lev wrote about their wol lysander and the background about his jobs and now im. poking at it a little bit for rowan. under a cut i suppose. (i'll do another post for bronagh and ellone bc this will be long)
rowan and his jobs
so rowan starts off as an arcanist. he'd been interested in the practice since the extended period he lived in the sharlayan colony with his parents as a child. (hilarious side note for lev, it's possible he overheard valerian talking about it) as he got older and began considering his options in life, the interest came back to the front of his mind and he eventually decided to join the guild in limsa when he struck out on his own as an adventurer. he took to it surprisingly well, and chalked it up to really retaining the information about arcanima as a kid. he hoped he might be able to find some way to use arcanima for healing, to follow his initial goal for himself.
eventually when he made it to gridania, he followed his guildmaster's advice and tried a new discipline--lances. a physical, in-your-face kind of combat to be in contrast with the magic he was learning. he was startled to find that he also took to it rather easily, and appreciated gawain (iirc thats the guildmaster's name?) giving out the advice he did. he tried his best to stick to that mostly, and (maybe unpopular opinion) but he actually really disliked folques? the guy was intentionally putting others in pretty real danger, rowan didn't like that in the least.
and then the scions and primals happen. i've tapped it before, but rowan kind of. gave up arcanima at this point. lances were more useful against the primals at first, so he kind of. stopped doing magic. he'd also just gotten into contact with y'mitra at this point, too, and becoming an allagan summoner seemed...dangerous, given his new line of work? he didn't want to make the scions doubt him at all--he liked the security being one of them and didnt want to hurt his position. minfilia didn't seem to notice anything different, and he'd eventually confide in her about it and she gave her blessing for him to pick it back up, but he doesn't really get back to arcanima until after the vault/3.0 because of....reasons.
so anyway. he's a lancer now, primarily. maybe dragoon at this point. he likes alberic well enough, and estinien actually has good intentions, so it could be worse. and rowan actually likes the acrobatics he does as a dragoon. and he gets complimented a lot on how easily he's taking to the skills, and gets some heated looks from other fellow dragoons and it's clear they dislike him for wandering in one day and being a natural. it's disconcerting, so he just. focuses really, really hard on honing his skills so he actually deserves to be that skilled.
eventually, the vault happens. end of heavensward happens. and rowan kind of...breaks down. he regrets having stopped learning arcanima. so he pours his grief into preparing to face nid-stinien and makes sure that there wouldn't be another haurchefant. he keeps beocming a summoner a secret from the scions, because that old worry kicks back in in spite of the evidence to dispute the fear of being kicked out of the scions. he needs to be useful, he needs to save people, because that's what he's done this whole time. saving people from the primal threat, saving them from nidhogg, saving them from whatever might try to destroy them. so he has to be better! he has to be the best.
and he picks up other jobs, too, because i'm going to chew on him actually being the Omni-WOL here. and he realizes now that he picks things up way too easily, and so he throws himself into really paying attention to what he is being taught, and practicing. it's both horrifying and a little bit incredible that he's suddenly so diverse when it comes to combat, both magical and physical. some discipline she likes less (the tanks) and some he likes more, but overall...it's strange. but he trains and trains and trains so he feels worthy of the knack he has. some he trains more than others, but it's all to just...be good enough to destroy whatever might try to harm those he cares about.
(in truth, the reason rowan picks things up easily is bc his azem was also an omni-wol type. venat inspired ikarós with how she had mastered several combat arts, and liked learning from the people they encountered in their duties as azem. so they learned everything they could bc they were insatiable for ways to connect with people bc they had trouble connecting with people verbally or emotionally, and that meant that rowan and others before him just had a pseudo-muscle memory of it all)
and then one day he comes across a woman who says rowan appears to be graceful, and could have the makings of a dancer. it's nothing he hasn't heard before, but when he picks up the chakrams, it's not jealousy he sees in the troupe members--it's excitement. they're all so thrilled that he's picking it up easily, and it's different from other jobs because rowan can always tell that while people have been excited he's learning from them so well, there's always something in their eyes that gives away the jealousy, the disbelief.
but anyway. rowan enjoys learning from troupe falsaim, and finds enjoyment in what he's learning there. for the first time since dragoon and summoner, really.
