after Demantius had banished her to that other realm where she was imprisoned. 

Also Demantius didn’t use any powers. He just chucked her into a portal he had built without any warning or trail, with zero idea if it would kill her or not, all because she just stood there yelling at him. Like there wasn’t even any physical fighting, so it wasn’t a case of in defense either. 

Demantius should have been revealed to be the real antagonist all along but that would require the showrunners to be actually clever for once and not misogynistic towards their female characters. 

This Makes Zero Sense

First off, when was Zhan Tiri ever looking for Demantius? She’s been too busy trying to escape from her prison and it’s been centuries. She has no reason to suspect that he’s still alive nor does she care. Zhan Tiri’s plans are not dependant upon whether or not Demantius still exists. 

Secondly, how is the host body still alive after centuries? Why go with monkey when I’m sure there are actual human beings out there who would agree to living forever. Does the transfer actually destroy the mind? Cause if not you could have had an actual coherent host that could have helped out when Demantius was dormant.   

And don't give me any guff about ‘ethics’ because this is the man who played judge, jury, and executioner to his supposed friend/possible lover and probably killed one of his disciples as Sugarbee’s spirit was trapped in his device.  

Not the Best of Plans My Dude

So Demantius is basically committing suicide here for no real reason. 

Unless he was just already dying anyways when he made the transfer, then Demantius is drastically shortening his conscious life span. The monkey will live on, but he won’t. 

So why? He had no way of knowing that the sundrop would become a person in the future, it’s completely coincidental that he met Rapunzel just at the right place and time to help her, and as stated above, Zhan Tiri was no longer a threat to him or the world since he imprisoned her and defeated his disciples. 

Like what was his thought process here? “I just really, really want to be a monkey?” 

Eugene Isn't Wrong 

Look, I am a deeply religious person and I have faith in many things, but even I know that critical thought is necessary for basic survival and that scepticism is just plain common sense. Believing in something doesn’t mean shutting your brain off and never thinking for yourself. 

Demantius has yet to give any reason for why Eugene and Rapunzel should trust him. Him saying ‘have faith’ repeatedly does nothing to instill confidence and in fact does the opposite. If you want to people to believe in you, especially in a dangerous situation that you dragged them into, then you need to earn that trust. 

There’s a world of difference in assuming the best in people and being a fool, and Rapunzel is not the better person just because she blindly goes along with anything because she stubbornly wants to do whatever she wants and assumes she’s always right. 

Eugene is Still Right

Is ‘Faith’ the new ‘Destiny’ now? Are we just assigning different meanings to random words in order to push the story’s narrative along? 

This entire maze only involves solving puzzles, answering riddles, and a bit of running and climbing here and there. ‘Faith’ has absolutely nothing to do with it. 

This theme doesn’t even work when you take into account the reveal that it’s Eugene who needs to have faith in Rapunzel. Because Rapunzel isn’t the only one doing these things and getting them through here. 

In fact Demantius being here, and being the one who built the maze in the first place, kind of negates Rapunzel’s importance in this area. Secondly, Eugene is doing half the work anyways so it should be a message about having faith in each other. But they already have that so...yeah what’s the point of Demantius constantly bringing it up? 

Why Are You Caring About Money While Stuck In a Death Trap?

You’re rich now, Eugene. You’re the future prince consort and live in a palace. As soon as you get back to Corona or a place that recognizes Corona as a kingdom you’ll have plenty of money to spare. But you can’t do that if you’re dead inside a maze. 

Moreover, Rapunzel still has money on her. She just threw two coins in to the well; one for her and one for Demantius. You two live together! You’ve been traveling inside a caravan together for over a year now and neither of you work. Ergo, you should logically be sharing your finances at this point in time. Especially since that is what you’ll be doing anyways once you’re married for real, as you’ll both be heads of state.   

That’s Now How Faith Works

Faith is evidence for things unseen, or to put it more accurately the evidence for things that are unprovable. God, death, the future, creation, souls, the meaning of life, ect, are all concepts that can’t be proven nor disproven. No one upon this earth will ever know for certain what happens after death, how the universe was made, or if there is any intelligent life out there beyond ourselves.

People don’t like the unknowable.

Believe systems of all kinds, whether they be religious or not, exist to bring us comfort when face with the dread of such existential questions. Even if that belief system is agnosticism itself.

Gravity, weight, and basic physics however are all provable concepts that have been around since Ancient Greece, if not longer. Man has always known that if you drop something it falls, even if they didn’t have the math to back it. It’s just a fact of life.

‘Faith’ isn’t going to stop Eugene from falling. It’s not going to make the bridge more sturdy. It’s not going to magically make him as light as a feather. It won’t turn the acid below him into water. “Faith’ can’t literally give you wings and make you fly; that’s just a metaphor.

What Demantius is promoting here isn’t faith. What he’s asking Eugene to do is to blindly follow his orders without question.

This is especially jarring when you consider that Demantius is supposed to be a famous scientist. He should know very well the importance of critical thought and that having faith doesn’t mean shutting your brain off.

The Scroll is Such a Let Down

We’ve spent a season and a half finding the pieces for this thing and it won't actually be relevant until the halfway through season three. Mostly because the one person who can translate it isn’t here.

On top of that, it’s no longer important outside of  one episode. It’s an example of  the payoff not living up to its hype.

So This Is a Lie

The scroll only contains four incantations on it, and one is on the back in invisible ink and not the fourth pecice itself. None of those incantations involve combining the moontsone and sundrop together. In fact, after using two of those incantations only once they’re never seen being used again for the rest of the series. Furthermore, once the moonstone and sundrop are combined they only allow the user to perform the healing and hurt incantations, which Rapunzel can do anyways without the moonstone. 

Demantius wrote the dang scroll himself! He should very much know what is on it and what it does. This is yet another case of the writers not planning things ahead. 

Being Good at Riddles Doesn’t Make You ‘Pure of Heart’ 

Being ‘pure of heart’ means that you are kind. One does not need ‘faith’ to be kind. Being kind is doing the right thing and helping others even if it doesn’t benefit you at all.

Not only does running through a maze not have anything to do with faith, it also has nothing to do with kindness.

The only thing it proves is that Rapunzel enjoys running through a maze, and will do so in addition to dragging others along with her regardless if those people want to do it or not.

That’s not being kind.

If anything Rapunzel has only proven thus far in the series that she is a very selfish person who shouldn’t be trusted with such grave responsibility.

But as already pointed out, Demantius doesn’t care about actual faith, kindness, or purity. He just wants blind obedience. He’s mistaken Rapunzel’s exuberant and stubborn nature for nativity; not realizing that her complancany is only because they both desire the same goal.

Had he asked Rapunzel to do something that she didn’t already want to do, she wouldn’t have been so ‘pure’ to his mind.

That Is a Very Valid Question 

Eugene has a point. There’s no reason to go on this quest. In fact knowing about season three in hindsight, turning around now and not going to the Dark Kingdom would be the better option for everyone.

Cass couldn’t steal the moonstone. Zhan Tiri would never be freed. Corona will never be destroyed and the brotherhood never mind trapped. As for the black rocks they will just sit there impotently not doing anything.

Even freeing Quirin, not that Rapunzel cares, only requires the hurt incantation, which she already has.

The only problem is that Cassandra has ZT trapped in her mind but without the moonstone that has no consequences outside of Cass hearing a annoying voice in her head that she is perfectly capable of ignoring. And even that wouldn’t have happen if they had turned around after the Great Tree.

SHOW DON'T TELL

Nothing in the show back up what Demantius is saying here. We haven’t seen the rocks being active since season one. Even when Rapunzel was lollygagging around or going off the path. 

When they do become active again in the next episode it’s to help her, and after that in season three it’s all Cassandra’s doing. 

Also in season three Rapunzel is able to rebuild Old Corona around the rocks with little problem even though she didn’t reunite with the moonstone. 

In a Competent Show This Would Be Foreshadowing. This Is Not a Competent Show. 

I genuinely thought this was hinting at Moon Eugene, when I first saw this. Now couple that with the talk of ‘three betrayals’ earlier and I thought Eugene would be the final ‘betrayal’ and that a true love's kiss, after Rapunzel had apologized to him, is what would reunite the two powers and save the day.

I’m not going to fault the show for not living up to my expectations and predictions, but I will fault the series for failing to utilize Eugene properly and not working him into the main conflict. He’s the duel protagonist of the franchise. He should have just as much weight in the narrative the same as Rapunzel has.  

Oh How I Hate Where This Arc Goes

What the show does wind up doing to Eugene however, is incredibly stupid and frustrating. 

Remember how I said that ‘faith’ in this show is just blind obedience? 

Yeaaaahhh.... 

That’s what Eugene takes from all of this. Not that he should support and believe in his partner, something that he already was doing by the way, but that he needs to be a doormat to her and her whims. 

Like with Rapunzel yelling at Hook Hand in Brother’s Hook, this is the point where Eugene’s character starts to break. You just wouldn’t know it until after watching season three. 

This Is Such a Lazy Cop-Out

Like the audience has these questions too. Neither us nor Rapunzel will ever have these questions answered. You just backed out of committing to any real answers because you didn’t have your story planned out like you should have.

Why Does Everyone Act Like There’s a Prophecy When There Isn’t Any Actual Prophecy? 

Once again, Demantius had no way of knowing that the sundrop would become a person. No one did. There’s no prophecy and there’s zero explanation for his psychic abilities, which are inconsistent at best.  In fact I don't think he does have such powers, otherwise he’d be more helpful inside the maze. I think those are reserved for Vigor only and we don’t know where he got them or if he even is a ‘real’ psychic. 

Tangled the Series wants to act like it’s running on a predestination plot. That events must occur and will occur regardless of what actions you take to prevent it. Now ignoring how that causes problems with the characters’ agency for a moment; you can not have any predestination if there’s no actual destiny. 

Chosen one plots often have prophecies for a reason. Predestination is there to evoke either tragedy that can’t be prevented or present consequences for  if/when the main hero doesn’t follow along. Either way it’s there to establish conflict. 

Everyone in TTS acts like there is a conflict when said conflict hasn’t actually been established! 

This is writing 101. You need conflict. You need to establish shit. You can’t just pretend that a conflict exists where it doesn’t. ‘Fake till you make it’ doesn’t work in long term storytelling and television animation. It has to be pre-planned.  

Also The Timeline Doesn’t Match

Demantius said that it was a millenia when the sundrop and moonstone fell.He also just said he’s been waiting for a millenia to ‘meet the sundrop’. Yet Demantius acted like the sundrop and the moonstone were already legends by the time he started to search for them. That means they had to be around longer than he has. It also brings us back to the first question of who wrote the incantations if he and Zhan Tiri never found them? 

Believing In Someone Does Not Mean Shoving All the Work Onto Their Shoulders

You’re supposed to be in this together. Couples should work as a team. Both of your lives depend upon getting out of here so you should both be coming up with ideas and working together.

Not only does this miss the entire point of what ‘believing in your spouse’ actually means, it’s also incredibly unfair to both of these characters. It’s unfair to Rapunzel for put so much pressure and unrealistic expectations onto her and to have her be the person to carry both of them through when Eugene is perfectly capable of physically doing things. It’s also unfair to shove Eugene to the side and make him a useless character all of a sudden.

Rapunzel Does Nothing To Earn Such Blind Devotion 

Rapunzel’s magical hair has nothing to do with Rapunzel as a person. It’s an entity separate from her being. Literally. The hair can move of its own accord as shown here and it’s possible to physically separate Rapunzel from her powers as seen in the finale.  

Believing in Rapunzel should be about believing in who she is as a human being, about her individual character. It should not be because she has magic glowing hair.  

Not only is this a betrayal of Rapunzel and Eugene’s relationship and why they came to love one another in the first place, but it’s also a betrayal of Rapunzel’s growth as a character. It’s not only Eugene who blindly kisses her ass after this point, it’s everyone, even though she gives them little reason too. 

This the Last We’ll See of Vigor and Madame Canardist

Three episodes spent establishing these characters and now they’re just gone for no reason. They’re never seen of nor mentioned again beyond a single meta joke. Despite the main conflict revolving around Demantius and them both having the closest connection to that character.  

This Is Bad Foreshadowing, But At Least It’s Actual Foreshadowing  

Up till now any ‘foreshadowing’ we got for Cass’s villain arc has been confined to poorly thought out background images; the painting of the moon, the broken mirror in Gothel’s tower, and I won’t even dignify Chris’s bullshit about her handmaiden dress being blue. 

Not to mention all of that was only in season one. Outside of her conversation with Eugene about their parents, way back in Cassandra vs. Eugene, we haven’t had any real foreshadowing until we hit the Great Tree. 

Since the Great Tree we’ve only had a couple of bitch fights with Raps, which I personally don't consider real foreshadowing since no ill will was attached to those, and her glaring angrily at Rapunzel after escaping the shell house. 

In light of that, this scene is at least genuine foreshadowing, it’s just poorly done foreshadowing. 

While the other attempts at foreshadowing were too subtle, this one is too obvious. It gives the game away too early because there’s no other viable options within Rapunzel’s group. Adira comes closest and she’s not actually here and not really considered a friend by Rapunzel herself.  

So what winds up happening is that Cass’s arc feels rushed despite being planned since the beginning.  

Conclusion 

I spent three days fighting tumblr to get this review posted! Appreciate it! 

As for the episode itself, it’s fun to watch in isolation, but it’s such a let down knowing what’s to come from it all. 

#tangled #tangled the series #rapunzel's tangled adventure #anti-tangled #demanitus

[shihalyfie]

The 02 epilogue and “realism”

While the following thoughts have been something I’ve been thinking about for a very long time, the official Kizuna Twitter posted some interesting tweets this morning about the 02 epilogue that made me feel very much like I wanted to talk about this in detail today, so I’ve written this up. Considering how historically controversial the 02 epilogue is (or having an opinion on the 02 epilogue at all, really), I’m probably standing on thin ice by even talking about it, but I’ll do my best.

I think there’s no way getting around the fact that the 02 epilogue was really sudden for pretty much everyone -- it pretty much jumps at you without warning at the end of episode 50, a sudden 25-year timeskip when we had just gotten out of Oikawa’s death (and a very chaotic finale in general). But there is another quirk about the epilogue, which is that a lot of what seems “illogical” out of it...is most certainly illogical to someone approaching it as a kid thinking in terms of media tropes, but gains a very different nuance when you become an adult and have a certain degree of life experience under your belt.

(Note: This post does not discuss Kizuna, despite being inspired by something from it, so no fear of spoilers.)

Before we begin for real, I just want to get it out of the way that I’m not trying to “defend” the epilogue in the sense of implying that people are unreasonable for being blindsided. Like I said, it was sudden, and it was a giant timeskip where a ton of incredibly massive changes happened, leaving the audience likely to be disoriented wondering what on earth happened in the middle there to lead up to that. On top of that, although the rest of this meta is basically dedicated to “analyzing the meaning behind the epilogue writing choices from the production perspective”, I will be very honest in that, yes, I do think that, regardless of good intent, it may not have been the best decision to go ahead and make these decisions in this degree of lack of thought as to how the audience (especially one that was expected to be largely comprised of children) would take it -- creativity is a two-way street, after all, and communicating with your audience and understanding how your work will come off is very important.

Still, nevertheless, I’m writing this meta because I think, well...now that we’re all adults, and now that we’ve gotten a plethora of development information over the past twenty years, especially in the light of Kizuna, it’s worth doing an analysis about why these kinds of writing choices were made, because even to this day you get a lot of people who feel completely blindsided about it.

Everyone’s careers

Actually, the reason I decided to make this post was that I was inspired a bit by this morning’s post from the Kizuna Twitter discussing why, despite being a lead-up to the 02 epilogue, some of the cast in Kizuna seems to be in careers or aspirations that are slightly off from the careers we saw them in during the actual epilogue. (Most notably, Sora still working in ikebana instead of fashion design, Mimi being into online shopping instead of her future cooking show, etc.) The official statement was that Seki Hiromi (producer for the original Adventure and 02) personally stepped in and warned them that, in real life, a lot of people will end up changing their career aspirations at this age, and that it wouldn’t hit close to home if everyone had it exactly figured out by this point.

Kizuna is a movie about the Sad Millennial Adult Experience, so of course it is very important that it be relatable to adults in the modern era. But, in all honesty, this principle applies to 02′s epilogue itself as well. Back when the epilogue first aired -- and for the last twenty years, really -- you got a lot of comments like “why didn’t Taichi become a professional soccer player? why didn’t Yamato go into music?” and such. The thing is, though...well, this is a personal anecdote, but I first got into Digimon when I was a preteen, and, having already had an experience where my childhood interests had changed completely, I actually severely disliked seeing people say that because it felt too straightforward. Even that early, that kind of thing felt unrelatable.

Kizuna as a movie, right now, would be impossible to make in the form it is now if it hadn’t been for the 02 epilogue setting that kind of precedent -- because of the idea of your childhood hobbies not feeling as appealing as they used to be and being very lost about what to do now, feeling that everyone lied to you about that whole “having things figured out by adulthood” thing, and maybe you’ll never really figure it out. But even taking out the fact that the 02 epilogue most likely wasn’t written with the idea they’d need to make an adult-relatable movie 20 real-life years later, I think it’s easy to glean that this philosophy was behind the 02 epilogue as well. Especially since, well...Adventure and 02 themselves were both famous for this kind of writing, for depicting the lives of children in surprisingly realistic and close-to-home ways that avoided generic anime tropes.

Actually, Kakudou said it straight-out:

There were a lot of anime normally made with the idea that a given rule must occur, but I decided to do them while having doubts about whether or not it was a good idea to take on such given rules without any detail. Even if we went on with these given rules, I tried to take appropriate steps in showing why such things had occurred through step-by-step arrangements and reasoning. That is why I tried to add a little bit of realness each time to the characters, despite the restrictions that they are from anime.

So yes, that actually was the point -- no using anime tropes unless they felt they could feasibly happen with these characters. Daisuke is commented on as having “the most anime-like” and idealistic personality, but as I commented in my earlier 02 meta, he still doesn’t quite hit all of the check marks on the shounen hero archetype. So after going for a whole series on the line of going into a grounded take on human mentalities and thought processes...it probably would be inappropriate to suddenly shift into an extremely idealized fictional trope-ish depiction of everyone just going into a more exaggerated version of their childhood hobbies.

Again, that doesn’t mean that some of these don’t come off as really sudden -- the most infamous being Yamato becoming an astronaut. This was eventually revealed in 2003 and several times later to be a holdover from the original beta concept for a third Adventure series, so in that light it makes a little more sense -- Yamato probably would be the most passionate about keeping up the fight as a Chosen -- but nevertheless, it’s ambiguous whether that actually still holds (especially since the actual, uh, “third series” was...a bit different), and since we live in a world where that hypothetical Digimon in Space series never happened, it still blindsides the viewer.

On the other hand, though, both the tri. stage play and the official Kizuna profiles only took less than a paragraph to explain the disparity of why Yamato isn’t doing music anymore: he wanted to keep it in the range of hobbies. Which, incidentally, is an extremely common thing for many who experiment with creative work in their youth -- many realize that if they make it into their job, they’ll actually start hating it. Conversely, while I haven’t talked to a lot of astronauts myself, I really do sometimes wonder how many of them actually knew they were going to get into it from childhood.

So that’s the thing. We have no idea what happened, we’re left with very little recourse as to bridging the gap (at least, until Kizuna came 20 years later and helped us out a bit), and that’s why it feels implausible to many -- especially for a kid in the audience who may not have had that experience of having their hobbies change or feel less appealing. In the end, like I said, I’m not sure that going about it this way was the best decision when the very target audience was likely to be confused about this, and since, after all, fiction does have to have some acceptable breaks from reality for the sake of being a followable story. But at the very least, it is very much in line with Adventure and 02′s philosophy towards writing and its characters -- that things would be the case based on what would be these characters’ likely trajectory as actual people, and not as what you might expect “because it’s fiction” or “because they’re this kind of character”.

That everyone has a Digimon partner

I have a very distinct memory of, as a preteen, going around the Internet and seeing a fansite where someone made their “better version” of the epilogue, where their favorite ships got married instead and everyone got the careers they thought they should have, but one major thing that stuck out was that it had the now-adult kids still keep the existence of Digimon a secret, and that it’s kind of a “secret club” that they still have. In general, one of the biggest arguments against the “everyone has a Digimon partner” thing is that this, allegedly, diminishes how “special” the Chosen are when they’re not the super-amazing sole people in the world to have a partner.

When you’re a kid, being the “Chosen One” sounds romantic. You’re a special selected hero with fated abilities to save the world. In the context of Adventure and 02, however, this would actually be very contradictory to the constant reminders given by both series that magical powers selecting you out of nowhere means absolutely nothing if you’re not the one with personal will and volition to do the right thing with what you’re given. In fact, I’d say it’s actually the opposite of what all of those people have said -- if you did something amazing because of fate or because some higher power said you should, it says a lot less about you than if you were given abilities and choices and actively made an attempt to do something good and change the world, by your own volition.

But the other very important thing about the epilogue is that people keep seeing this development of Digimon proliferating all over the world like it was completely out-of-nowhere, to the point I’ve even seen conspiracy theories that the epilogue was a last-minute decision. This is especially funny because the epilogue was one of the first things decided in the entire series -- “the entire series” in this case being not 02, but Adventure -- before they’d even finalized the characterizations for everyone! The 02 epilogue was, infamously, intended to be Adventure’s ending, before 02 was greenlighted and they postponed the plan there resulting in 02 ultimately taking the fall for it.

Because it was a new television series, without an original novel or manga to use as its reference, we had to cut back on the aspect of explaining the character to each voice actor, something that we would usually do under normal circumstances. We only described their basic personality during auditions because it was likely that those personalities would change drastically in the future depending on the plot’s developments. We did not omit the explanations because there were too many characters. I swear.

But in exchange, we began post-recording by saying just this: “This story is one that’s being reminisced on by one of the children in the group who becomes a novelist 28 years later. The narrator here is that child as an adult.” Those who watched the last episode of the continuation series “Digimon Adventure 02” would know that this was Takeru, but back then, that information was kept secret. At the time of the show, it was planned that the last episode of “Digimon Adventure” would end with ‘where are the characters now’ 28 years later. However, in mid-run, production for its sequel “02” was decided and its story contents were established to be juxtaposed to the previous show, so we carried over the 28 years later scene to the sequel series instead.

(From the afterword from Adventure novel #3, from director Kakudou Hiroyuki.)

25 years after 02. 28 years after Adventure. We calculated that very precisely. In 1999, there was Taichi’s group of eight, and there were also eight other people who didn’t appear in Adventure. Before that there were only eight total, and before that only four, and before that only two, and at the beginning, only one. If they were to double every year, then it would be 28 years until everyone in the world would be able to live alongside a Digimon. Threaded through both Adventure and 02 is a story about humanity’s evolution. For everyone to have their own Digimon partner is the final step of evolution. Because there’s not much left for our actual bodies to change in terms of evolution, it is a story about how the hidden parts of our souls use the powers of digital technology to manifest in the real world, resulting in humanity’s evolution.

Statement from Kakudou Hiroyuki, from the Digimon Series Memorial Book.)

About Digimon 10: The initial trigger for humanity receiving partner Digimon was the Hikarigaoka incident in 1996, but at the time the Internet network was not ready and it was too early for anything to happen. The following years resulted in two and then four people getting involved, and after that it doubled every year (twice, because digital and binary). About Digimon 11: Twenty years later, in the world depicted in the final episode of 02, all human beings have received a partner Digimon. This is the ultimate result of Digimon Adventure’s story of evolution.

Statement from Kakudou Hiroyuki, originating from Twitter and later moved to his blog.)

While the 02 epilogue taking place in the year it did sounds like it’s because they just wanted to add an arbitrary neat number of “25 years later” to 02′s finale, in actuality, the original goal was not for that 25 years but to specifically hit the year of 2028 (not 2027, actually), where, calculating the number of humans that could be partnered to a Digimon based on the global population, everyone would have a partner by exactly 2028. The “doubling every year” principle was only brought up in actual anime-centric canon in a drama CD, and even then it was in a context of speculation instead of being stated as hard fact, but it should be noted that even Kizuna is compliant with this principle, since To Sora states directly that the number of Chosen Children as of 2010 is over 30,000, which is the approximate correct amount you should be expecting by 2010 under this principle. (So yes, really, despite ostensibly not being compliant with his original concept, presumably thanks to the nail added by partnership dissolution and how that ties into his theory of Digimon being part of the soul, Kizuna actually goes out of its way to otherwise be compliant with even the more obscure parts of his lore.)

But the really interesting thing that this epilogue concept brings out is that “the adventure of the Tokyo Chosen Children” actually had nothing to do with the proliferation of Chosen Children around the world whatsoever. From the very beginning, even since the original conception of Adventure, the proliferation of Digimon was something that was going to happen whether anyone liked it or not.

In fact, let’s look at what Koushirou actually says in the aforementioned drama CD:

Yes. I’ve figured it out… The meaning behind the term “Chosen Child.” The number of “Chosen Children” has been growing at a steady rate. Having a partner Digimon isn’t really that special. Being a “Chosen Child” means… to cease the hostilities that break out and inconvenience the Digital World. In order to do so, that child gains a partner Digimon faster than another. In other words, we are children chosen to fight. That’s what it means, isn’t it? ... Oh, is that so? That’s surprising. I didn’t expect that not even you would know what countries the Chosen Children come from when they go to the Digital World… It’s Qinglongmon that’s helping you, is it, Gennai-san? Do the other Holy Beasts who have revived not know either? The Digital World is still so full of mysteries. I’ll do my best to look for them over here.

I think a lot of people tend to have misconceptions about the nature of a Chosen Child, and those who picked them, because the way everyone became “chosen ones” is actually very different from how most media usually would play the trope. In particular:

Homeostasis, the Agents, and the Holy Beasts are explicitly not gods nor omniscient. Homeostasis admits their own lack of abilities in Adventure episode 45, and there’s a recurring undercurrent of the “I don’t know” coming from them and the Agents not actually being because they’re deliberately cryptic, but because they really don’t know. In fact, the Digital World itself is depicted as being about as confused about this whole human contact thing as the human world is.

Note that Koushirou makes a distinction between “being a Chosen Child” and “having a Digimon partner”. If you’re deemed someone who might be able to do something important in this very early time when the Digital World is still trying to figure all of this stuff out, in a world where humans overall still don’t understand Digimon very well, you get first dibs because you’re someone who can be a valuable pioneer. In other words, just because everyone else will eventually get a partner doesn’t mean your contributions aren’t still historical, valuable, and important.

The Digital World was mentioned in Adventure episode 19 as being approximately as big in scale as the real-world Earth itself. That means the Digital World is huge. Of course, its time and space doesn’t exactly match up with the real world’s, as demonstrated multiple times in 02 when the kids abuse it to circumvent travel distance, but nevertheless, there is presumably a lot of the Digital World that neither the Adventure nor the 02 kids have seen in their lives. When they meet Qinglongmon in 02 episode 37, he introduces himself as being in charge of the Eastern side -- and we never meet the others. In effect, there’s probably a huge area of the Digital World that needs protecting that even twelve kids from Tokyo can’t cover by themselves. And that answers the question of what the international Chosen Children are there for -- what do you think they’re doing with those Digivices, twiddling their thumbs? The Tokyo Chosen’s adventures were the ones we were blessed with being able to bear witness to, but that absolutely does not exclude the idea that there were other kids going through their own tales of growth and adventure -- especially since, as I said, Homeostasis and the others protecting the Digital World are not omniscient, and there are a lot of known factors beyond their control.

On that note, you might notice that, by the doubling-every-year principle and by running a math calculation, in 1999, there were eight other Chosen Children besides Taichi’s group. This also tracks with the fact that Adventure episode 53 revealed that there were other Chosen Children prior to Taichi et al. who performed an incomplete seal on Apocalymon, ones that even Gennai wasn’t aware of (remember how I said that the Agents aren’t actually omniscient?). While the fact that such an ostensibly huge fact was dropped so casually is jarring for the viewer, in retrospect, the fact that this was dropped so casually was indicative of the idea of how...not very much of a big deal this was supposed to be. Taichi and his friends may have been instrumental in the selection process for Chosen Children back in 1995, but they weren’t the only ones who witnessed the Hikarigaoka incident nor to have contact with Digimon, and they weren’t even the first to save the Digital World, nor will they be the last. But the journey of personal growth they took was still important to themselves -- just because they weren’t the only ones who took it didn’t change the fact that such an important thing happened, nor that we got the benefit of being able to meet and resonate with these kids.

In fact, the Hikarigaoka incident wasn’t even the first point of contact with the Digital World. 02 episode 33 hinted very heavily that what humans have perceived as youkai and other spirits were actually Digital World contact, just not something actually noticeable until digital technology started connecting the worlds. Episode 47 revealed that Oikawa Yukio and Hida Hiroki had made contact sometime in the 80s via video games -- even though they weren’t Chosen Children themselves at the time. In short, the concept of the Digital World and its contact with the human one is something that spans throughout history, of which the Tokyo Chosen Children are only part of in very recent years.

And finally, one of the most important parts: the idea that the Digimon would stay a secret to the world for very long is inherently infeasible. The 1999 “Digimon in the sky” incident was international. It made international news. Everyone in Tokyo has clear memories of the “Odaiba fog” incident, and, as revealed in 02 episode 14, even a boy from America, Michael, has clear memory of seeing a Gorimon. Reporters like Ishida Hiroaki didn’t hesitate to get in on the scene and try to cover what was going on, and 02 episode 38 revealed that Takaishi Natsuko was doing intensive enough press coverage on the Digimon incidents that Oikawa actually sought her out for information on it. They’re probably not the only reporters around the world doing the same. One episode later, Gennai revealed that the government/military and scientific worlds had actually caught onto the existence of Digimon and did make active attempts to research it -- but, fearing that the world wasn’t quite ready to do that without exploiting Digimon for evil purposes, Gennai and the other Agents wiped out any data records so that they couldn’t do organized research or swap notes. But just wiping out data doesn’t wipe out the public memory, and, especially when the number of Chosen Children is proliferating, and with all of the Digimon-related disasters that happened around the world in 02 episodes 40-42, at some point the world is going to start becoming very aware of what’s going on with this whole thing.

And finally, about that thing where a lot of people claim that a world where everyone has a Digimon partner must be some kind of dystopia: I think this camp severely underestimates how adaptable the world is.

This is something that might not be as resonant to those who were very young at the time they aired, but Adventure and 02 were written in what was a very shocking and scary world for adults that were living at the time. The rate at which the world changed and adapted to digital technology in the late 80s and all of the 90s was ridiculous, and in some ways even terrifying. Many tech people have pointed out how much it feels like the entire structure of the world has changed in light of technological developments, AI, and the Internet in only the last few decades compared to centuries before. International policy has changed, daily life has changed, business structures have changed, in time much less than 25 years. Hell, I’m writing this post smack in the middle of the COVID-19 pandemic; I think anyone reading this right now at this time can attest to how terrifyingly quickly the world changed itself in only a few months in response to such a thing.

Compared to that, a whole 25 years of slow burn where the Digimon partner rate at least had the decency to double every year and give people a chance to acclimate and make public policy seems practically luxurious. On top of that, while there will certainly be more people like the Kaiser out there abusing their power, Digimon evolution at least happens to be tied to human emotions (unlike many other weapons out there), and there is some stifling factor in less-than-pleasant people being a bit less likely to have the same access to overwhelming power as those who are more selfless and virtuous. That kind of limiter is something I wish modern technology could have sometimes.

So what is the Tokyo Chosen Children’s place in this narrative? At the forefront of such incredibly massive incoming changes were children who were living in a completely different world than that familiar to even people who were born five to ten years earlier -- much like the real children born in the world of technology in the late 90s. The Tokyo Chosen Children were some of the earliest pioneers in this regard, being the ones who had to figure out logistics and Digimon and the Digital World and what it meant to be a partner in a world that hadn’t figured any of this out yet, and arguably wasn’t ready yet.

Yet they did, and they saved both worlds with no precedent nor support on what to do. This, I think, is a massively more meaningful accomplishment than the idea that they were exclusively selected by some higher power.

On romance and marriage

I feel like this topic is one I’m setting myself up to end up with my head on a pike by daring to breach it -- there is pretty much no way I can cover this without setting myself up for some risk of this -- but I do want to talk about it. I really don’t want to make this post into a pro- or anti-shipping discourse post, so you’ll have to forgive me as I try to be about as diplomatic about this as I possibly can. For all it’s worth, I’m a firm believer in shipping and shipping headcanons being an integral part of the fan’s experience (heck, anyone who knows me knows that I often talk about my own ships more than I really should), and so, as I said before, I’m writing this largely from the perspective of elucidating “the most likely reason it was written this way”, and not “should it have been written this way” nor “how I think people should feel in spite of this”.

In any case, I’m going to start off this section by a statement from a friend that left a particular impression on me. I’d introduced them to Digimon recently, with both of us as adults, and one thing they commented was that the idea of shipping any of the characters felt a little too odd, because they were all elementary school kids. They, of course, understood quite naturally that I had been shipping some of these kids since I was their age (and that my current round of shipping usually was more about whether they’d get together later than whether they would during the time of the series), so it wasn’t an accusation of me being creepy or anything -- it’s just that, as an adult coming into this for the first time without a lot of preconceived attachments, it felt too weird for them to ship children at that young of an age, and it was something that made me think a lot about it.

As I said, shipping is often an integral part of the fan’s experience, even for those who don’t do “fandom” -- romance is such a huge priority that it permeates all of our media, and how it’s handled is often one of the first things deeply scrutinized. Part of the reason the 02 epilogue is so controversial is that it went pretty much against the face of the most popular ships in the fanbase, and the two that did go forward (Yamato/Sora and Ken/Miyako) weren’t ones that people would conventionally expect given what you’d generally look for when it comes to fictional relationship development.

But that’s kind of the issue here: remember when I pointed out earlier that Adventure and 02 were trying to stay away from anime tropes unless they found it to be particularly relevant to the characters’ arcs? In actuality, the way that people generally expect romance and romance tropes to happen in a series -- especially a not-particularly-romance-centric series like this one -- isn’t how romance generally works, and especially not for kids at the age we saw them in Adventure and 02. It doesn’t seem like coincidence that the first hard show of romance we get (Sora asking Yamato out during Christmas) is when the relevant characters were 14, which is around the earliest age you can imagine two kids actually taking a relationship seriously and having some depth of what they’re getting into. As if to drive this in further, Daisuke’s crush on Hikari is portrayed as a sign of him acting shallow and not having a good sense of priorities at the moment; the whole 02 main cast, as of 02, is probably still too young to entertain anything serious for at least a few more years.

If you look at actual couples, as romantic as “childhood friends to lovers” is as a trope, it’s actually not very common in real life, especially for “childhood” being defined as 8-12. There might be a slightly higher chance when it comes to the Tokyo Chosen Children, considering they’d gone through some shared experiences others might not understand, but even that gets slightly mitigated by the fact that more and more people around the world are becoming Chosen themselves. So while it can happen, and while it’s probably somewhat more likely for this group in particular, it’s not as likely as the average shipper would probably want it to be. Even those who support the canon ships don’t really favor the idea of them being in a continuous relationship all the way up to adulthood -- my personal experience as someone closely following Ken/Miyako fanfiction and comics in both the West and in Japan indicates a common thread of it being treated as a mutual pining ship until several years later, and the Yamato/Sora fans I’ve personally talked to have a very high rate of feeling that the two of them have experienced at least one breakup before getting back together. Or, in short, even people who like those ships have a hard time imagining a unbroken, continuous relationship all the way from elementary/middle school to adulthood, because of how much that generally doesn’t happen.

I promise I am not writing this as a treatise against the ship itself, I swear I’m just using this because it’s the best example I can pull out at the moment, but I’ll put it this way: I think the clearest example of this is Takeru and Hikari, the only pairing that has the unfortunate distinction of being explicitly confirmed as not being married (by Seki Hiromi in V-Jump), whereas everyone outside the scope of Yamato/Sora and Ken/Miyako is still technically in “believe whatever you want” territory. Takeru/Hikari is, depending on which scale of ranking you use, a ship that consistently ranks as one of the three most popular Digimon ships globally, and them not getting together is cited as one of the most common things disliked about the epilogue. But despite its overwhelming popularity to the point you’d think it’d be easy to cater to such a humongous fanbase by pairing them together -- and so few people would dispute it, really! -- not only were they not made an item, but they were explicitly confirmed as not being one.

Why?

Takeru and Hikari probably feel “baited” to anyone who’s looking at this from a romantic trope perspective. They’re constantly in each other’s company to the point where it almost feels like they like hanging out with each other more than they do others. Takeru is shown as having a particular investment in Hikari’s welfare in 02 episodes like 7, 13, and 31. They’re constantly associated with each other in promotional materials, too. But when you look at them in terms of their actual relationship as children...well, I’ll put it this way with another personal anecdote: I actually had multiple platonic friends like that back when I was their age in elementary and later middle school, and, uh...well, people did actually ask if we were in love with each other, and it genuinely, no-strings-attached, annoyed the hell out of me, because we weren’t, and I hated being pigeonholed into that.