after he merges with ardbert, he discovers that while he'd set aside the axe for other jobs, he's feeling like he knows so much more than before. part of it is how he remembers ardbert so well, meaning ardbert's soul is still like...slightly intact? i'll write it eventually but ardbert still technically is around, just sometimes dormant. but ardbert's mastery of warrior was added to rowan's arsenal, so to speak. and he was baffled by it, at least a little.
post 5.3, rowan has come to terms with it, and he's not really bothered by how people marvel and kind of despise how quickly he picks up and masters techniques others spend their entire lives learning. he also is happy to focus more on summoning and dancing, since no one else knows those fields and he doesn't have to deal with alisaie being upset that he's "further along" than she is.
post 5.3 rowan finally tells the other scions about being a summoner. it just hadn't been ideal to say something during STB or SHB, so after 5.3 just. worked out. yshtola and graha were the most interested, both for the mechanics of it and its relation to allagan history.
so. fun thoughts. i hadnt ever considered in depth what being an omni-wol could be like so this was fun!! :D
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Genuine question, not trying to start a fight, why do you get so upset about gods and churches being presented in a negative light in fictional works?
No pbs!
I guess it's a mix of being too common, too forced and having, in general, the cast use common tropish arguments to fight /defeat them.
I rant a lot about this game, but take TS where we have three sort of factions opposing each other, and each are supposed to suck. Who is the faction who never receives any "positive traits" or "pet the dog" moment?
The game force fed us a scene where an Aesfroti soldier - when Aesfrost is depicted as a highly militarised nation with a cult of personality towards their current ruler, that invaded the protag's home and slaughtered several civilians and NPCs in the process - say goodbye to his wife and kids before going to "war" to defend his land against, well, the protags who are invading it to kill their warmongering leader.
As force-fed as this scene was, it, I believe at least, tried to tell us that even the Aesfrosti who pillaged villages and killed their inhabitants are humans, and care about their loved ones, sure it's corny, but it's all about not deshumanising any party.
When we attack Hyzante? Niet, zilch, nothing. No similar scene where random soldiers, or NPCs, worry about what is going on and if they're going to die when their wall has been breached. They just, don't exist in this context.
I think the cherry on the cake is the Golden Route scene, where, apparently, nationalists Aesfrosti decide to turn back against their ultra charismatic leader because, uh, he "lied" when he declared the war and used a false pretense, so the soldiers and people who were butchering babies and invading a city where people were preparing a marriage apparently now have morals and rebel.
There's no similar scene for Hyzante when the cast reveals that the teachings of their Goddess were made up and salt wasn't exclusively given to them by divine intervention, because rock salt exists everywhere. Sure it would be a bit weird and forced that people thinking they're chosen ones and looking down on everyone else suddenly, hm, don't break down when their entire system of belief is shattered, but hey, if the Aesfrostian Gregor can have morals after washing his hands of all this Glenbrookian blood, why shouldn't religious npc #55 not make the same heel face turn?
And then, we have the slavery/human experimentation plot - in general, when TS tries to give nuance, they more or less explain/justify why something that "sucks" is done, it's basically Silvio's character.
Aesfrost' Gustadolph manages to push his "freedom" mentality because his land is a harsh place where people are desperate to survive, salt smuggling is reprehensible, but it's the only way to give some to the ones who cannot afford it. Of course is everyone is free, no one is because, as Gustadolph puts it, they're basically free to die for his ambitions.
Hyzante? Follows a racist creed where Rozellians have to pay for some great sin, and are slaved away in a lake to recover salt until they die. It's, later, justified by Hyzante wanting to keep its salt monopoly else they don't have anything, and wanting to curb down the Rozelle people because they know about the exitence of rock salt (and I guess getting free workers to harvest salt from the lake + having state enemies make his own population docile/not willing to rebel ?).
And then, we have the human experimentations, that are just done for, uhh, Idore's lol. When Hyzante is known for its "advanced medicine" and we could have had the usual dilemna of, idk, having those humans experimentations used to develop this medicine that is reknown in the world (idk, sacrificing a Rozellian to save someone else's life?) - it's not the angle the devs picked. Rozellians are sacrificed to power up an idol, Idore wants to control the world through his idol and soft power (compared to Gustadolph's hard power) and manipulates his people (just like Gustadolph) to do so.
The two are very similar, but who is the final boss? Complete with a transformation in an eldritch monster? The war-mongering imperialist or the jaded old man who is leading de facto a religion?