In real life, platonic relationships happen a lot with kids in that age group, and it’s not actually all that surprising that 02 would have wanted to portray a healthy one without any strings attached -- the same way the series also portrayed other unconventional situations with kids, such as Iori being a nine-year-old who hangs out with kids much older than him (there are most certainly kids who can attest to being in that position!). I mentioned in my earlier 02 characterization meta that both Takeru and Hikari are actually rather inscrutable (especially in the first half of the series), and in fact, episode 13, usually quoted as a Takeru/Hikari episode, is actually centered around Takeru having difficulty reaching out to Hikari because, despite the fact he was closest to her at that point in time, she still was too closed-in to open up about anything. They almost never talk about what they actually think about each other, other than obviously having an investment in each other’s welfare and enjoying each other’s company, but, again -- this isn’t unusual for platonic friends at this age. And the fact that this is the one ship where there was actual official word putting a foot down and saying, no, this did not end up in marriage...everyone interprets this like it’s some kind of callous move made to make people miserable for no good reason, but I would say that, given the writing philosophy applied to the kids in nearly every other respect, the intent was likely to make a statement that this kind of relationship can exist without it ending up in inevitable marriage somewhere down the line.

We’re inclined to see “two people being emotionally close means a higher chance of being a couple” because this is how romance has been portrayed in media for as long as any of us have been consuming media, but in actuality, relationships are very multifaceted and complicated, and there are many ways to be “emotionally close” to someone in ways that don’t overlap with being “romantically attracted” to someone. This is especially once you start becoming an adult and end up needing to navigate the web of who’s a friend and whom you might have a crush on, and in actuality the person you start flirting with because you think they’re attractive might have been someone you just met last week, or at least someone you don’t know very emotionally intimately (which is why crushes can be intimidating, even in adulthood). This is also what I think fuels the disparity between why Taichi/Sora gained such a huge following and what actually happened with them, because many, many fans will testify that they felt baited by the ship, but if you look in the actual series in terms of what counts as “romantic attraction” and not just emotional closeness, there’s...not a lot; they happened to know each other before the events of the series (but so did Koushirou!), Taichi had a bit of a mental breakdown about saving her (because he’s not someone who abandons important friends), and in Our War Game! they had a bit of a spat with traces of tsundere (which, ultimately, are circumstantial and don’t necessarily indicate they actually have serious mutual feelings for each other). Official word implies that Yamato and Sora were planned since rather early in the series, and it doesn’t seem like coincidence that “pairing up the main hero and heroine” (Taichi and Sora) was given as an example of an avoided trope in an official booklet, so it lends further support to the idea that “not following typical romance tropes and expectations” was a significant priority.

Again, this isn’t me saying anything about those who ship it or those who have been able to figure out ways in which the relationship could work in some very wonderful headcanons I’ve had the benefit of reading over the past decades, nor those who are having a marvelous time with fanfic and headcanon and comics and being a bit more willing to indulge outside the scope of the series’s canon. (Nor the multitude of very good headcanons and meta I’ve seen about the possibility of Takeru/Hikari at least trying out dating somewhere along the line, even if it doesn’t end up anywhere permanent.) Nor does that mean I think that this was the best way for the writers to go about it -- as I’ve said in this meta already, there is an inherent fallacy of not paying enough attention to how writing will be taken and interpreted by people with certain reasonable expectations cultivated from years of media consumption, and especially by kids who aren’t going to pick up that nuance or don’t have the appropriate relationship life experience. Regardless of intent, there’s still a lot that can be criticized about its handling; in many ways, it could be considered a bit cruel that the series had things known to be considered romantic subtext in most other series that may not have been actually intended this way. But, nevertheless, I do feel very strongly that there’s a high likelihood that this is what they were at least going for, even if it didn’t come off that way to most of the audience.

Extrapolating this concept further, it’s also interesting to see how Adventure and 02 treat romance as a relatively insubstantial thing in the grand scope of things. I said earlier that it’s quite understandable that romance and shipping have become the main obsession for media -- and it’s probably been that way for as long as human civilization has even existed -- but when you really think about it, Adventure/02 treat romance as “a thing that is a big part of your life, but not the sole controlling factor”. Again, note how Daisuke’s precocious crush on Hikari manifests when he’s at his most shallow, and even after Yamato and Sora start dating in episode 38, we really don’t hear a lot about it -- granted, neither were in the lead protagonist cast by that point in the series, but whenever they do appear thereafter, it’s almost always about their work helping out as Chosen than it is about their relationship, which is presumably a private thing going on in the background. It’s a part of their lives, but it’s not the only thing going on with them. Of course, shounen anime with casts of these ages don’t tend to breach the topic of romance much at all, but it’s interesting how it touches on the topic and then leaves it in the background -- again, something probably frustrating and a bit too cavalier for those inclined to see shipping and romance as life or death, but from a real-life perspective, makes sense in the realm of friends’ relationships largely not being your business, even if it is significant.

(Ken and Miyako are a trickier matter because their pairing was allegedly based on their voice actors’ friendship, but considering that it has been cited multiple times across multiple Digimon series production notes that character outlines were often subject to change even mid-series based on impressions of the voice actors’ performance -- it happened in Tamers too, and it’s not even unusual for original anime in general -- it’s still ambiguous as to when in production this decision was made, and, considering the flip between Miyako having jealous pettiness over him in episode 3 to fantasizing over him and considering him exactly her type in 8, I would not be surprised if the decision were made somewhere in between there, especially since the fact the epilogue would eventually happen was already established in production over a year prior. Unlike with Yamato and Sora, we don’t get to see the two of them at a reasonable age to start doing anything serious within the scope of 02, which led to the unfortunate result of the reveal of them getting married in the epilogue being a very startling and sudden jump for many.)

In any case, I’m going to close this with yet another disclaimer -- I know I’m repeating myself too many times at this point, but I really, really want to make it clear that I am not, in any way, trying to imply that I don’t understand why people would be blindsided by the epilogue in any of the above ways (careers, the status of Digimon partnerships, shipping) because, as I said, I do think there is some merit to the philosophy that maybe they should have paid a bit more attention to how people -- especially kids -- would actually see the events rather than the writing philosophy behind why it should be written this way. (And, to be honest, I think I might have this complaint behind not just the epilogue, but both Adventure and 02 as a whole, for a multitude of different reasons.) Moreover, there are a million other cans of worms that could be feasibly discussed regarding the epilogue that I’ve only barely scratched the surface of here, because there are so many different topics to unpack when it comes to it, and I could go on forever (and further increase my risk of ending up with my head on a pike...). And of course there’s the wider issue of how to handle timeskip epilogues in general (they don’t really tend to be very popular, do they), so, really, there’s only so much I can cover in one post before dragging this on for too long. But in the end, even after writing all this, I understand that there are a lot of people who still won’t like it or don’t want to accept it, and that’s fine; it’s not my place to try and convince people to.

But, nevertheless, the reason why I made this post -- and what I hope the take-home can be -- is that, no, I don’t think this was made as a random off-their-rocker decision with the intent to make everyone miserable, nor some kind of fever dream that the writing staff must have pulled out while drunk, nor whatever accusations I’ve seen levied about it as a weird spontaneous idea (and the fact it really did come out very suddenly at people), but that -- regardless of how it landed -- there was some idea behind why it played out, and why, even 20 real-life years later, principles like “not everyone’s going to stick with the same career even in adulthood” continue to hold.

#digimon #digimon adventure 02 #shihameta

[radramblog]

Every Boros Commander, Part 1

Every one of these rambles is going to be longer and nerdier than the last, I guess. We’ll see how long I can keep that up for.

If you aren’t or haven’t been at least a casual fan of Magic: The Gathering, this post is going to be completely lost on you, sorry.

Oh also I’m having to split this in half since it took basically all afternoon to write and its still juuuust not done.

Boros gets a lot of shit for being bad and having bad generals for EDH until recently, and seeing as its my favourite two-colour pair I felt like exploring, well, every option we have for the combo. I’m excluding the new Commander Legends partner commanders in this, since I don’t have all day, and I’m also not covering Akiri and Bruse Tarl since no-one ever builds just Boros with them, and I’m not including 3-5 colour decks that just happen to have red and white in them. That’s not Boros.

Boros’s strengths are in manipulating combat, in tokens, and with Voltron strategies. It is the best pair for Equipment decks and top tier for Aggressive decks, to the point of being arguably shoehorned by WOTC into such strategies for a long time. Its weaknesses are mostly to do with card draw and ramp, possibly the most important things in a casual game of Commander, but the former is alleviated by many of red’s recent card draw options and the latter easily supplemented with mana rocks- if you have enough money, any deck can have good ramp, but enough budget options exist these days that it isn’t too bad even for the “worst colors”.

Anyway, enough beating around the bush lets get into this. Going in Chronological order.

Agrus Kos, Wojek Veteran (29th most played as of writing)

…It seriously took until Ravnica to get a legendary RW creature? Heinous. Cool as Agrus is as protagonist of the Ravnica novel, his card simply does not hold up in 2021, let alone beforehand. He’s a Glorious Anthem style commander, except he works best only with creatures that are both red and white, and not nearly enough cards produce multicolored tokens for him to boost. Oh, also he’s a 5 mana 3/3 with no protection or evasion that has to attack to get his effect. Save it for the novel.

Razia, Boros Archangel (30th most played as of writing, the last place finalist)

Speaking of Ravnica. Razia is fucking cool, between the art and unique, if underwhelming, activated ability. She is also 8 mana and not green. She is the only commander to my knowledge that can redirect damage to opponents’s creatures, so if that’s the deck you want to build, go for it, though enjoy the distressingly small cardpool. God, they couldn’t have given her an extra power, could they?

Brion Stoutarm (6th most played as of writing)

Brion is the first actually viable commander of the bunch, being a pretty decent head to either a Fling deck with Ball Lightnings or Acts of Treason, or just Giant Tribal with his Lorwyn compatriots. I don’t think I’ve ever seen or played against Brion yet, but I’d be interested in doing so. Having lifegain in the command zone with a deck that likes throwing damage around is pretty nice. It’s surprising that he’s still so high, especially considering EDHREC (my data source) only now pulls from the last 2 years of decks, but I’m certainly not sad to see him there.

Jor Kadeen, the Prevailer (19th most played as of writing)

Spoilers: Jor is actually the best Anthem commander. +3/+0 is huge, and when most of your ramp and some of your draw is artifacts you’re not going to have a hard time getting metalcraft. 5 mana is a fair chunk for an aggressive deck but he turns the damage output up enough notches that I think he’s pretty good. Underrated in my opinion. How are there more Tajic, Legion’s Edge decks than Jor Kadeen decks?

Basandra, Battle Seraph (24th most played as of writing)

Basandra is the head of my current Boros deck, being a pillowfort/combat manipulation deck. She’s, uh, not ideal in that even, since she stops even you from casting removal and such during combat. Having an extra must attack effect in the zone is nice, though, and a flying commander can be nice for closing games out. Basandra at least has the gift of being fairly open-ended, but also, she doesn’t really do anything, so that’s probably got something to do with it.

On a side note, fuck you Terese Nielsen for turning out to be a cunt. No-one else seems to have drawn this character, so I can’t even make an alter. Fuck.

Gisela, Blade of Goldnight (10th most played as of writing)

Gisela has a lot of very attractive words on her. Unfortunately, 7 mana and that ability means that as soon as you drop her out of the zone, you better use her quick because she isn’t sticking around long. Obviously lends herself to group slug or Earthquake decks, but the former paints an even bigger target on your head and the latter is even mana hungrier than normal. I prefer her in the 99.

Aurelia, the Warleader (5th most played as of writing)

Aurelia was the “best” Boros commander for a long time, and it’s easy to see why- haste and an extra combat trigger add up to a lot of damage very quickly and it’s not like there was much competition for a while. She’s actually the only one of the top 5 Boros commanders that wasn’t printed in the last 5 years, so I guess she’s stood the test of time, much like Brion.  I’d argue she’s pretty boring though, seeing as she has the one thing she does, but she does it well and there’s no faulting her for that. She’s the closest we have to r/custommagic’s favourite “double combat triggers” legend. A lot of people seem to run her as Angel Tribal too, which of the available Angels in the zone I’d argue that’s a pretty good shout. The Red/Boros Angels are fun!

Tajic, Blade of the Legion (20th most played as of writing)

The first on this list I’d consider playing as Voltron, Tajic’s first card is indestructible which as a former Sapling of Colfenor player is fucking excellent in the zone for when you have to play defensively. He does, however, require other creatures in the deck to truly shine, and you do have to have those creatures attack, so it can be awkward to get the most out of him. He’s a cool dude though, much better than his other card imo.

Anax and Cymede (23rd most played as of writing)

The first draft I ever played was a Born of the Gods draft in which I splashed Anax and Cymede. Clearly, I had no idea what I was doing. Anax and Cymede look a lot like Tajic in deck, to be honest, since they’re creatures that like having buffs but also want other creatures around to benefit. Heroic is kind of an awkward requirement, however, and I suspect you’d be spending more time just having it as a buff for the royals themselves. Its nice to see a loving married couple as a Magic card, though, I’m sure things will be good for them always.

Iroas, God of Victory (9th most played as of writing)

Somehow despite it being common in the 99 of aggressive decks, I don’t think I’ve ever seen an Iroas deck in my local metas. I think it has the potential to be pretty powerful, since if you can meet his (admittedly harsh) requirement he’s an indestructible evasive commander with that magical 7 power making commander damage a 3HKO. And when he’s not ready to rumble, he’s nigh impossible to kill on account of the limited targeted enchantment exile people tend to play in the format. Otherwise, he makes attacking free and bountiful for other creatures, and so is just kinda good to have around- I can see running him for that alone.

Munda, Ambush Leader (27th most played as of writing)

Somehow more people are playing Munda than Razia or Agrus, despite being just the worst commander with Ally in the text (outside the type line, love you Zada) and not doing actual anything outside of that. Why the fuck doesn’t he draw the cards? Why does he just stack them? God, Munda sucks. Also I have like 3 of them, since I drafted a lot of that deck in that environment and people just pass him around. Anyone want one? Be my guest.

Kalemne, Disciple of Iroas (11th most played as of writing)

Precon face commanders always get a bit more love and a bit more power than the average legend, and Kalemne is no exception. Double Strike in the zone on a creature that gets bigger is just nuts, and it means she kills people astonishingly quickly. Even my non-voltron Kalemne deck that just wanted to play big idiots had her as a huge threat since even if she gets killed she stays big. Kalemne also happens to be probably better for Giant tribal than Brion, though he does at least get to yeet those removal magnets if they do get removed.

Anya, Merciless Angel (26th most played as of writing)

I didn’t think Anya would be this low. While she is another indestructible commander, it is conditional, and her abilities are self-sabotaging- if someone is in range of being killed by her, you’re probably not going to want to attack them just so you can keep indestructible and buffs, but you also, yknow, want to kill them. I can see her being political in this way though- keeping someone alive with her swords at their throat can have some fun implications. I think shes underrated despite her awkwardness.

Archangel Avacyn (14th most played as of writing)

(Her colour identity is RW since her other face is a red creature. It’s a bit odd, I know)

Avacyn was fucking unbeatable in draft and obnoxious in Standard (though one of my favourite magic stories involves her, so,), and since I never managed to get one for Kalemne when that deck was around I have no real love for her. She’s generically powerful without leading in a particular direction, but her flip ability is pretty cool as is her story in the set. It’s OK. Also why do people keep putting her in Angel decks? You know she doesn’t flip off those, right?

Adriana, Captain of the Guard (22nd most played as of writing)

Adriana, Adriana. I didn’t dislike Adriana as much as I did until I actually did the math on her. Typical commander games are 4-player, so she is a +3/+3 anthem at maximum assuming you have good attacks on every single opponent and that none of them are dead yet. I’m really not sure why you’d play this over Jor Kadeen, and it looks like people aren’t, so. Melee was a fun mechanic in draft, but I completely understand why it hasn’t crossed over, ever, to other formats, seeing as there are 7 total cards with it and most of them are draft chaff. CONTINUED IN PART 2...ANOTHER DAY. PROBABLY SOON SINCE IT’S 2/3 DONE ALREADY.

#mtg #commander #edh #ramble #boros #fuck you adriana

[dragalialore]

Emile should get a redemption arc and he should be a staff unit. Walk with me.

1) He’s probably tried everything else already. He’s tried copying his siblings “specialties,” and failed. He’s probably tried every sort of weapon. I doubt someone as self-centered as him has tried healing people before. Also, he’s always called the “black sheep” of the royal family. None of the royal family (minus zethia but she’s kind of a special case bc she’s the auspex) have healing abilities. The closest is Phares, but his magic seems more “dnd wizard magic from study and knowledge” and “inhumane magic science experiments” than “controlling mana within yourself and nature.”

2) I think it would have a positive effect on him, in more ways than one. It’s a power strong enough and useful enough that it would improve his abysmal self-worth, but isn’t the kind of violent, easily abused power that would fuel a superiority complex, or allow him to kick people around. It would basically force him to earn respect through his actions, rather than let him force people to respect him through violence or threats.

3) if he does get a redemption arc (which I’m rly hoping for bc it rly seems like they’re setting up for one) I’m guessing a big part of it will be about trust, specifically earning the trust of people who you have hurt. And what better way to earn someone’s trust and respect than by healing them when they’re bleeding out on a battlefield? It would also earn him good rep among common folk that barely remember his existence.

4) I think it would be so fucking funny to watch this asshole of a man learn to be a good person bc life said “woe, power that you pretty much HAVE to use to help other people be upon ye”

Anyway emile redemption arc RIGHTS and I think giving him healing abilities would be an interesting choice that would open doors to a lot of growth for him. Thank you for coming to my TED talk.

God, Emile turning out to be a HEALER of all things would be hysterical. It would also make sense for his talents to be entirely undiscovered, since the only person in the family that really practiced magic was Zethia. Phares........ yeah that’s a whole other can of worms. (I hope we get wind of what he’s up to soon; he’s been absent since 14.)

I really like this whole idea! Using the weapon type as a metaphor for his redemption arc.... chef’s kiss. To make it matter even in the meta, I imagine his Gala alt would have to have the best healing kit in the game, outstripping both Lowens, and THAT’S gonna be a hard hurdle to get over. Probably a water unit too, tying back to his dragonpact with Mercury and his relationship with Euden (the OG fire unit).

The narrative appeal of redeeming Emile is genuinely too good to pass up. It seems to me that the campaign is starting to expand on the siblings one by one, and you bet your ass I’m gonna scream when Emile is handed the baton.

#not lore #speculation #emile #on the flipside.... emile is the only one that doesn't know euden is a faerie child yet #WELL THAT SURE IS GONNA BE A FUN CAN OF WORMS #anyway the narrative arc centers around redemption and what that means a lot #i mean alex was trying to kill elly in her first appearance #and then she got recruited #anonymous

[askkrenko]

Krenko’s Guide to Pokemon: Abra Line

Some Pokemon ebb and flow through generations, becoming stronger or weaker as the Meta changes, sometimes being powerful sometimes being unusable. Alakazam is not one of those Pokemon. Alakazam has always been strong. And Alakazam will probably always be strong. DESIGN:  I have no idea what these things are supposed to be. It’s sort of rat-ish but not really. Maybe a possum? I have no idea. Is it a mammal? Is it scaly? Is it chitinous? I think it’s chitinous.   But you know what? This is a good thing. It’s such a unique creature that it really stands out among those derived from real and mythological things.  Kadabra looks like a reasonable bigger Abra. It stands upright, it has a moustache, it has psychic symbols on its head and stomach, its chest armor thickens, and it has that huge, meaty tail. It also has a bendy spoon, popularized by famous magical Jew ‘Uri Geller,’ who Kadabra takes his Japanese name, Yungerer, from.  Him suing their asses is why Kadabra tends not to show up much outside of the games. 

Kadabra to Alakazam is less pronounced but still interesting. The moustache becomes huge and majestic, the ‘armor’ adds bracers and kneepads, the feet thicken, and the tail... falls off? Where does its tail go?  It’s a weird design decision, but all three look great and interesting.

And then at the extreme end is Mega Alakazam. Mega Alakazam looks exactly what you’d expect it to look like.  It’s head is spikier, its facial hair is more majestic, and it has so many spoons.  It also gives off a very Hindu vibe, seated in meditation like a classic guru.  EVOLUTIONS:  Abra to Kadabra at level 16 is pretty standard, as both forms are overall about on par with those of starters. Then Kadabra to Alakazam is a trade evolution. I’m of very mixed feelings about Trade Evolutions, because Trade Evolutions don’t really do what the’re supposed to do. Yes, they require a friend to help you, but it’s always trade and trade back, never ‘new owner gets to use the evolved form.’ Back in the early days of Pokemon this was actually a big part of getting people together, but now with online trading it feels a bit outdated.  Still, it’s grandfathered in and I can’t really complain, I just wish there was a way they could rework it to still be ‘you need help from a friend’ without having to do the ‘trade/trade back.’

Mega Alakazam is cool but so viciously unnecesarry. Alakazam was already a very powerful Pokemon, and it really, really didn’t need a Mega Evolution. Sure, Uber Tiers are a thing people want to do, and if you want to fight against Mewtwo and Arceus you need Mega Alakazam, but Legendaries tend to be banned from tournament play anyway. TYPING: Pure psychic is technically a sub-par type, as more things resist it than are weak to it, and it’s weak to more things than it resists. Still, these aren’t major drawbacks. More of a drawback is that Psychic is a very common type, so Alakazam has a lot of competition among its type.

STATS: Alakazam’s stat total is a perfectly average 500... Except it’s stat distribution is amazing.  With garbage HP, Attack, and Defense, Alakazam has 135 Special and 120 Speed, both incredible.  Alakazam is more than capable of one-shotting a lot of pokemon with special attacks, and it’s usually going to go first. It’s special defense is decent, though not enough to make it want to eat an attack with such low HP. Overall, this is a great distribution for an all out attacker. Mega Alakazam’s got 175 Special Attack and 150 speed. Because it totally needed that.

ABILITIES: Synchronize, Alakazam’s first ability, is not helpful. If Alakazam becomes afflicted by a status effect, the opponent gets it, too, but because this only applies to effects inflicted by the opponent and not self-inflicted ones, there’s really no way to take advantage of this. Inner Focus prevents Flinching and Intimidate. As Alakazam has no Attack worth noting, being intimidated doesn’t matter. As Alakazam is hella fast, Flinching only matters against Fake Out. Immunity to Fake Out isn’t nothing, especially in doubles, but this is not Alakazam’s best option. Magic Guard, Alakazam’s hidden ability, prevents Alakazam from taking damage from anything that isn’t an attack. This includes burn, poison, weather, leech seed, Life Orb, Spikes, and any form of recoil. This is just super good, and basically means any Alakazam not planning to go Mega gets Life Orb no questions asked. Mega Alakazam gets Trace, which copies an opponent’s ability at first opportunity. This is a serious downgrade from Alakazam, but +40 Special Attack and +30 Speed so shut up and enjoy your Mega Alakazam.

MOVES: Alakazam has ONE JOB and that’s to spam Psychic with STAB and Life Orb and 135 base special and max Special EVs so everything dies. Steel, Dark, and Psychic types are resistant to Psychic.  Fortunately, Focus Blast is good against both Steel and Dark, and other Psychic types are weak to Shadow Ball.

There, you’ve got an Alakazam. With one slot to spare. You could pick up Psyshock to deal with enemies with high Special Defense, or Energy Ball or Dazzling Gleam for more coverage. 

Nasty Plot’s pretty great. If you manage to get a free turn to use it, it basically guarantees Alakazam’s downing anything in one shot. Thunder Wave is always useful. Encore can trap an opponent in a sub-optimal move choice. In the event of Mega Alakazam (but not so much normal Alakazam), Recover’s a reasonable option. With higher defenses and a lack of Magic Guard, spending a turn to clean up damage can be useful.  General frailty also means it might benefit Alakazam to set up a Substitute if it has a moment. It doesn’t need it to protect from status conditions and such, but having that shield up for if something does outspeed with a physical attack can be very important.  Every Alakazam should have Psychic and Focus Blast. After that, it’s all based on personal strategy. 

OVERALL: Alakazam was one of the best pokemon back in Gen 1 and is still great for all the same reasons. When you’re fast and do a lot of damage, you have a competitive place. Magic Guard is just gravy.  

I still have no idea if its chitinous, mammalian, or what an I love that I don’t know that. 

#Krenko's Pokemon Guide #Abra #Kadabra #Alakazam

[aboveallarescuer]

GRRM interviews about (or mentioning) Dany - Part 1

I went to So Spake Martin and collected excerpts of GRRM's interviews that talked about Dany in some way. Some observations here:

I didn't have access to broken/unavailable links or newspapers that require subscription.

I didn't get video or podcast interviews, only ones that were written down.

I also added some excerpts about how he enjoys grey characters or how he wants to be "realistic" and other topics that may relate ... not necessarily to Dany's character, but to his writing in general. It may be useful for some metas, even if they should not be divorced from the actual text.

I didn't mind collecting interviews about the same topic.

Maybe I did a poor job collecting these interviews or the SSM is incomplete, but, in any case, there are still several key interviews missing; I couldn't find the ones about how GRRM relates to Dany's character or how he wishes the Targaryens were black, for instance. 

Even with these limitations in mind, there is still quite a bit to dig into here.

November 1998

The Targaryens have heavily interbred, like the Ptolemys of Egypt. As any horse or dog breeder can tell you, interbreeding accentuates both flaws and virtues, and pushes a lineage toward the extremes. Also, there's sometimes a fine line between madness and greatness. Daeron I, the boy king who led a war of conquest, and even the saintly Baelor I could also be considered "mad," if seen in a different light. ((And I must confess, I love grey characters, and those who can be interperted in many different ways. Both as a reader and a writer, I want complexity and subtlety in my fiction))

 December 1998

Was it a conscious decision to paint things in grey, killing off good guys, etc.

Definitely a conscious decision. Both as a reader and a writer, I prefer my plots to be unpredictable and my characters to be painted in shades of grey, rather than in blacks and whites.

 July 1999

Just out of being curious how a writer goes about his work -- do you generally write a certain POVs chapters in batches? Or are Dany's chapters, given how generally unconnected they are to the rest of the books as she goes along her own plot thread, easier to do that way? I suppose the momentum can help with a tough character.

Yes, I generally get in a groove on a particular character and write several chapters or chunks of chapters at once, before hitting a wall. When I do hit a wall, I switch to another character. Some characters are easier to write and some harder, however. Dany and Bran have always been toughest, maybe because they are heaviest on the magical elements... also, Bran is the youngest of POV kids, and very restricted as well because of his legs. At the other end of the spectrum, the Tyrion chapters often seem to write themselves. The same was true for Ned.

 Jon was not born "more than 1 year" before Dany... probably closer to eight or nine months or thereabouts.

November 1999

Also, just how much impact did the Rhoynar have on the modern customs of Dorne? Beyond the gender-blind inheritance laws, the couple of Rhoynish gods that smallfolk might have turned into saints or angelic-type beings, and perhaps the round shields, that is. In particular, given that Nymeria was a warrior-queen, is there a certain amazon tradition?

The Rhoynar did impact Dorne in a number of ways, some of which will be revealed in later books. Women definitely have more rights in Dorne, but I would not call it an "Amazon" tradition, necessarily. Nymeria had more in common with someone like Daenerys or Joan d'Arc than with Brienne or Xena the Warrior Princess.

September 2000

It has been my intention from the start to gradually bring up the amount of magic in each successive volume of A Song of Ice and Fire, and that will continue. I will not rule out the possibility of a certain amount of "behind the scenes" magic, either. But while sorcerous events may impact on my characters, as with Renly or Lord Beric or Dany, their choices must ultimately remain their own.

 November 2000

This third Targaryen might very well be -not- a Targaryen, to quote his exact words... "Three heads of the dragon... yes... but the third will not nessesarily BE a Targaryen..."

 He mentioned his frustration that Tranter books don't have maps since Tranter tends to describe journeys using ALL the available landmarks (I also stupidly complained about there not being a map of the landmass Dany's on in the books, and he VERY politely pointed out to me that there was one in SoS [O the shame!]). 

 December 2000

NG: A Song of Ice and Fire undergoes a very interesting progression over its first three volumes, from a relatively clear scenario of Good (the Starks) fighting Evil (the Lannisters) to a much more ambiguous one, in which the Lannisters are much better understood, and moral certainties are less easily attainable. Are you deliberately defying the conventions and assumptions of neo-Tolkienian Fantasy here?

GRRM: Guilty as charged.

The battle between good and evil is a legitimate theme for a Fantasy (or for any work of fiction, for that matter), but in real life that battle is fought chiefly in the individual human heart. Too many contemporary Fantasies take the easy way out by externalizing the struggle, so the heroic protagonists need only smite the evil minions of the dark power to win the day. And you can tell the evil minions, because they're inevitably ugly and they all wear black.

I wanted to stand much of that on its head.

In real life, the hardest aspect of the battle between good and evil is determining which is which.

 NG: You've frequently expressed admiration for Jack Vance. How Vancean is A Song of Ice and Fire in conception and style? In particular, does the narrative thread featuring the exotic wanderings of Daenerys Targaryen function in part as a tribute to Vance, to his picaresque inventiveness?

GRRM: Jack Vance is the greatest living SF writer, in my opinion, and one of the few who is also a master of Fantasy. His The Dying Earth (1950) was one of the seminal books in the history of modern Fantasy, and I would rank him right up there with Tolkien, Dunsany, Leiber, and T.H. White as one of the fathers of the genre.

All that being said, I don't think A Song of Ice and Fire is particularly Vancean. Vance has his voice and I have mine. I couldn't write like Vance even if I tried... and I did try, once. The first Haviland Tuf story, "A Beast for Norn," was my attempt to capture some of Vance's effects, and Tuf is a very Vancean hero, a distant cousin to Magnus Ridolph, perhaps. But what that experiment taught me was that only Jack Vance can write like Jack Vance

 NG: Three more volumes of A Song of Ice and Fire wait to be written. What shape do you expect them to take, and are their titles finalized as yet?

GRRM: Yes, three more volumes remain. The series could almost be considered as two linked trilogies, although I tend to think of it more as one long story. The next book, A Dance With Dragons, will focus on the return of Daenerys Targaryen to Westeros, and the conflicts that creates. After that comes The Winds of Winter. I have been calling the final volume A Time For Wolves, but I am not happy with that title and will probably change it if I can come up with one that I like better.

 You tend to write protagonists with strongly negative personality quirks, people who certainly don't fit the standard mold of a hero. People like Tuf in the Tuf Voyaging series, and Stannis and Tyrion inSong of Ice and Fire. Do you deliberately inject your characters with unattractive elements to make readers consciously think about whether they like them and why?

Martin: [Laughs.] Well, I don't know that I'd choose the word "unappealing," but I look for ways to make my characters real and to make them human, characters who have good and bad, noble and selfish, well-mixed in their natures. Yes, I do certainly want people to think about the characters, and not just react with a knee-jerk. I read too much fiction myself in which you encounter characters who are very stereotyped. They're heroic-hero and dastardly-villain, and they're completely black or completely white. And that's boring, so far as I'm concerned. It's also unreal. If you look at real human history, even the darkest villains had some good things about them. Perhaps they were courageous, or perhaps they were occasionally compassionate to an enemy. Even our greatest heroes had weaknesses and flaws.

 There seem to be two different styles competing throughout the series: historical fantasy in the Seven Kingdoms series, and a softer Roger Zelazny/Arabian Nights style for the scenes abroad. Is there a conscious split between the two for you, or is it just an aspect of the setting?

Martin: I try to vary the style to fit each of the characters. Each character should have his or her own internal voice, since we're inside their heads. But certainly the setting has great impact. Dany is moving through exotic realms that are perhaps stranger to us than Westeros, which is more based in the medieval history with which we're more familiar in the West, so perhaps those chapters seem more colorful and fanciful.

 You do tend to be very brutal to your characters.

Martin: Well, yes. But you know, I think there's a requirement, even in fantasy--it comes from a realm of the imagination and is based on fanciful worlds, but there's still a necessity to tell the truth, to try to reflect some true things about the world we live in. There's an inherent dishonesty to the sort of fantasy that too many people have done, where there's a giant war that rips the world apart, but no one that we know is ever really seriously inconvenienced by this. You see the devastated villages where unnamed peasants have lived, and they're all dead, but the heroes just breeze through, killing people at every hand, surviving those dire situations. There's a falsehood to that that troubles me. A writer can choose not to write about war. You don't have to write about war if that's not a subject that interests you, or you find it too brutal. But if you are going to write about war, I think you need to tell the truth about it, and the truth is that people die, and people die in ugly ways, and even some of the good guys die, even people who are loved.

 June 2001

I'm a bit concerned about Dany's skills as a commander. To succeed with the invasion of Westeros, I believe she will need a lot of sound military advice (both tactically and strategically). What's your thoughts on this issue?

She will need counsel, yes... she will also need to learn to tell the good counsel from the bad, which is perhaps the hardest task of all.

 Was it difficult to you when you wrote Dany's scene with the slavers in SOS? Was that one of the moments where the character spoke to you and changer their direction? Cause for me that act of Dany's seemed out of character. I know she dislikes slavery, but she must have killed an awful lot of innocent people there, plus her motives to me seemed suspect. Yes she freed the slaves, but she also got a large army for nothing. And right after she left the slavery started up again.

Dany is still very young. She has lessons to learn. That was one of them. It is not as easy to do good as it might seem, no matter how noble your intentions.

 February 2002

1. Was Mirri Maz Duur telling the truth when she told Daenerys Targaryen that the latter could never have children again?

I am sure Dany would like to know. Prophecy can be a tricky business.

 3. Is Daenerys Targaryen or anyone in her entourage able to tell whether her dragons are male or female? (Is the question relevant to dragons?)

Not yet.

 4. Daenerys Targaryen believed that her brother Rhaegar loved Lyanna Stark. Does she also believe that Lyanna Stark returned this love?

Dany is not sure what to believe.

 5. Since all of their mothers died, who gave Jon Snow, Daenerys Targaryen and Tyrion Lannister their names?

Mothers can name a child before birth, or during, or after, even while they are dying. Dany was most like named by her mother, Tyrion by his father, Jon by Ned.

 March 2002

3) Is your world round. I mean if Dany traveled far enough east couldnt she come to the other side of westeros?

Yes, the world is round. Might be a little larger than ours, though. I was thinking more like Vance's Big Planet.... but don't hold me to that.

 Oh, stupid fan question. I've been trying to get a visual of what the Quarth look like in my mind. In terms of what race they might be in our world. Tall and pale but I don't believe their hair color was mentioned. Would they be Western European looking? Slavic? Whenever their culture is mentioned I always think of either Persian or Indians.

I have tried to mix and match ethnic and cultural traits in creating my imaginary fantasy peoples, so there are no direct one-for-one correspodences. The Dothraki, for example, are based in part on the Mongols, the Alans, and the Huns, but their skin coloring is Amerindian. The Qartheen are an even more exotic hybrid, and offhand I don't recall where I got all the cuttings.

 April 2002

[Shaun] How do you view Dany's place in the series. She seems an heroic character to me, but the writeups on the back covers always speak of her as a villain...

[+GeorgeRRMartin] to shaun ignore the blurbs on the back cover and make up your own mind who is the hero and who is the villain

 [Erix] Dany will be betrayes 3 times. Did ser Jorah betray here once for money? so does this make it 2 betrayels so far?

[+GeorgeRRMartin] to erix no comment (twice!)

 He said that in his original plan (when he wanted to write a trilogy) the Red Wedding would take place in book one, and Dany's landing in Westeros in book two. Now he says that Dany's arrival in Westeros will take place in book 5, A Dance with Dragons.

 December 2003

Shaw: You created Jon as a bastard and an outcast from the get-go. Yet he's also one of the most attractive characters. Did you choose to make Jon a bastard to make him more attractive as an "underdog," or was his bastard birth central to the shaping of his character itself?

Martin: Almost all the characters have problems in some way. Very few of my major viewpoint characters have all the answers or have an easy path through life. They all have burdens to bear. Some of them are women in a society that doesn't necessarily value women or give them a lot of power or independence. Tyrion of course is a dwarf which has its own challenges. Dany is an exile, powerless, penniless, at the mercy of other people, and Jon is a bastard. These things shape their characters. Your experiences in life, your place in life inevitably is going to change who you are.

 Shaw: As the novels unfold, Jon becomes increasingly identified with the northern cold and ice, just as Dany is closely tied to the southern heat and fire. Will these two ultimately embody the central image of the series, Ice and Fire?

Martin: That's certainly one way to interpret it. That's for my readers to argue out. That may be one possible meaning. There may be a secondary meaning, or a tertiary meaning as well.

 Shaw: Are all the Targaryans immune to fire?

Martin: No, no Targaryans are immune to fire. The thing with Dany and the dragons, that was just a one-time magical event, very special and unique. The Targaryans can tolerate a bit more heat than most ordinary people, they like really hot baths and things like that, but that doesn't mean they're totally immune to fire, no. Dragons, on the other hand, are pretty much immune to fire.

 February 2004

Jon and Dany will be the two focal characters of AFfC (in the sort of way in which Ned was the focal character of AGoT). 

 May 2005

He doesn't feel that it's fair to call his work gratuitous. He wants the reader to live vicariously though his books (a function of fantasy writing), feel the characters emotions. If a character is at a feast, he wants the reader to smell the food, experience Dany's discomfort at being served an unappetizing dish. The same with the sex scenes-he wants his readers to feel like they are there.

Another bit of information that I found interesting- we *WILL* hear about the POVs who will not have front stage as it were, but will have it in ADwD. The reports of those chars will be somewhat garbled and messy as can be expected from any news that has travelled that distance and is that important. ex) Varys' manipulation of the Dany information, or Theon's skinning of the miller's information (we didn't know it wasn't Bran and Rickon until later). *THOSE* are the kind of reports we will see in AFFC about the missing POVs. We will get information on them, but have no idea which parts, if any, are correct.