Hopefully there's the entire "human experimentations for no other purpose than the lols" to settle them apart.
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I recently watched Dune, and even if I have some issues with the adaptation, the Bene Gesserit isn't portrayed as "comically" evil-er than the Harkonen Empire, I reckon the comparison isn't adequate, because Dune is multi book series when I'm mostly talking about video games.
Symphonia's church of Martel is a font for the Big Bad (tm) to put in motion his nefarious plans, and yet, through the game, we see how random clergymen use their, uh, religious buildings to help people around. Ultimately Martel herself is reincarnated through plot device and tells the big bad to stop being an ass and the story is less about "church and gods evil" but "big bad distorts Martel/church's teachings and role for his plans because he has a tragic backstory"
(but then Symphonia ends with the biggest whitewashing from every Tales I've played for its big bad so I'll stop talking about it because otherwise I'm going to be salty).
Abyss' church is more or less the same thing - the Church is supposed to help people deal with the fact their verse has "predestination stones" where the future is already written, and in the course of the game, we see how it has several factions and one opposes the group (who has the pope as a NPC!) - but it's not a story about "gods bad church BaD".
I remember playing Suikoden Tierkreis a long time ago, and while the game seemed to go through familiar "church bad gods bad" route and we end with defeating a god-like entity... I pretty much loved the twist that, in a game that relied on alternate dimensions/universe, the god-like entity was actually the protag if he made different choices!
In those games, if you fight a religious body and someone pretending to be a God or what not - it's not because people fight against an eldritch creature who wants world domination and to erase puny insects, or is the reason why everything goes wrong, but because, at the end, the conflict/fight is ultimately caused by someone, generally a human or at least a non "god like" entity, wanting to destroy the world.
I don't remember if FE was my first JRPG series or not, but I always liked the idea that if the world is doomed in those games and the heroes must prevent said doom, it's not because a god-like being wants to destroy the world, but because people, humans/randoms are the most shitty ones out there.
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As for the "tropes" often used to deride fictional churchs and religious people, well, I will again point to TS - which did a splendid job in the Benedict Route where you smash Hyzante after allying with Aesfrost.
There's one battle where out protags diss Hyzantese because they worship a goddess and have no free will, listening to Her teachings and Her says (the traditional "religious people have no free will and listen to their churches who tell them how to think!") - which is immediately countered by one of those Hyzantese characters asking Serenor if he's not the same, but instead of blindly listening to a Goddess, blindly follows Benedict. And it ends with the final chapter title referencing automatons/puppets : who is that title talking about ? The fake "idol" Idore created, or the fake "king" Benedict created?
Anyways, the usual "religions people have no free will because their church/religion tells them how to think" trope reeks of r/atheism and the double standard - bar in this route of TS, but I guess, in TS itself in the Roland route! - is never called out, blindly following a charismatic leader is okay, as long as charismatic leader isn't religious?
Regardless of my IRL thoughts about religion, usually those tropes are presented as a "gotcha!" when they are... not at all, but the games/books leave it at that and we're supposed to roll with it.
I'd say it's lazy writing or, as we saw in Naruto, a quick way to end a story without having to dwelve in characters and their motivations : "you're a god/alien/other being and you're bad, so let us do what we want!" - end of the story.
Hopefully some fillers and to an extent, Boruto gave her more meat bar being the 11 hour villain we had to defeat quick and who manipulated the previous sad'n'lonely antagonists - but it still felt rich from Naruto, known for his famous "talk no jutsu" and trying to understand people he's fighting against, to drop the ball with Kaguya, calling her pure malice and ending with some "let us live the way we want" to wrap up the plot so he can wrestle with his boyfriend later on.
In the end, we often end up with "religion bad bcs the big bad manipulates people through it", as if those mangas/animes/vg never have other examples of charismatic people not using religion to manipulate their randoms/people or "gods bad they should let humans do what they want" when we've read/seen/played through various, uh, really fucked-up shit humans did - but on their own! and ultimately, but it's more in fandom spaces, with have Projection 101.
TLDR : church/religion/gods are too often used in those works as the ultimate scapegoat to either wrap up a story in a rushed ending or to pretend to have "nuance" but still have a common enemy where all the "nuanced" characters can grow/be whitewashed and side together against that "common enemy".