I have some more things to add about things I asked, but I will probably trickle out things as I sober up and recall them. :p

The following will show up in ADwD:

Arya, Bran, Jon, Dany, Tyrion, and Asha (she will be in both books, as she gets involved in affairs of the North)

[Note: Spoiler POV redacted] has the most number of chapters in AFFC, while Dany has the most in ADwD. Also, the number of Tyrion chapters is going up from 4 to 7 in ADwD (his storyline is basically beinbg expanded).

 GRRM said Dany and the Wall is excluded. That removes Dany and probably Tyrion plus the Wall which presumably means Jon and Davos. 

Dragons will deal with Daenerys and the North. He decided to split by character, rather than in the middle of the story, as he wanted a complete book, rather than FfC part I and II.

This is no hoax.

I swear it by ice and fire. I swear that I will never post again should this prove false. I swear I will never touch wine again, if it is not true.

George said it is done.

But he had to make a major change. It had grown too large.

Daenerys will not appear. There will be little if any action in the North. Those chapters will be moved into the next book, which should come out shortly thereafter.

AFFC will be the size of AGoT.

 The next book will still be called aDwD. (Dany will be in it after all). 

 That being said, Dany will be presented with a map of the world from a fellow whose name I cannot remember because the pronunciation was very odd indeed.

 There was some talk about the Targaryen bloodline and how it worked when there weren't enough siblings to marry. Uncle might marry niece or aunt, nephew. There were also cousins in that family at one time. 

 Dany has more chapters than anyone. He also said that Dany's love life is going to become "extremely complex"

 Parris has proclaimed that Arya cannot die! (No, she wasn't there :( but he mentioned it when someone said that he's not allowed to kill Dany)

So yeah, in short, book not done but soon, lots of Dany, the Ironborn, and the Dornish, and Renly and Loras were INDEED knocking boots.

October 2005

The main point of discussion was the reason for the five-year wait since A Storm of Swords. I'm sure most of you know this already but, briefly, he wanted a 5-year gap between ASOS and ADWD to allow the kids to grow up. Some characters, mainly the children and Daenerys, really benefited from this, but most of the other characters suffered and the book was degenerating into a flashback-fest. After about a year he decided that wasn't working, ditched everything, and started again. 

 November 2005

His analogy is that the series is a symphony and each book is a movement, and explained that he likes each character arc to have some sort of finale in each book, whether it's on a cliffhanger, or a completion of some phase of the character's story arc (or death hehe). Ultimately, he decided to divide it geographically as you all know, since Dany's story is taking place in Martinland's China, and the rest is taking place in Martinland's England.

 One man asked whether George ever learns of people naming their kids after his characters. He pointed the guy to his website, where he even has baby pictures of Sansas, Aryas, even a Daenarys, Nymeria, Eddard, Bran, Chataya, and several Cerseis. He won't take credit for the Jons, though (hehe). It was great; someone in the audience made a crack about Cersei, and someone else said "as long as they aren't twins"). He mentioned meeting a little girl whose parents had named her Daenarys and he made a joke about how she was really going to hate spelling that when she gets to first grade. He also once got a letter from a 23-year-old girl named Lya whose mother said she was named after a character in one of his stories (A Song for Lya) and wanted to know who the heck Lya was. George sent her a copy! Hehe. He said he finds it flattering overall, but thinks it's a bad idea when the story isn't done yet and some of the characters will come to a bad end, and then those parents will be pissed with him!

 He was asked or mentioned most of the stuff that's already been covered, but one thing he talked about that I found particularly interesting was Romanticism. He said that he is a romantic, in the classical sense. He said the trouble with being a romantic is that from a very early age you keep having your face smashed into the harshness of reality. That things aren't always fair, bad things happen to good people, etc. He said it's a realists world, so romantics are burned quite often. This theme of romantic idealism conflicting with harsh reality is something he finds very dramatic and compelling, and he weaves it into his work. Specifically he mentioned that the Knight exemplifies this, as the chivalric code is one of the most idealistic out there, protection of the weak, paragon of all that is good, fighting for truth and justice. The reality was that they were people, and therefore could do horrible cruel things, rape, pillage, wanton killing, made all the more striking or horrifying because it was in complete opposition to what they were "supposed" to be. Really interesting stuff.

 At the San Diego signing, I asked GRRM at the Q&A, "Besides Dany's dragons, have all the Targaryen dragons been descendants of Aegon the Conquerors three?" GRRM answered "yes".

 And that one of the things he regrets losing from the POV split is that he was doing point and counterpoint with the Dany and Cersei scenes--showing how each was ruling in their turn.

 Q: 5-year gap?

A: It worked for characters like Arya and Dany but not so much for the adults or those who had a lot of action coming. He was writing chapters where Jon thought, "Well, not a lot has happened these past five years, it's been kinda nice." And Cersei chapters where she thought, "Well, I've had to kill sooo many people the last five years." So he ended up dropping it. He said he would have done it sooner if he hadn't told so many fans about it. And there is no gap anymore. "If a twelve-year old has to conquer the world, then so be it."

 (Petyr is just Peter, for example.)

Some he did say during the course of the evening:

Cersei = Sir-say

Jaime = Jamie (I think that was obvious but just in case)

Sansa = Sahn-sa

Tyrion = Tear-ion

Arya = Ar-Ya (Ex, Are ya?)

Daenerys = Dane-err-is

 TARGARYEN KINGS

SUBMITTED BY: AMOKA

[Note: The following information was sent to Amok for his contribution to the Fantasy Flight Games artbook.]

These are all Targaryens, of course, so there should be a strong family resemblence from portrait to portrait. All of them (except as noted) will have the purple eyes and silver-gold hair for which House Targaryen is noted. All of them should be wearing crowns... the same crown in many of the pix, though it will change once or twice along the way, as noted.

The hard part will be making each of the kings an individual, despite the similarities, and evoking each one's character through facial features, pose, clothing, background, and other elements in the portrait.

Here's the lineup:

DAENERYS I. Daenerys Stormborn. No description necessary, I assume. Show her wearing the three-headed dragon crown she was given in Qarth, as described in A CLASH OF KING. Might be good to include the three dragons in the picture. Show them very young, as hatchings, one in her lap, one wrapped around her arm and shoulder, one flying just above her.

 January 2006

He repeatedly emphasized that he prefers to write grey characters, because in real life people are complex; no one is pure evil or pure good. Fiction tends to divide people into heroes who do no wrong and villains who go home and kick their dogs and beat their wives, but that reality is much different. He cited a soldier who heroically saves his friends' lives, but then goes home and beats his wife. Which is he, hero or villain? Martin said both and that neither act cancels out the other.

 February 2006

NAERYS TARGARYEN

SUBMITTED BY: AMOKA

[Note: The following continues GRRM's series of descriptions of notable Targaryens (and Targaryen bastards) for Amoka.]

The sister of King Aegon the Unworthy and Prince Aemon the Dragonknight was beautiful as well, but hers was a very fine and delicate beauty, almost unworldy. She was a wisp of a woman, smaller even than Dany (to whom she bears a certain resemblence), very slender, with big purple eyes and fine, pale, porcelain skin, near translucent. Naerys had none of Dany's strength, however. 

 July 2006

George regrets that Cersei and Dany will not be contrasted directly. I told him of how some dedicated boarders try to defeat him and piece together a timeline. George replied that he tries to keep it vague.

He likes the extra breathing room to flesh out the characters. Bran didn't have any chapters and Dany's ending was different. Now he likes the way she ended. I think he actually may be doing more with Dany.

 SPOILER: Possible for ADWD

The second Dance of Dragons does not have to mean Dany's invasion.

Geroge stopped himself short and said he shouldn't say anymore. The response came because of my question of whether the dance would take place in ADWD because AFFC and ADWD parallel. So now my friends, speculate away.

 February 2007

Some other bits of info from Q&A: In Song, he considers Bran the hardest viewpoint character to write, while Tyrion is the easiest. The Red Wedding was partly based on a historical event in Scotland called the Black Dinner. His biggest lament in splitting A Feast for Crows from A Dance with Dragons is the parallels he was drawing between Circe and Daenerys.

 E. His dragons have no front limbs -- just rear legs and wings. He said that although the traditional depiction of dragons as six limbed creatures has become a staple of fantasy -- the fact that no animal in nature has ever evolved in such a way always bothered him. As a sci-fi writer originally, he insists on the depiction of the dragons with just four limbs. I never heard that before and though it was pretty neat.. In addition, he said that although AsoIaF dragons are intelligent, they cannot speak and will never evolve into the sort of dragons we see in Tolkien or Le Guin. Specifically he said’ Drogon is never going to share witty aphorisms with Dany. The Targaryens rule by Fire and Blood and that is what the dragons represent in the story". I guess the power icon is more Nedly for them than some of us thought when they were first rolled out back in AfoD.

 F. Cersei and Daenerys are intended as parallel characters --each exploring a different approach to how a woman would rule in a male dominated, medieval-inspired fantasy world.

 May 2007

GRRM: Well, the next book out is A Dance with Dragons, of course, and that's the fifth book of the series but in some ways it's really 4B, as those of you who follow the series knows that A Feast for Crows got so big I had to pull it in half. I split it not by chopping it right in the middle but I split it by characters. The one I'm working on now is going to have an awful lot of the characters that that aren't in A Feast for Crows, it's going to have a lot of Jon Snow, a lot of Daenerys, a fair amount of Davos, and it's going to have have a lot of "me" -- Tyrion, who is your favorite, and my favorite, so I'm enjoying writing a lot of those right now.

 And you know I got phone calls from people at the studio afterwards saying, "There is a way to make this as a feature. There's a way to do it as a movie. You could just take Jon Snow and Daenerys and just concentrate on them and get rid of some of the minor characters." And it just, it was kind of appalling because, much as I love Jon Snow and Daenerys, I didn't want to lose the other characters. I mean this is an epic and the only way we could conceive of doing it properly was to tell it as a series. And you can't do it as a series where's it interrupted every twenty minutes by a commercial for toothpaste. And you can't do it where I'd have Tyrion saying the things he says and doing the things he says, all of which network TV would have had a huge problem with.

So we really felt from the beginning that the best way to do this was on HBO or possibly Showtime. 

 August 2007

Just because I still love Popinjay and the Turtle and my other Wild Cards characters does not mean I have stopped loving Arya and Tyrion and Dany.

 April 2008

BERBERS AND DANY

[Did the unrest during the transition between Arab and Berber rule inspire Dany's storyline?]

No. Sounds fascinating, but I'm afraid I don't have enough experience with the Berbers or their history to draw on them for inspiration.

 July 2008

GRRM was asked the typical question, of where the idea for ASOIAF had come from. He replied that in the summer of 1991, when he was working as a Hollywood screenwriter, in a gap between assignments he began work on a new novel, a sf novel called Avalon ( personal note, no I would not swap it for ASOIAF, but I would have loved to have read it), set in his future history universe. And somehow, he found himself writing the first chapter of AGOT, about the direwolf pups un the snow. And after that came a second chapter and pretty soon he spent the whole summer writing AGOT.

From there he started to plan a trilogy, since there were 3 main conflicts ( Starks/Lannisters; Dany; and the Others) it felt it would neatly fit into a trilogy (ah!), but like Tolkien said, the tale grew in the telling. 

 April 2010

GRRM said he regretted mentioning the eye color of any of his characters. He also noted that as a brown-eyed person, he finds it annoying that brown-eyed characters are always portrayed as ordinary, while the doers of great deeds always have blue or hazel eyes or something - he notes that he himself was somewhat guilty of this with the violet eyes of Dany or the red eyes of Melisandre.

 (25) Any particular storyline he is enjoying right now?

He said that Dany's storyline is emerging in increasing importance. But he is struggling with the Meereenese Knot. So he can't say he is enjoying it. But he is really enjoying writing Arya's story. He could write an entire novel of it. He could write an entire YA novel about her...(at this point the audience starting clapping and calling out YES! DO IT!)...but her entire story isn't part of the greater novel. He has 12 novels worth of info for this book and its hard to fit it all in.

 February 2011

Sam Thielman: So, why did "A Dance With Dragons" take longer to write than the other books in the series?

George R. R. Martin: Well, you know, that's a good question and I'm not sure I have an easy answer for that. #1, none of the books have been exactly fast, I mean, I'm a slow writer, I've always been a slow writer, and the books are huge. I mean, they're three, four, five times the size of most novels being published. And they have extremely complex interweaving storylines. I remember back when I did the first book, 'A Game of Thrones,' Asimov's Magazine wanted to publish an excerpt and I pulled out the Daenerys storyline from the first book, and they published that as an excerpt, and after I pulled out all the Daenerys chapters and put them together for Asimov's, I did a word count and discovered, technically, I had a novel, just about Daenerys. I'm never gonna be one of those writers who has a book a year, or two books a year like some of my colleagues do. I simply can't write that fast. I do a lot of polishing and revising, and it's a big task.

 July 2011

Tad: Question: Do you purposely start a character as bad so you can later kill them?

GRRM: No. What is bad? Bad is a label. We are human beings with heroism and self-interest and avarice in us and any human is capable of great good or great wrong. In Poland a couple of weeks ago I was reading about the history of Auschwitz – there were startling interviews with the people there. The guards had done unthinkable atrocities, but these were ordinary people. What allowed them to do this kind of evil? Then you read accounts of acts of outrageous heroism, yet the people are criminals or swindlers, one crime or another, but when forced to make a choice they make a heroic choice. This is what fascinated me about the human animal. A lot of fantasy turns on good and evil – but my take on it is that it’s fought within the human heart every day, and that’s the more interesting take. I don’t think life is that simple.

 Tad: All of us work with multiple viewpoints – I hear this next question a lot: with story-driven plots, how do you decide which character viewpoint to write from – do you write several characters, taste them, then decide?

GRRM: No, not several, at least not intentionally. I had more choice early in the series, I frequently had situations where 2 or 3 were present at the same time. But as it’s progressed they have dispersed, so I need to be in the viewpoint of whoever’s there. There are some cases when I have a choice and in that case, I weigh which one. Without talking exactly about "The Mereenese Knot" – I’m not going to talk exactly about it, but but [there was a time when] a number of viewpoints were coming together in Mereen for a number of events, and I was wrestling with order and viewpoint. The different points-of-view had different sources of knowledge and I never could quite solve it. I was rewriting the same chapter over and over again – this, that, viewpoint? – spinning my wheels. It was one of the more troublesome thickets I encountered. There’s a resolution not to introduce new viewpoint characters, but the way I finally dealt with things was with Barristan, I introduced him as a viewpoint character as though he’d been there all along. That enabled me to clear away some of the brush.

 Tad: Question: do you choose characters because they will provide you with a viewpoint or something characterful?

GRRM: Actually, no. I try to give each viewpoint character an arc of his own, and ideally I would like to think that you could pull the material out – in the early books I was able to pull out the Daenerys chapters and publish them separately as a novella, and I won a Hugo Award for that. It'd be great if I could pull out each [character-arc] and it would resemble a story. In some cases a character died and that was a very short story. My prologue and epilogue characters always die but even then I try to give them a story.

 Your books, especially recently, are full of women trying to exert power in a male dominated world who have to compromise themselves along the way. Are you trying to make a feminist statement?

You could certainly interpret it that way. I don't presume to say I'm making a statement of this type or that type. But it is certainly a patriarchal society, I am trying to explore some of the ramifications of that. I try to write women as people, just as I try to write any other characters. Strong and weak, and brave and cowardly, and noble and selfish. It has been very gratifying to me how many women read my work and how much they like at least some of my female characters.

 The one thing I must confess to being frustrated by is the first Tyion chapter where you set up this expectation that he’s going to meet Dany, and I got excited. Then about 600 pages later I’m realizing, “OK, that’s not gonna happen, at least not in this book.”

Yeah, it’s the “kind of bring ’em together but don’t give them the confirmation.” In some ways it’s not so different than the sexual tension in TV shows — are Catherine and Vincent [on Beauty and the Beast] finally going to kiss? Same philosophy. This is the kind of stuff I wrestle with. I could have ended the next chapter: Tyrion gets off the boat and there’s Dany. But the journey itself has its own interest.

 There’s a point in the series where you feel like you’re reading a bunch of separate stories. Toward the end of Dance, you feel the threads starting to come back together. Is that accurate?

That’s certainly the intent, and always was the intent. Tolkien was my great model for much of this. Although I differ from Tolkien in important ways, I’m second to no one in my respect for him. If you look at Lord of the Rings, it begins with a tight focus and all the characters are together. Then by end of the first book the Fellowship splits up and they have different adventures. I did the same thing. Everybody is at Winterfell in the beginning except for Dany, then they split up into groups, and ultimately those split up too. The intent was to fan out, then curve and come back together. Finding the point where that turn begins has been one of the issues I’ve wrestled with.

 There was a fair amount of explicit sex in the series and some fans of the books were taken aback.

One of the reasons I wanted to do this with HBO is that I wanted to keep the sex. We had some real problems because Dany is only 13 in the books, and that’s based on medieval history. They didn’t have this concept of adolescence or the teenage years. You were a child or you were an adult. And the onset of sexual maturity meant you were an adult. So I reflected that in the books. But then when you go to film it you run into people going crazy about child pornography and there’s actual laws about how you can’t depict a 13 year old having sex even if you have an 18 year old acting the part — it’s illegal in the United Kingdom. So we ended up with a 22 year old portraying an 18 year old, instead of an 18 year old portraying a 13 year old. If we decided to lose the sex we could have kept the original ages. And once you change the age of one character you have to change the ages of all the characters, and change the date of the war [that dethroned the Mad King]. The fact we made all these changes indicates how important we thought sex was.

 References the chapbook with the first three Dany chapters from 2005 and that it offers insight as to how much the book has changed since then.

 There's been an interesting discussion on our forum concerning "orientalism" as it's expressed in your work, and one question it's led to among readers is whether you've ever considered a foreign point of view characters in Essos, to give a different window into events there.

No, this story is about Westeros. Those other lands are important only as they reflect on Westeros.

 Part of the difficulty of this particular novel was what you called the "Meereenese Knot", trying to get everything to happen in just the right order, pulling various plot strands together in one place, and part of the solution was the addition of another point of view character. Was this something where you tried writing it from a number of different point of views before settling on a new one? Did you actively resist adding a new character?

The Meerenese Knot related to everyone reaching Dany. There's a series of events that have to occur in Meereen, things that are significant. She has various problems to deal with at the start: dealing with the slavers, threats of war, the Sons of the Harpy, and so on. At the same time, there's all of these characters trying to get to her. So the problem was to figure out who should reach her and in what order, and what events should happen by the time they've reached her. I kept coming up with different answers and I kept having to rewrite different versions and then not being satisfied with the dynamics until I found something that was satisfactory. I thought that solution worked well, but it was not my first choice.

There's a Dany scene in the book which is actually one of the oldest chapters in the book that goes back almost ten years now. When I was contemplating the five year gap [Martin laughs here, with some chagrin], that chapter was supposed to be the first Daenerys chapter in the book. Then it became the second chapter, and then the third chapter, and it kept getting pushed back as I inserted more things into it. I've rewritten that chapter so much that it ended in many different ways.

There's a certain time frame of the chronology where you can compare to A Feast for Crows and even A Storm of Swords and figure out when they would reach Meereen and the relative time frames of each departure and each arrival. But that doesn't necessarily lead to the most dramatic story. So you look at it and try and figure out how to do it. I also wanted to get across how difficult and dangerous it was to travel like this. There are many storms that will wreck your ship, there are dangerous lands in between where there are pirates and corsairs, and all that stuff. It's not like hopping on a 747, where you get on and then step off the plane a few hours later. So all of these considerations went into the Meereenese Knot.

Then there's showing things after [an important event], which proved to be very difficult. I tried it with one point of view character, but this was an outsider who could only guess at what was going on, and then I tried it with a different character and it was also difficult. The big solution was when I hit on adding a new point of view character who could give the perspective this part of the story needed.

March 2012

If you listen to the CBC interview which you'll see the link for under General ASOIAF, much of what he said was repeated tonight. He admitted Tyrion was his favourite, and if he was having dinner with 3 characters, they would be Tyrion, Maester Aemon and then he thought of Arya, but feared she would throw food at him, so he'd go with Dany, because she's hot!

 June 2012

Near the end of the signing, a man presented Martin with two books and his daughter. “This is Daenerys,” he told Martin, “I sent you a letter about her five years ago.” Daenerys, a squirmy blonde in a pink jacket, looked about five years old. “Hello there,” Martin said, “do you like dragons?” She nodded, and they made room for the next fan.

Now that we know how the "Meereenese knot" played out, what was the problem with this? For example, was it the order in which Dany met various characters, or who, when, and how someone would try to take the dragons?

Now I can explain things. It was a confluence of many, many factors: lets start with the offer from Xaro to give Dany ships, the refusal of which then leads to Qarth's declaration of war. Then there's the marriage of Daenerys to pacify the city. Then there's the arrival of the Yunkish army at the gates of Meereen, there's the order of arrival of various people going her way (Tyrion, Quentyn, Victarion, Aegon, Marwyn, etc.), and then there's Daario, this dangerous sellsword and the question of whether Dany really wants him or not, there's hte plague, there's Drogon's return to Meereen...

All of these things were balls I had thrown up into the air, and they're all linked and chronologically entwined. The return of Drogon to the city was something I explored as happening at different times. For example, I wrote three different versions of Quentyn's arrival at Meereen: one where he arrived long before Dany's marriage, one where he arrived much later, and one where he arrived just the day before the marriage (which is how it ended up being in the novel). And I had to write all three versions to be able to compare and see how these different arrival points affected the stories of the other characters. Including the story of a character who actually hasn't arrived yet.

 October 2012

What's exciting to me about this session is that in this conversation, Martin talks at length about craft. He's been in the business of telling stories for many decades -- as a television writer and as a writer of fiction -- and he has a great deal to say about what works and what doesn't in different mediums. How is information conveyed to the audience (or the reader)? How do you keep sophisticated audiences on their toes? How do you create worlds in which most characters have to choose between the best of many bad options? How do you examine power from the perspective of outsiders, rejects and those who are constrained by conventional wisdom? Martin shared the insights of someone who has been contemplating these questions -- practically and philosophically -- for a very long time.

About midway through the podcast, there's a interesting discussion of his use of "close third person" narration and why that's effective in the creation of memorable characters. It's also interesting to note that he doesn't write the chapters in the order in which they appear in the books, and that he may write four or five Tyrion chapters before stopping and switching to another character. (Another fun fact that emerged -- and I'm sure hardcore "ASoIaF" fans already knew this -- Martin originally signed a contract for a book trilogy. I'm betting his publishers aren't sad he's now working on the sixth book in that "trilogy.")

Eventually, Martin zeroes in on his least favorite thing in any story: Predictability. But he admits that it's "very hard" to shake up the audience, which has grown more sophisticated with every passing decade. When he was writing for the revived "Twilight Zone" in the '80s, for example, network executives wanted the producers to end episodes with a twist of some kind, as the original Rod Serling series had often done. But the audience "could see all these twist endings coming a mile away," Martin said.

He also spoke about his fascination with power and with hierarchies that appear stable but are actually anything but. He mentioned reading a history of Jerusalem in which a mad ruler began killing dozens of courtiers and ordering the hands chopped off the women of the court.

"Why doesn't the captain of the guard say to the sergeant, 'This guy is [expletive] nuts?'" Martin said. "'We have swords! Why don't we kill him instead?'"

But loyalties -- clan loyalties, family loyalties, strategic alliances -- are powerful influences in the lives of Martin's characters, and their personal desires and their traditional duties or roles are often in conflict. And those kinds of unresolvable dilemmas are at the heart of what makes his stories resonate with those of us who didn't begin fighting with swords as children.

Paraphrasing Faulkner, Martin said "the only thing worth writing about is the human heart in conflict with itself." And that's a scenario that is very familiar to anyone who's ever visited Westeros, either as a reader or a viewer of the HBO drama.

 Is A Song of Ice and Fire a parallelism or a criticism to our society?

No. My work is not an allegory to our days. If I wanted to write about the financial crisis or the conflict in Syria, I would write about the financial crisis or the conflict in Syria, without any metaphor. However, it’s true that in my novels appear several elements which we can find in world history. Things such as power, sex, pain… I have grown up as a science fiction reader, and it was my first love, even before fantasy. But science fiction, then, presented an idealistic world: the space, a bright future, but unluckily that optimism disappeared very quickly and the future wasn’t as good as we had expected. Nowadays, science fiction is very pessimistic and talks about dystopias: about a polluted world, about a rotten world… Of course I would prefer to be part of another world; a better world, but I can’t. Perhaps winter is not coming only to Winterfell, but in the real world.

 March 2013

The readers are unhappy with leaving out the five-year gap?

Well no, some of the storylines from Feast for Crows. I get complaints sometimes that nothing happens — but they're defining "nothing," I think, differently than I am. I don't think it all has to battles and sword fights and assassinations. Character development and [people] changing is good, and there are some tough things in there that I think a lot of writers skip over. I'm glad I didn't skip over these things.

[For example], things that Arya is learning. The things Bran is learning. Learning is not inherently an interesting thing to write about. It's not an easy thing to write about. In the movies, they always handle it with a montage. Rocky can't run very fast. He can't catch the chicken. But then you do a montage, and you cut a lot of images together, and now only a minute later in the film, Rocky is really strong and he is catching the chicken.

It’s a lot harder [in real life]. Sometimes in my own life, I wish I could play a montage of my life. I want to get in shape now. So let’s do a montage, and boom — I'll be fifty pounds lighter and in good shape, and it will only take me a minute with some montage of me lifting weights and running, shoving away the steak and having a salad. But of course in real life, you don't get to montage. You have to go through it day by day.

And that has been interesting, you know. Jon Snow as Lord Commander. Dany as Queen, struggling with rule. So many books don't do that. There is a sense when you're writing something in high fantasy, you're in a dialogue with all the other high fantasy writers that have written. And there is always this presumption that if you are a good man, you will be a good king. [Like] Tolkien — in Return of the King, Aragorn comes back and becomes king, and then [we read that] "he ruled wisely for three hundred years." Okay, fine. It is easy to write that sentence, “He ruled wisely”.

What does that mean, he ruled wisely? What were his tax policies? What did he do when two lords were making war on each other? Or barbarians were coming in from the North? What was his immigration policy? What about equal rights for Orcs? I mean did he just pursue a genocidal policy, "Let’s kill all these fucking Orcs who are still left over"? Or did he try to redeem them? You never actually see the nitty-gritty of ruling.

I guess there is an element of fantasy readers that don't want to see that. I find that fascinating. Seeing someone like Dany actually trying to deal with the vestments of being a queen and getting factions and guilds and [managing the] economy. They burnt all the fields [in Meereen]. They've got nothing to import any more. They're not getting any money. I find this stuff interesting. And fortunately, enough of my readers who love the books do as well.

 And meanwhile, you've got Daenerys visiting more Eurasian and Middle Eastern cultures.

And that has generated its controversy too. I answer that one to in my blog. I know some of the people who are coming at this from a political or racial angle just seem to completely disregard the logistics of the thing here. I talk about what's in the books. The books are what I write. What I’m responsible for.

Slavery in the ancient world, and slavery in the medieval world, was not race-based. You could lose a war if you were a Spartan, and if you lost a war you could end up a slave in Athens, or vice versa. You could get in debt, and wind up a slave. And that’s what I tried to depict, in my books, that kind of slavery.

So the people that Dany frees in the slaver cities are of many different ethnicities, and that’s been fairly explicit in the books. But of course when David [Benioff] and Dan [Weiss] and his crew are filming that scene [of Daenerys being carried by freed slaves], they are filming it in Morocco, and they put out a call for 800 extras. That’s a lot of extras. They hired the people who turned up. Extras don't get paid very much. I did an extra gig once, and got like $40 a day.

It's probably actually less in Morocco since you don't have to pay quite the same rate. If you're giving 800 Moroccans 40 bucks each, you're not going to fly in 100 Irishman just to balance the racial background here. We had enough trouble meeting our budget anyway.

I know for some readers, they don’t care about this shit. But these things are about budget and realism, and things you can actually do. You are shooting the scene in a day. You don't have a lot of time to [worry] about that, and as someone who has worked in television this kind of stuff is very important to me. I don't know if that is answer or not. I made that answer, and some people weren't pleased with that answer, I know. They are very upset about that.

 August 2013

Amid reports of a dramatic uptrend in babies named “Khaleesi” and tourism to Dubrovnik, Croatia (aka King's Landing), we're guessing George R. R. Martin doesn’t need much of an introduction.

 AC: How do you decide what you're going to work on, whose voice you're going to work in today?

GM: Well, I don't write the chapters in the order in which you read them. I get into a character’s voice. It's always difficult to switch gears, actually. When I do make that transition from one character to another, I usually struggle for a few days trying to get back the voice of the character I'm just returning to after some hiatus. But once I get into it, I tend to write not just one chapter by that character, but three or four. So I'll be writing Jon Snow chapters, and I'll carry that Jon Snow sequence as far as I can. And then at some point, maybe I'll get stuck or not be sure what I should do next, or maybe I've just gotten way ahead of all of the other characters in the books, so I need to sort of rein myself in and make myself switch from Jon Snow to Sansa or Daenerys or somebody like that.

 November 2013

We can't leave Martin without pressing him for his thoughts on which of his characters keeps the best table. Would it be the wealthy, sun-loving Martell family with their Mediterranean-leaning flatbreads, olives and spiced snake? The sensualist Tyrion Lannister? Or the moveable feast of the court of Daenerys Targaryen with its duck eggs and dog sausage?

"Oh, Illyrio Mopatis, the magister, no question. Just watch out for the mushrooms."

 March 2014

Was it a big shift for you, when you were writing the scenes that take place at Winterfell and suddenly you have the Daenerys scene, with an entirely different location?

Pretty early on, in the summer of ‘91, I had the Daenerys stuff. I knew she was on another continent. I think I had already drawn a map by then – and she wasn’t on it. I’d just drawn the map of the one continent that would come to be called Westeros. But she was in exile, and I knew that, and that was sort of the one departure from the structure. It’s something I borrowed from Tolkien, in terms of the initial structure of the book. If you look at Lord of the Rings, everything begins in the Shire with Bilbo’s birthday party. You have a very small focus. You have a map of the Shire right in the beginning of the book – you think it’s the entire world. And then they get outside it. They cross the Shire, which seems epic in itself. And then the world keeps getting bigger and bigger and bigger. And then they add more and more characters, and then those characters split up. I essentially looked at the master there and adopted the same structure. Everything in AGame of Thrones begins in Winterfell. Everybody is together there and then you meet more people and, ultimately, they’re split apart and they go in different directions. But the one departure from that, right from the first, was Daenerys, who was always separate. It’s almost as if Tolkien, in addition to having Bilbo, had thrown in an occasional Faramir chapter, right from the beginning of the book.

 Although Daenerys is hooked into Winterfell, because we hear talk of her family, the Targaryen family, early on.

You see overlaps. Daenerys is getting married, and Robert gets the report that Daenerys has just gotten married and reacts to that and the threat that it poses.

 Fortunately, the books were best sellers, I didn’t need the money, you know, so I could just say no. Other people wanted to take the approach of, there are so many characters, so many stories, we have to settle on one. Let’s make it all about Jon Snow. Or Dany. Or Tyrion. Or Bran. But that didn’t work, either, because the stories are all inter-related. They separate but they come together again. But it did get me thinking about it, and it got me thinking about how this could be done, and the answer I came up with is – it can be done for television. It can’t be done as a feature film or a series of feature films. So television. But not network television. I’d worked in television. The Twilight Zone. Beauty and the Beast. I knew what was in these books, the sex scenes, the violence, the beheadings, the massacres. They’re not going to put that on Friday night at eight o’clock, where they always stick fantasies. Both of the shows that I was on, Twilight Zone and Beauty and the Beast, Friday night at eight o’clock. They think, "Fantasy? Kids!" So I wasn’t going to do a network show. But I’d been watching HBO. The Sopranos. Rome. Deadwood. It seemed to me an HBO show, a series where each book was an entire season, was the way to do it. So when I sat down with David and Dan at that meeting at the Palm, which started out as a lunch meeting and turned into a dinner meeting, and they said the same thing, then I suddenly knew we’re on the same wavelength here.

 June 2014

Q: What can you tell us about a warg dragon rider?

A: There is no history/precedent for someone warging a dragon. There is a rich history of the mythical bond between dragon and rider.  There have been instances of dragons responding to their riders even from very far away (hmm) which shows it is a true and very strong bond. We will learn more about this. Keep reading (we hear “keep writing” from the back of the room).

 Q:  What is your favorite line in ASOIAF?

A: I can’t single out one line but my favorite passage is Septon Meribald’s speech about war in… what was it?  (crowd yells out Feast for Crows).

 November 2014

For people who are not familiar with your work, the series takes place in an imaginary world. There is a struggle for control of the kingdom. This dynastic war is essentially one of three main plot lines. There are the other plot lines involving these sort of superhuman characters, and then there’s the exiled Targaryen daughter who seeks the return of her ancient throne. Why those three main plot lines?

Well, of course, the two outlying ones — the things going on north of the Wall, and then there is Targaryen on the other continent with her dragons — are of course the ice and fire of the title, “A Song of Ice and Fire.” The central stuff — the stuff that’s happening in the middle, in King’s Landing, the capital of the seven kingdoms — is much more based on historical events, historical fiction. 

 Pop culture has grabbed “Game of Thrones.” It’s been featured in “The Simpsons” and “South Park.” What goes through your mind when you see these references?

Well, I think it’s tremendously cool, of course. It’s nice to be doing something that everybody is so aware of and that has entered the cultural zeitgeist in that manner. The only aspect of it that really astonishes me is not that the characters and the story is being parodied or referenced in these various places but the extent at which I personally am. I mean, when I see myself as a character on “South Park” or I see Bobby Moynihan imitating me with the suspenders and the hat on “Saturday Night Live,” when I see companies selling Halloween costumes, not Halloween costumes to be Jon Snow or Daenerys but Halloween costumes to be me, that’s pretty freaky. That’s something I could never have anticipated, and I just don’t know what to think of it. 

 May 2015

Still, it’s only natural that there’s a few characters Martin would have liked to have seen on the show that did not make it in.

“Strong Belwas, who was part of Dany’s entourage,” Martin said. “I understand why he was cut, but I kind of miss him.” In the books, the massive eunuch warrior is a former pit fighter who joins Dany in Qarth. Belwas’ story elements have essentially been combined with the character of Daario, who is arguably more essential to Dany’s journey.

  June 2015

I explained that in my own head, Yandel is in King's Landing, clutching his book, showing up each day for an audience with the king... and each day being told perhaps the next day. Except on those occasions where, you know, they tell him the king's getting married today, and then whoops, Joffrey is dead, etc.

I also noted that of course, given how he wrote about the reign of Aerys and and the rebellion, that if Aegon or Daenerys take King's Landing he may indeed end up having his head chopped off... George seemed interested in the idea, I think. :P

 May 2016

4. GRRM and Picacio both made the joke about "you need to pay the artist" and such regarding general fan fiction. And then GRRM said he has issued some sub-licenses to things like art and games, etc. GRRM also mentioned that HBO owns the rights to the exact likenesses of the tv version of the story, meaning, no art can be made where Dany looks like Emilia. He was very careful in avoiding a real link in feeling between him and HBO even though he was asked about it twice. Then GRRM mentioned, and Picacio joined in, how GRRM knew the show would overtake the books. Not too much new.

Reactions after the episode

c. Dany on Drogon seemed random and a repeat of previous seasons.

d. Others loved Dany on Drogon.

 December 2016

And the most revealing: he said that for Winds, Winter is the darkest time 'where things die' and many characters will go dark places.

 At last I was able to ask him the question I had sent for the tombola. I have always been fascinated by how ASOIAF embodies the theories put forward by Acemoglu and Robinson about countries with extractive institutions (which hamper development). So my question was: Why do you think the political institutions in the Seven Kingdoms are so weak? His answer: the Kingdom was unified with dragons, so the Targaryen's flaw was to create an absolute monarchy highly dependent on them, with the small council not designed to be a real check and balance. So, without dragons it took a sneeze, a wildly incompetent and megalomaniac king, a love struck prince, a brutal civil war, a dissolute king that didn't really know what to do with the throne and then chaos. Interesting answer.

 July 2017

To a certain degree, also, it’s so intertwined, tragically and unfortunately, with the character histories. Daenerys doesn’t get to where she is unless she’s sold as a child bride, effectively a slave.

And I should point out, and you probably know this if you’ve read the books and watched the show, Daenerys’ wedding night is quite different than it was portrayed in the books. Again, indeed, we had an original pilot where the part of Daenerys was recast, and what we filmed the first time, when Tamzin Merchant was playing the role, it was much more true to the books. It was the scene as written in the books. So that got changed between the original pilot and the later pilot. You’d have to talk to David and Dan about that.

 I had all these meetings saying, “There’s too many characters, it’s too big — Jon Snow is the central character. We’ll eliminate all the other characters and we’ll make it about Jon Snow.” Or “Daenerys is the central character. We’ll eliminate everyone else and make the movie about Daenerys.” And I turned down all those deals.

 When you’re walking down the street in Santa Fe, do new character or historical details just pop into your head?

Sometimes it happens to me on long-distance drives. When I was younger I loved to take road trips, and get in the car and drive for two days to get to L.A. or Kansas City or St. Louis or Texas. And on the road, I would think a lot about that. In 1993, I think it was, I visited France for the first time. I had begunGame of Thrones two years before in ‘91 and I had to put it aside because television was happening. And for some reason, I had rented a car, I was driving all around Brittany and the roads of France to these little medieval villages and I was seeing castles, and somehow that just got me going again. I was thinking about Tyrion and Jon Snow and Daenerys and my head was full of Game of Thrones stuff.