Just like in all things I guess, I prefer when something isn't painted as purely negative and all of the positive traits are erased because there is a need for a perfect scapegoat - sure, bring out too much "nuance" and writing/designing a game/manga/anime becomes harder because there's no "clear cut" antagonist, and yet, the one who always gets fucked in this scenario is the religious/church side.
Want a generic stock villain who will destroy the world so the heroes have to fight against them? Just create a "religion" in your setting, and have the big bad either hell bent on resurrecting Chtullu to destroy the world because Chtullu BaD, or have them be the most corrupt piece of shit who manipulate everything in the shadows, so the rest of the world, even the ones who slaughter others bcs they feel like they must start a war, can be whitewashed at the end.
I mean, there's a saying about diverting attention from a fire by starting a bigger one near, or a trope of "aliens made them do it" : who cares if Madara started a continental war and targeted a village full of random civilians he swore to protect because he lost the elections? Did y'know he was manipulated by a woman, I mean, an eldritch thing created by a woman, regarded as a God, who ultimately wanted to get out of her fridge to kill everyone?
Roland must get over his hatred for Aesfrost for barging in his kindgom and killing hundred of his people while they were preparing for a wedding, because hey, Idore is evil and plans on ruling the world through his sham religion!
I'll forever be salty at TS for not giving Kamsell the occasion to rise against Idore, or not even have minor NPCs get the same treatment as Sycras suddenly going all "u lied to me gustadolph so i won't listen to u anymore + sad goodbyes to my wife'n'kids".
Extremism of all kinds can lead to wars/tragedy/fucked up shit - Sure I don't want to get my History lessons in video game medium when I play lol, but what I really don't like is how it feels like depicting "they're extremists because they're religious" feels like the default/easy answer : want a bunch of brainwashed people the heroes must fight against and can't talk no justu their way out of this fight/will fight without looking too BaD? Depict those people as "misguided" members of a corrupt church/believers of a religion, no one will givea fig. If they are instead supporters of a charismatic leader who throws them through the meatgrinder to further their goals? Well, there's no automatic loyalty so either you have to show/depict it on screen, else it can be challenged at key points to demonstrate how those people - who follow the charismatic leader - aren't completely "mindlessly listening to their leader" or how their leader "isn't that bad after all".
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wip wednesday i made it wooooooo
this is the only even remotely coherent section of the all human actors au that has been making me cry tears of blood. yes, there is still a bracket. no, i didn't even try to figure it out. i am TIRED.
it's mildly raunchy crack. like pg-13, probs? idk.
In the car on the way home, Klaus made an ill-considered midnight call to his sister, given that Rebekah was three hours ahead in New York City, where she’d been shooting a sit-com about struggling models for the past month. She probably would have been less alright with it if Klaus hadn’t spent the whole call whining about how he’d met the girl he was going to marry, but she thought he was a loser. He woke up the next afternoon to cottonmouth, a deeper sense of foreboding than usual, and about fifty text messages, first from Rebekah, and then from the group chat with the rest of his siblings, deservedly ripping the shit out of Klaus.
The third time he met Caroline was at an industry do, this time much less a party than a press event. [SUPER POPULAR FILM FRANCHISE] hadn’t come out yet, but his Times profile had, which was simultaneously the most horrifying portrait and the most accurate. He’d been giving a lot of thought to the person he was versus the person he wanted to be, and it was all weighing on him. So, when he saw Caroline, his first impulse probably shouldn’t have been that this was his chance. If he’d been thinking more clearly, he probably would have realized that he wasn’t in the best headspace.
“Bekah,” he breathed to his sister, because of course Rebekah was there. Rebekah had been witness to every crushing defeat of Klaus’s life. “She’s here.”
And because Rebekah was a bloodhound for Klaus’s humiliation, she immediately picked up what Klaus was putting down. “Who? The girl you’re going to marry? Where?”
Klaus surreptitiously pointed out where Caroline was standing in a cluster with a few other women, but he was already on the move by the time Rebekah was hissing, “Oh, fuck! Wait, Nik. Goddammit.”