 You’re in unusual territory, with your characters very much still in your hands but also out in the world being interpreted for TV. Are you able to have walls in your mind such that your Daenerys, say, is your Daenerys, and Emilia Clarke’s Daenerys is hers and the show’s?

I’ve arrived at that point. The walls are up in my mind. I don’t know that I was necessarily there from the beginning. At some points, when David and Dan and I had discussions about what way we should go in, I would always favor sticking with the books, while they would favor making changes. I think one of the biggest ones would probably be when they made the decision not to bring Catelyn Stark back as Lady Stoneheart. That was probably the first major diversion of the show from the books and, you know, I argued against that, and David and Dan made that decision.

In my version of the story, Catelyn Stark is re-imbued with a kind of life and becomes this vengeful wight who galvanizes a group of people around her and is trying to exact her revenge on the riverlands. David and Dan made a decision not to go in that direction in their story, pursuing other threads. But both of them are equally valid, I think, because Catelyn Stark is a fictional character and she doesn’t exist. You can tell either story about her.

 Is there anything we didn’t get to talk about?

I suppose there are issues we could have explored more with the whole question of sexual violence and women — it’s a complicated and fraught issue. To re-address that point a little, I do a lot of book signings, and I think I have probably more women readers than male readers right now. Only slightly, but it’s probably 55 percent, 45 percent, but I see women readers at things and they love my women characters. I’m very proud of the creation of Arya and Catelyn and Sansa and Brienne and Daenerys and Cersei and all of them. It’s one of the things that gives me the most satisfaction, that they’ve been so well-received as characters, especially by women readers who are often not served.

 August 2017

- My question about Daenerys was chosen as the third question (I was lucky!) but he refused to answer it lol … I asked “How old was Daenerys when she left the house with the red door, and was it located close to the palace of the Sealord of Braavos?” (thanks Butterfly for suggesting it to me) I don’t know why he refused to answer about her age, but about the house with the red door he said there will be more revelations about it in future books.

- He was asked to comment about the differences between the book and show characters, particularly Daenerys. GRRM ignored all the other characters and talked only about Daenerys - he said that the show one is older because there are laws in USA that prevent minors from having sex scenes so the decision was made to age Daenerys. Otherwise, book Daenerys and show Daenerys “are very similar” and “Emilia Clarke did a fantastic job”. (I guess he can’t really say negative things about the show, can he?)

- “Will Jorah ever get out of the friendzone?” (side-eyeing the person who asked this). GRRM: “I would not bet on it.”

 August 2018

Q: if you did have a child what would you name him or her?

A: “I don’t know... probably Not Daenerys”

 November 2018

“I have tried to make it explicit in the novels that the dragons are destructive forces, and Dany (Daenerys Targaryen) has found that out as she tried to rule the city of Meereen and be queen there.

“She has the power to destroy, she can wipe out entire cities, and we certainly see that in Fire and Blood, we see the dragons wiping out entire armies, wiping out towns and cities, destroying them, but that doesn’t necessarily enable you to rule — it just enables you to destroy.”

[...] “If you read Fire and Blood, you’ll know there’s definitely a bond between the dragons and their riders and the dragons will not accept just any rider,” says Martin. “Some people try to take a dragon wind up being eaten or burned to death instead, so the dragons are terribly fussy about who rides them.”

[...] The prince defeated the threat in the North by driving his sword through his wife’s heart. Will Jon have to do the same to Daenerys? Or is she the prince, Azor Ahai, reborn? Martin suggests all may not be as it seems.

“The Targaryens have certain gifts and yes, taking the dragons and dragon riding and dragon breeding was one of them,” he says. “But the other gift was an occasional Targaryen had prophetic powers and could see glimpses of the future, which they didn’t always necessarily properly interpret because, you know, they were fragmentary and sometimes symbolic.

“But to what extent did they share those gifts, what did he see, what prompted him to do all this? These are things I find really interesting to ponder.

 What was interesting from The Guardian interview you did, is this book — as daunting as it would seem for most authors to attempt, and as tough as Winds has been for you — this was curiously easy for you to write. Yes. Partly because it’s linear. Although it covers 150 years or so, it’s very straightforward — here’s what happened in the year 30, here’s what happened in 25. In Winds, I have like 10 different novels and I’m juggling the timeline — here’s what’s happening to Tyrion, here’s what’s happening to Dany, and how they intersect. That’s far more complicated. 

 August 2019

On the fame thing, does it ever feel surreal to stop and think about the reach that your work has had? I mean, couples meet through Game of Thrones, there are Thrones-themed wedding ceremonies, and babies are named after your characters. Is that something you ever dwell on and think to yourself  'God, my work has had this massive effect on people?'

It's very gratifying when you get letters, emails, and hear stories like that. They definitely do name children after my characters and send me pictures of their babies.

People also name their dogs, cats, iguanas, after my characters. Sometimes, it’s a little surreal. I often wonder about all the young Daenerys’ out there because kindergarten teachers will hate me because they have to spell it!

#daenerys targaryen #resources #grrm #valyrianscrolls

[quasarden]

slams my fists on the ground. please post the paragraphs of character meta for your dnd au

Hi Anon! More than happy to oblige, rest of the characters are after the read more.

Reigen

Reigen is a rogue with a 1 level dip into Bard. I picked Swashbuckler because, let’s be honest, Reigen is all about 1v1 confrontations when he actually fights. Plus, with abilities that use your charisma against enemies to give yourself the upper hand - it suits him perfectly. The Bard multiclass is mostly for the use of inspiration die. Even in a high magic setting, Reigen shouldn’t rely much on magical aptitude. Being Rogue and a Half-Elf allows for a lot of skill proficiencies. Reigen focuses on Cha and Dex based skills, and probably has proficiency in insight given how good he is at reading people.

Adapting Reigen as a character is fairly straightforward too. He’s a Half-Elf, and estranged from the Elven (Mother’s side) of his family. He actually has very little working knowledge of his Elven and Fey heritage, but is able to bluff and embellish this heritage as a selling point for his services as the founder of the Spirits and Such Adventuring Company. Seasoning City is a majority human settlement, so his grandiose nature and charisma makes drumming up business simple.

He’s still a con-man by nature, and embellishes the causes of people’s problems that he solves. A tavern’s stores and ales mysteriously disappearing? Oh, the work of hungry and drunken spirits - make sure to leave an offering weekly at this shrine I have set up for you. When in reality it’s some goblins or kobolds that have dug a tunnel into the storerooms. That sort of thing, he still will always prefer to talk/negotiate a solution before violence.

Mob and Ritsu (+Dimple):

As a side note, I originally wanted to make all Espers sorcerers In this AU because that thematically fits with how Espers work originally. But for the sake of storytelling/party diversity, gonna play around a bit.

Mob is a Wild Magic Sorcerer. Since he already is a wellspring of chaotic energy that is at the risk of surging into strange outbursts at the drop of a hat. Wild Magic is a fun subclass, but often the surges don’t proc frequently enough - so in the hypothetical DM seat I would probably make them happen more often, and maybe make a custom table of results related to emotions. So in this setting Mob’s Wild Magic Surges are tied to emotions as well as random chance. 

Both Mob and Ritsu are Tieflings, born of human parents. The Kageyamas don’t mind at all, they love their sons and are entirely nonplussed about the whole thing really. Mob, even as a Tiefling, is unremarkable in appearance. Small nubby horns, no tail, slate-blue skin. Ritsu has more impressive horns.

This is what brings Mob to Reigen, much like the source material. Reigen’s embellishment of his Fey ancestry and own limited skills in Magic, makes Mob reach out to him to learn how to control his own powers. 

Ritsu is a Warlock, making a pact with the “Evil Spirit” (Fiend) Ekubo. The motivation is primarily the same as the source material, driven by the feelings of fear, self-loathing and jealousy of his brother’s powers. In exchange for helping awaken Ritsu’ abilities and lend him some of his own Power, Dimple gets to chill and try to manipulate Ritsu/Mob like he usually does. I picked Pact of the Chain because having Dimple as both Ritsu’s familiar (probably using the Quasit stat block) and the patron of the pact is hilarious and in character. 

Serizawa (And Claw):

Claw in this setting is Tiamat/Dragon Cult run by Touichirou. Who is a polymorphed Red Dragon, masquerading as a human Wizard until the time to strike. Because....  with the name Claw and the obsession with world domination and ruling commoners, it’s too easy. It writes itself. Claw still functions as the initial primary antagonists, terrorizing Seasoning City and the surrounding kingdoms. 

The Ultimate 5 would be collection of Half-Dragon lieutenants working under Touichirou:

Shibata - White (physical fighter, likes to hunt, not the brightest)

Shimazaki - Black (Smart, sadistic, enjoys playing with his enemies)

Minegishi - Green (Cunning, happy to manipulate others (plants) to do their work for them)

Hatori - Blue  (.....electricity) 

Serizawa - Gold (Odd one out, gentle when removed from manipulation/delusion, very powerful)

This is where things get a little tricky, because in a campaign I would stat Serizawa as the NPC/Antagonist that he originally was. But the half-dragon stat block is not balanced or meant to be used for PCs.

So with the intention of using player character options as a base, that’s how we get Variant Human Draconic Sorcerer (Gold) for Serizawa. Just with some very very very obvious Draconic bloodline features. Sorcerer fits well, since Serizawa functions as a foil to Mob in many ways. Being a variant human means access to a free feat, and picking Elemental Adept (Fire) goes great with the fire aligned Gold Draconic Sorcerer. Serizawa is a blaster who hits hard and ignores resistances.

Backstory beats are the same: fear of himself, his powers, and hurting others again caused him to lock himself away until Touichirou comes knocking. He is manipulated by Claw and further sinks into delusions about his “rehabilitation/reintegration” to justify the acts of terrors he commits in Claw’s name. After the World Domination Arc he joins the Spirits and Such Adventuring Company as a repentant dragon cultist (with the Sorcerer stat block), and seeks to help others with his powers.

Tome:

Tome is a friend of Mob’s and comes to idolize the adventuring work he does, and eventually Reigen. Artificers are basically the conspiracy theorists of the DnD world, and their abilities allow them to replicate thieves tools (Tome wishing to be like Reigen) and Alchemist allows for the throwing of potions (replicating the Salt Splash). Tome has an obsession with the extraplanar realms and spends her time trying to create something that will allow her to contact/visit them. 

So that’s a whole bunch of ideas I have bouncing around at the moment for this, I do have some concepts for Teru (either Tempest Cleric or Divine Soul Sorcerer), Shou (Draconic Sorcerer or Wildfire Druid UA) and some more characters as well. Thanks for asking about it anon!

#mp100 #SnSDnD #that's the tag for this au i guess #Arden talks dnd

[out-of-this-dimension]

Let’s Talk About Andross and His Plan in Adventures

This post is brought to you by the fact that when I was doing my huge Venom headcanons post, I started critically analyzing Andross in Star Fox Adventures and came to the conclusion that his plan was perhaps more thought-out than I had originally realized.  I mean, of course it’s well thought-out, it’s a plan made by Andross, but when you really put a magnifying glass up to it, you begin to see that it was perhaps so well planned that by the time the game starts, Andross can’t really lose.  His revival is inevitable.  Except then, you know, Fox McCloud shows up and does his thing.

Disclaimer: Obviously, Andross’s inclusion in Adventures was very last minute, which caused a lot of plot points to get cut and story bits to get revised.  There’s a lot of evidence that implies that the Krazoa and Kamerians still had a hefty role to play in the story until very late into development but I still think it’s important that we really look at Andross and his absolutely off-the-wall plan because it can be kind of telling about both his desperation to be revived and other lore bits as well that often get overlooked.  Despite there being huge meta influences on why the game played out the way it did, it’s still fun to talk about and speculate over.  And y’know, we’re here to have fun, so let’s get into it.

To understand his plan, we need to go over what bits we know and don’t know about Sauria, the SpellStones, and the Krazoa:

Sauria has a huge amount of magic that’s constantly trying to rip the planet apart.

The SpellStones are guarded by GateKeepers and usually they sit at the planet’s core, brought there via a Force Point Temple.  

SpellStones can block the magic flow (presumably absorbing it) and cause the planet’s energy to stabilize.

If the SpellStones are removed, the planet will fall apart.

The GateKeepers have the ability to move the SpellStones in a time of need.

The Krazoa Spirits also somehow keep the planet together. 

The Krazoa Spirits live in Krazoa Palace but when things get perilous, they hide at their own shrines to await a person of pure heart to escort them back to the Palace.

Pure heart can mean pure good or pure evil.  This isn’t overtly stated but it’s implied because Scales has a Spirit in him.

With all of that being said, let’s look at Andross’s main goal-- revival.  Through means we don’t really know, he can revive himself using the Krazoa Spirits.  But to get to the Spirits, he would obviously need some form of army.  That’s where General Scales comes in.  

Scales is smarter than the average SharpClaw but we really don’t know if that’s because Andross got his hooks into him or if the Spirit he’s got his claws on has anything to do with it.  But Scales’s intelligence doesn’t really matter because he’s malleable and Andross understands this early on.  He convinces Scales to attack Krazoa Palace -- presumably to get the Krazoa Spirits.  At first, I thought Andross’s plan was to get the Krazoa to flee to their shrines but now that I really think on it, his plan from the start could have been to nab the Spirits in the first attack... but maybe he realized he couldn’t do that so easily?  I mean, how does a ghost nab... other ghosts... Unless he was hoping the SharpClaw would suffice?  

Anyways, if that was his plan, it wasn’t well-thought out and the Krazoa fled to their protective shrines all over the planet, which I’m sure he was just positively thrilled about.

Before, I’ve stated that I was pretty sure that Andross had led Krystal to Sauria for the express reason of collecting the Spirits but I think there’s a chance that he didn’t for that exact reason.  We already know Scales was able to ferry the Spirits around and was able to pass one of the tests.  Andross had his perfect pawn in Scales by him having a pure heart of evil and in being the leader of a dinosaur tribe. 

Krystal however, seems most definitely baited to Sauria because of her channeling powers.  I think her collecting the first Spirit was a bonus for Andross and that he only had her captured because he knew Scales would be up for the task.  And, you know, Krystal had her part to play in his plan as a sort of magic medium to put him back onto the mortal realm in a more corporeal state.  I think otherwise, he would’ve just let Krystal go around and collect all of the Spirits for him and then had her captured at the end.

Overall, I think this plan is ultimately a pretty good plan except for two glaring factors: 1) I don’t think it was common knowledge where the Shrines are located and 2) Fox McCloud shows up and begins wrecking the SharpClaw.

I kind of wonder if Andross hoped Star Fox would arrive so he could have his chance at revenge but ultimately, if you take into consideration that Scales could have just run around and done all of the Shrines then Fox showing up was actually kind of a thorn in Andross’s side.  After all, what are the odds that two people with pure heart would just happen to end up on Sauria in such a close time frame?

HOWEVER, I will say there’s a chance Andross was actually kind of happy about Fox showing up because of two big reasons: 1) Fox literally did all of the leg work for Scales, which actually kind of frees up Scales to do other things like ransack CloudRunner Fortress a bunch and expand his tyranny and 2) Fox would be close in proximity to the revival so Andross would have a quick chance at revenge.  

Okay, okay, at this point, you’re probably asking, “So... what about the SpellStones?  Isn’t Scales really just looking for those?”

The answer: Yes but also no.  I’m pretty sure the SpellStones are a distraction.

Now if you really look at his plan, Andross doesn’t really have a need for the SpellStones.  Having them get removed is just additional chaos to be added and if you notice, it’s the thing that both General Pepper and Star Fox hone in on.  Funnily enough, it’s implied that Scales didn’t even remove them all-- the CloudRunner Queen hid hers in the treasury of her fortress, Garunda Te hid his in the mines... the one at Walled City and the one at Dragon Rock seem to be the only ones Scales formally got his hands on.  But it didn’t matter because when the other two were removed, the Saurians just played into the chaos even more, giving further distraction.  I think maybe Andross’s initial plan was that while Fox was hyper-focused on the SpellStones, Scales would be trying to find the Shrines and getting the Spirits.

But then he realized that Fox was doing the exact thing he wanted Scales to do (and more efficiently) and honestly?  I would like to theorize he just lets Fox do it because the outcome is literally the same regardless.

I can only imagine how elated Andross must have been when he realized Fox was unwittingly playing right into his hands.  Because sure, Fox was doing the right thing.  He was saving the day.  But Andross had already been a couple steps ahead and had set the stage for his own arrival.  

I think Fox showing up made Andross realize he didn’t need Scales after all and that was why he was so quick to get rid of him at the end.  Because at the end of the day, it didn’t matter who brought the Spirits back, just that they were back.  And Andross would just let Fox do whatever with the SpellStones because they had no real value to him.  Andross, by the end, doesn’t care about Sauria being put together or pulled apart-- he wants everything to die, which is presumably part of his madness from being a lingering ghosty spirit for most of a decade. 

So Andross is revived because that’s the only inevitable outcome other than Sauria being destroyed.  He rises up, filled with Krazoa Spirits and vengeance.  And he... proceeds to fail in the fight that he ought to have won, if only because of Falco showing up to rescue Fox.  Falco, the wildcard.  Falco, who Andross did not account for, but, granted, no one else really did either.

Wow, that’s a lot of text.  Confused yet?  Here’s the recap of my making sense of Andross’s plan:

Andross picks Scales as a pawn because Scales is politically powerful and has the capabilities to take in Krazoa Spirits.

He lures a suitable channeling mechanism (Krystal) to Sauria to use as a medium.  She gets the first Spirit and Andross is pleasantly surprised but still captures her regardless as Scales and his buddies rampage across the planet, looking for Shrines and SpellStones both.

Star Fox gets called in.  Andross gets kinda spooked by this but realizes Fox is effectively doing what he wants anyways so he just keeps his eye on Fox and lets Scales continue his rampaging.  I think he’s figured he’s already won at this point anyways.

Andross gets all of the Spirits and his plan for revival effectively works...

... All up until he dies fighting Fox and Falco.

This does include a hefty bit of speculation but seeing as they leave only bits and pieces of lore to sink your teeth in, I feel like it’s within the realm of possibility. Of course, there’s other possible explanations, some of which I did poke at within my theorizing. However, this is the breakdown that I can make the most sense out of.  I know in the past my theories have been 1) Krystal being his chosen puppet to get the Spirits but then I realized he wouldn’t have just turned around and imprisoned her immediately if that was the case and then 2) Fox being his chosen puppet but then I realized that there would’ve been no point to Scales having a Spirit in the first place if that were even the case so it felt a little janky as a theory.  

Anyways, that’s my analysis of Andross’s crazy plot, thank you for reading the ramblings of a madwoman thinking way too hard about space dinos and space monkeys.

#Andross #Starfox #Star Fox #Star Fox Adventures #Starfox Adventures #Sauria #Dinosaur Planet #long post #speculation #theorizing #discussion #General Scales #Fox McCloud #Krystal #Krazoa Spirits #SpellStones

[inventors-fair]

Combat Commentary

Thank you all for your entries! Here is commentary for all the entries that weren’t winners or runners-up. I hope that this format, along with the gallery, allows for people to get everything they can out of the Fair.

@ace-hobo — All for One // One for All

This was a clever use of the split-card naming convention, and I liked this card in general. There’s an amount of math to do that can make combat difficult, and if this card isn’t uncommon it probably should be. It’s hard to make it out with that symbol. Regardless, a fine card, costed effectively, a good split. Some people might be pedantic about the name; I think it’s nice.

@competitive-casual-magic — Oil and Fire

Now this is a cool card. Wrecking Ball, but shock, but deathtouch, but not. What an interesting idea. I like the fact that it deals two damage to any target, not just a creature. Giving it flash is very cool. I imagined a lot of scenarios in which this card could blow out someone during combat and make for some complex scenarios. I don’t think this should be rare, personally, but maybe it’s complex enough. In something like Modern Horizons, it would be uncommon. For standard, hm... I’m on the fence about that.

@dabudder — Adrenaline Sliver

This card irks me, not because you did anything mechanically wrong or because it’s not a great idea, but because it gives slivers a boost based on the number of slivers you control rather than +3/+2. Part of the flavor of bloodrush was the fact that it based it on the creatures P/T and abilities. The dissonance in this specific card is frustrating. Still, forget that. I love the concept. I do enjoy this card. Don’t forget in future iterations to capitalize all instances of the word “Sliver.”

@dancepatternalpha — One Last Fight

Follower really liked this card. I liked it as a combo piece. Flavorfully, it’s pretty neat and I like the effort that you put into the flavor text. It’s very difficult for a new player to understand exactly what use this card does without understanding how combat works, but that’s what makes it a good uncommon. I imagined pairing this with Spikeshot Elder and having fun there, heh. 

@fivetrillionelves — Conquer Fear

Interesting card, pretty strong trick! I like the way it makes one of White’s weaknesses, its small creatures, a lot better. Flavor text does need that end quote. Not a whole lot to say about this card. It gets the job done. Might be hard to understand in multiples on the same creature, though.

@fractured-infinity — Unstoppable Curiosity

I am not a fan of this card, clever as it is. I don’t like buffing an opponent’s creature just for minor card advantage. If this was “Whenever a creature deals combat damage to you this turn, draw a card” or some effect where you could utilize the weakness without making yourself weaker, I feel like this card could be cool. As-is, I’d never use this card on an opponent’s creature. On my own, it’s not bad. “Trample” doesn’t need to be capitalized. Also, I JUST got the flavor text. It’s a touch unclear.

@ghost3141596535 — Bullshift

He, nice name. I can see that you intended this for Ikoria, and I like that aspect of it. Thank you for marking the rarity. Don’t forget your periods. As someone who hasn’t played with mutate, I can’t really say how strong this card is in practicality. It’s odd that it allows for mutate in creatures without mutate. I don’t know how that works within the rules.

@guardgomabroa — Sudden Desertion

I really like the flavor of destroying an army (which should be capitalized) but I feel that that’s too narrow to really have a strong reason to exist. It’s a cute card that’s using Magic naming conventions for flavor reasons rather than the game itself. Maybe that’s enough. I’m a little more of a stickler. It’s kinda cute, though, and I’m a fan of white removing things from combat, too. Maybe in WAR it could have been played. 

@i-am-the-one-who-wololoes — Desperate Effort

I don’t believe “sacrificing” a “target” blocks well. The fact that it makes this card need two targets is confusing. Why not just “As an additional cost” the sacrifice? What’s the point of doing a creature that your team controls? Why only an unblocked creature? Why does it give the +X/+Y effect instead of a simpler +X/+X effect? I think that this card has too many moving parts and could have been simplified significantly while keeping the same strong flavor.

@machine-elf-paladin — Hunger of the Grave

This card was a contender for runners-up. It also could have used flavor text. It’s a great addition to Zombie tribal, great with graveyard strategies, well-worded and powerful with the lifelink. Not much to critique here. Good job.

@mardu-lesbian — Phantasmal Fallacy

I like what you did with the name. I think that this is a powerful cantrip that’s playing with some design space. “Planeswalker” becomes a 4/4? That’s a control card for sure. I’ll smack you in the face with a Mind Sculptor. The cantrip might be too powerful, as four power is pretty strong as-is, but I think this card is basically fine and pretty fun.

@misterstingyjack — Quickdraw

Interesting card. I like the magically influenced gunslinging flavor and what can be done with other equipment in this set. The fact that this can essentially be a five-mana do-nothing spell without so much as a cantrip is frustrating. This card should be, I feel, three mana at most. Might require playtesting, but still. Definitely not five.

@nikkatsu-dnd-mtg — Trade-Off

Firstly, this card’s name doesn’t stand on its own without flavor text to back up whatever’s happening, and the fact that there’s no flavor text is a major blow. I’m not sure why it’s an Arcane spell, and I’m definitely not sure why this is common. This card is a blowout and a half. Getting tokens is worth it, and swinging with a team of 6/6s minimum is insane. It’s a one-mana go-wide spell that should cost at least five mana and be at least uncommon. I know you thought that static abilities was a good enough loss, but I assure you: it is not.

@nine-effing-hells — Bardic Performance

I’m on the fence about this card, even though it’s probably good. You took the fairly complex addition of sagas and made it a simple and fun buff in the vein of Travel Preparations. I think this card is a fine uncommon, probably. There’s a tiny bit of disconnect between bard things and counters like that, but the flavor can be bent, and I can just suck it up. This card is good.

@piecesofliquid — Instinct of Greed

Concept is good. There are three specific things I would do to improve this card. One: Change the name to “Greedy Instinct.” No real reason, I just like it. Two: Most importantly, I would change the “exile” to “sacrifice” and take out “you control.” Sacrificing is only something you can do anyway, and it would work better with other red strategies. Three: The flavor text needs to be in quotes. Other than that? Again: good.

@real-aspen-hours — Sudden saplings

Yeah, as you said in Discord, this card is basically Blinding Fog. Instead, let’s talk about improvements for future submissions! Firstly, the card name should be capitalized; I copied it exactly as you submitted it. Secondly, you didn’t include a rarity, which is something you need to consider. Thirdly, if the flavor text is a quote, which it appears to be, it needs to be in quotation marks. That’s all I can think of off the top of my head. Card’s fine for a functional reprint, lol. I like how you changed it to “by creatures” for a more Fog-gy effect. Why ALL creatures?

@shandylamb — Knowledge Breeds Strength

Strict +X/+X effects are not in Blue’s slice of the color pie. This is a green card through and through. I think the flavor text could have been a little more creative. The idea, however, is sound. This card would have been fine twenty years ago, probably. I don’t mean to sound snarky with that; it’s simply something old Blue could have done that isn’t done anymore. 

@snugz — Necromantic Ninjutsu

I am of the opinion that this card should be rare. I am also of the opinion that if this card was rare it would have won above and beyond. What a fantastically creative card. Follower loved it, as did I. For a standard set, though, rareify that baby. Great great great job.

@starch255 — Invisible Wall

Wow, this card is... Not Fun At Uncommon In Limited. The idea is sound and I would love playing this card, but it’s just too much! The hexproof, nuts. The nigh-infinite life, crazy. What a frustrating card to play against. If this was FOUR mana, I might consider it. However, I do like how trample effs this card over. Regardless of that, though, I’m not a big fan, no matter how much if a fan I am. If that makes any sense.

@teaxch​ — Serene Crane Maneuver

Interesting! I think this is one that needs the two targets, unfortunately, but I can imagine how this would work in limited. I would probably only sideboard this card if I felt really really clever, but I like it for flavor reasons and mechanical reasons. Again, I just wouldn’t...play it, necessarily. Maybe I would, but it would take the right environment. This is a volatile card.

@theobligatorysql​ — Combat Trick

This card absolutely needs to be an uncommon and absolutely needs a better name/flavor combo. Now, I do like it mechanically, and it’s pretty cool, but I’m not a fan of the fact that this is a meta-card. In a vacuum, I freakin’ love it. I feel that this card would go well in something like a Custom Cube.

@tmstage​ — One-Two Punch

Very cool. Aethertouch is one of those things that you’re introducing that I would have to see played out before I pass judgement on it. As of right now, I think that this card could have been a cantrip or something. “Non-lethal damage” — hm. Not sure how I feel about that, though. But I assume also that blue is what makes this card Jeskai. Personally, for three colors, I’d like to see something simpler and/or more streamlines. New concepts are scawwy, o noes!... In all seriousness, keep Aethertouch for future designs.

@walker-of-the-yellow-path​ — Meat Shield

“Target creature GAINS indestructible until end of turn.” It’s an actual ability now, remember? Aside from that, this card is...fine for one mana. It’s not perfect, it’s kinda clunky, but it seems like something WotC would print so you have that going for you. I like the simplicity of the flavor text.

~ 

#mtg #magic the gathering #custom magic card #contest #commentary #combat trick #inventor's fair

[crystalelemental]

Oh man.  GamePress apparently updated the offensive tier list to be AR exclusive, and boy have there been some changes.  You know I have opinions on this one.

Okay let’s start with the obvious part: how in the hell is any Legendary hero considered above Tier 2?  Like, are we not factoring in score?  Or are we only accounting for if they score well?  Because realistically, half the time, a legendary hero is an active detriment to the scoring.  Also it turns out this isn’t just offense, but both offense AND defense, since Mirabilis is Tier 1.  So that’s gonna be...honestly, a bit confusing.  I’m sure some people can tell which is which, but I’m willing to bet others aren’t clear.

Let’s start with the biggest changes at the top.  Eliwood and Brave Roy are now Tier 1, likely because Galeforce.  Nothing else is different that I can tell.  Maybe some demotion?  But nothing substantial.  Lysithea is finally recognized as Tier 1, and I’m certain it’s because of her power on AR-D.  Girl is obscene.  Otherwise, Fallen Julia is the only other T1 Red Mage, and damn good on her.  Idunn demoted, but honestly, fair.  AR is not for her.  Armor units are not hard to handle, and are pretty bad on offense.  Especially with Thrasir existing, armor dragons just have a rough go.  Spring Idunn and Tibarn alone are T1.  What I do find interesting is that Dancer Micaiah didn’t maintain.  I guess the Hardy Bearing effect isn’t as impressive anymore.  Also Karla stayed T2, that’s...astonishing, actually.  Duo Byleth is also T2, which kinda makes sense.  Defense can’t make use of her Duo skill, and her bulk is pathetic, so any typical ranged defense unit can handle her.  On offense, it’s going to be tough.  Desperation effect is good, but conditional on having a fast team, not to mention Galeforce sets can require the foe to retaliate, like with Eliwood/Brave Roy.  So I can’t say I’m surprised she’s not on top.

Lance seems to just be B!Lucina, Duo Ephraim, and Trio Palla.  Which is fair.  Blue mages, though?  Damn is this crowded.  L!Azura and Peony, because obscene dancers.  Ophelia, because bitch.  Duo Alphonse, because immortality.  Brunnya, because honestly Fimbulvetr is perfect for this game mode, and she’s got the infantry status and abilities to do whatever she wants.  And L!Julia.  I’m willing to bet she’s more AR-D focused.  Rafiel and L!Chrom are also T1, of course.  I think what really surprises me is that Reinhardt is T2.  Is anyone else surprised about this?  I guess he’s not the most threatening thing in the world anymore, but still.  Actually wait, what’s REALLY neat is that Naga is T3.  So clearly scoring considerations are not paramount.

Axes have V!Duo Alm, Annette, L!Edelgard, and B!Ike.  Because of course.  All of them are ridiculous.  Mages have L!Celica, Thrasir, and Fallen Lyon, with beasts/dragons having Reyson.  Which, again, makes sense.  I’m glad Surtr demoted to T2.  I really don’t think of him as the most threatening aspect of AR anymore, even on dedicated stall, so this feels overdue.  Yune’s also T2, which..okay, fair.  While I think she’s great, she’s a ranged flying unit who plays defense, and her debuff game is crippled severely by Eir’s bonuses.  It’s super weird that F!Kana demoted, though.  She was T1 before, and that was entirely based on AR potential, so...okay.  Guess the meta has shifted hard enough against her.  Also, big shoutouts to Julia for maintaining T2 status.  That’s my girl.

Bows have L!Alm, L!Leif, V!Faye, and Duo Marth.  I can’t speak for Duo Marth, I don’t have him, but I feel like the fact I’ve never faced one means he’s at least not good on AR-D.  I can vouch for V!Faye, though, holy shit.  In fact can we establish Tier 0 for the primordial beings that break the world over their knees?  Anyway, Bernadetta and B!Lyn are T2, and I’m betting that’s for hit-and-run offense teams.  Also Norne’s T2 now, which is super correct.  I’ve felt this for a while, and the forum backs me up pretty hard on it: Norne’s the best common archer by a mile.  But of course, you all know what I’m going to say.  There is no way Faye is T3.  I have played her ranged defense game long enough to know that she is really strong at it.  While some threats like Lysithea can blow past her, and Thrasir isn’t always one-shot with my current supports, she is very capable of performing better than T3.  Also, poor Clarisse.  Finally gets a kickass refine that’s just not particularly great for AR, and instead of climbing the ranks of the offensive tier list, they change the conditions on her.  Girl can’t catch a break.

Dagger/Mage combos have, of course, Bramimond, Leila, Eir, and Duo Micaiah.  Absolutely no surprises here.  What is surprising, maybe just to me, is that Winter Cecilia is down to T3.  She was considered T2 for a long while, and I’d guessed that was based on AR potential.  I guess Duo Micaiah is causing substantial problems for armors across the board?  But man, Larum is T2.  LARUM.  Larum sucks, what could she possibly be doing that’s useful?

Dragons/Beasts have Fallen Female Corrin, Leanne, Mila, and Velouria.  I love everything about this.  Leanne makes sense for Defense teams, Velouria is a great Galeforcer, Mila is probably the best Light mythic for supertank strategies, and Fallen Female Corrin makes me happy because Fallen Male Corrin is only T2.  Get fucked, loser.  Your higher BST does nothing for your shit ass.  I do think there’s an argument for Caineghis in T1 for an offensive supertank, but honestly, he struggles.  To a degree I’d say he’s worse than Faye.  We don’t have any beast Mythics, and the only offensive dragon is Mila.  His DC is conditional on transforming, and he’s an armor unit.  He can’t run Null C-Disrupt, or Null Follow-Up like she can, so there are defense teams that can beat him by exploiting this.  I feel like Faye’s a lot better, but hey, what do I know.

And finally, staves.  Bridal Fjorm is the only one in T1.  Brave Veronica actually dropped, which is funny because she was T1 before solely on AR.  She doesn’t place in Arena.  I guess the meta has shifted away from Brave Veronica lately.  I haven’t been scared of one in a long time.  And hey, Maribelle is T2 as well, and Forrest got pushed up to T3!  Unfortunately, Brave Camilla was reduced to T3, so she’s still below B!Veronica.  Which in this game mode I guess is fair.

Now for the opposite end of the spectrum.  There are now 6 tiers, which I like.  I feel the subdivisions are appropriate, we have enough units that categorization was tough.  T4 for lances and swords was like 60 units before, I’m glad it got cleaned up a bit.  For red stuff, Alfonse remains at the bottom, but is no longer alone.  NY!Camilla, Chrom, V!Conrad, Beach Fiora, Hinata, and NY!Hrid are also down there.  Haha, Hrid, get fucked you loser.  That’s for January 2019, you fuck.  Mages here include Canas, Julius (ouch), Leo, Beach Leo, Raigh, and Beach Lorenz.  No surprises.  There are no dragons, daggers, or bows for red down here, the lowest they go is T4.  Hysterically, every form of red Tiki is in T4.  Also, maybe this is me not understanding something, but NY!Anna and NY!Eir in T4 surprises me.  I thought their weapons were considered great team support.  Are their stats just not optimized for it? 

T6 lances are many.  Too many, I’m not listing all of that.  What I will say is, tell my Forma Finn running on the double cav Galeforce defense team that he’s T6.  Considering I only lost two matches at all last season, and only 38 Lift, I’d say he’s doing alright.  But there are probably better options out there, I’m just working with what I have.  Mages are just Oliver and M!Robin.  Man, I hope M!Robin goes up with the resplendent.  Leave Oliver to die.  No dragons, bows, or daggers, they’re all up in T4 where...where...no.  No, there’s no way.  Lilith has warp abilities from anywhere.  NAESALA is considered T4, despite being paired with Tibarn for some of the nastiest offensive AR-D strategies out there.  Mordecai has the Smite thing.  I don’t agree with this at all.  And Ninian is T3?  Even though she’s one of the top picks for Infantry Pulse AR-D dancers?  I know Nils exists and is better in every way pretty much, but that’s a bit much to me.  I think the blue dragon/beast section is the most ridiculous by far.

There are also a lot of axes down in T6, but I agree with all of them.  The green mages make me sad, though.  Picnic Leo, Cecilia, and Female Robin.  I do think F!Robin has a lot of utility within the game, but...honestly they’re super right, she cannot possibly compete in AR.  Defense teams have no use for her, and offensive teams using her as a support are a bad idea with Panic Manor around.  Mostly Cecilia makes my heart hurt.  Come on, IS.  Null C-Disrupt Raven Tome when?  As with the other tiers, all dragons, bows, and daggers of this color are higher ranked.  That said, L!Lyn in T5.  Get fucked.  There’s also...absolutely nothing controversial about their T4 picks.  Green’s pretty well sorted, good job team.

The only colorless option with units in T6 are healers, where we have Azama, Mist, Wrys, Sakura, and Lissa.  Nothing controversial here.  In fact, nothing controversial in T5, either.  What is sad but super true, is that F!Grima’s here.  All the other colorless beasts and dragons are clustered in T1 and T2, but she’s down in T5.  Expiration refine when?  Felicia and Jaffar are the lowest ranked daggers, to no one’s surprise.  None of the bows are shocking either, except I’m kinda surprised Niles isn’t at least a little higher.  I feel like his massive Res must account for something when attempting to tank out the many ranged magic threats on AR-D, right?

Overall, I...actually agree with the majority of this.  It’s a solid tierlist for Aether Raids.  There are some things I don’t entirely agree with, but would have trouble arguing in their favor in the current meta.  Like Micaiah.  As we move entirely away from armor units, Micaiah becomes less and less significant.  I do think the blue dragon/beast section could take some revisiting, given that goddamn Naesala is down in T4, but one area that seems off isn’t bad when you have so much to organize.  I like it.  Definitely a lot better than the previous list, because at least now we’re specialized.  Before, there was always an argument that a certain unit was better or worse based on performance in a specific area.  But here, it’s more stable.  I’m not sure if there’s intent to make an Arena one, or if that’s even necessary since scoring is a lot more specific for Arena, but we’ll see.

#fire emblem heroes #gamepress #gamepress tier list