And the thing was, Klaus was a bit foolish. He knew this. He wasn’t unintelligent, but outside of his career, he’d never been known for making well-reasoned decisions. He was impulsive, and while he’d shaken off much of the resentment and aimless rage of his late teens and early twenties, his temper still fueled his choices at times. He wanted to change, was actively trying with some measure of success, but it was an ongoing process. He was all the way across the room before he realized Caroline was surrounded by a veritable coven of women he didn’t want to attempt to flirt in front of. One of the Petrova quadruplets—either Amara or Elena, given that he knew Katerina and knew Tatia—Bonnie-fucking-Bennett, who was flawlessly styled and probably still had no idea who he was, and Hayley Marshall, who had spent years watching Klaus try to make removing his shirt while wearing elf ear prosthetics sexy for MTV and getting into on-set fistfights with Kai Parker for being a smug little fuck who couldn’t be bothered to show up for his call times. So, Klaus was stuck without any chance of a classy retreat.
Regardless, he managed to collect a cheek kiss from Hayley, finally introduced himself to Bonnie, did the awkward yes, our siblings are fucking nod with confirmed-to-be-Elena, and greeted Caroline for a socially appropriate amount of time. It broke down when he had to make a conscious effort not to focus the entirety of his attention on her, with middling success, if Rebekah’s almost silent snickering and Hayley’s bemusement were anything to go by. But after a few minutes, he was, if not relaxed, at least doing a reasonable facsimile of charming and was a bit blindsided when Lorenzo St. John seemed to materialize out of nowhere to press a glass of white wine into Caroline’s hand and wrap a proprietary arm around her waist. Klaus had never met him before, though being in separate wings of the same franchise allowed for a very few degrees of separation, but Klaus couldn’t blame the man when he spent the entirety of their introduction and subsequent conversation watching Caroline with a cross between adoration and hunger so intense that Klaus felt uncomfortable witnessing it.
Eventually, Elena was pulled away by a director with more industry pull than was necessarily warranted. Hayley excused herself to hit the bar again, and Klaus knew her well enough to interpret her shrug and half-smile as better luck next time, pal. Finally, he made up a barely sensical excuse about not having mingled enough and dragged Rebekah away, who parted from Caroline with a hug and farewell that spoke of more familiarity than he’d been aware of.
“Well,” Rebekah said, like the unsympathetic twat she was, “I do believe she’s the girl he’s going to marry, too.”
Klaus pointed a finger at Rebekah, as disgruntled as ever that his younger sister had inherited both their mother’s sweet, lovely face and her innate, bloody-minded sadism. Klaus might have been taller and bulkier, but the extra mercilessness made the difference for Rebekah whenever they’d brawled over snacks, or the remote, or one of her useless, cockwomble boyfriends.
“You knew!” he hissed. “You knew I was going to make a fool out of myself!”
“Hey, there’s no stopping you when you’re on a mission to embarrass yourself. It’s one of your more endearing qualities. And you never said who she was.” Rebekah shrugged. “She’s on my show. Just started filming last month. I don’t know her very well, but I knew she had a boyfriend doing some off-Broadway, avant-garde bullshit with those Augustine lunatics.”
Klaus sighed and slumped a little bit. Rebekah patted him on the shoulder in their family’s typical manner of reluctant, suspicious affection and wandered off to find Stefan, who tended to spend these things hiding behind a pillar, or a large plant, or on one memorable occasion, a standee of himself, and drinking with the quiet desperation of an introvert who might have to talk to people he didn’t know.
The last Klaus saw of Caroline, Enzo was nuzzled into her temple, saying something for only her to hear. Her head was thrown back, laughing, and she looked like everything Klaus had ever wanted.
(But was terrified he’d never find.)
Life went on. Klaus’s world changed dramatically when [SUPER POPULAR FRANCHISE MOVIE] was a hit on an unexpected scale. The box office returns were obscene, and because Klaus got in on the ground floor and his agent was great at her job, he suddenly had more money, and far more fame, than he knew what to do with. But with that came the freedom to do the projects he really wanted to do. Really cared about. So, he was busy. And he was still trying to be better, be the person he wanted to be, not the person it was easy to be.
But he also had too many first dates and hardly any second ones, before he and Aurora decided to get back together for the fourth time. Predictably, it blew up in a final, spectacular way when Klaus had to spend an obscene amount of time in transit, traveling from his shooting location in Hungary to hers in Vancouver and back, just to find out she was fucking around on him again. The thing about Aurora was that she never overtly cheated, because there was always a nebulousness about where he fit into her life that manifested in her casually dating other men without calling it dating. It had been the perfect arrangement for him when he was twenty-three and more cheekbones than brains, but that wasn’t who Klaus wanted to be anymore.
He tried to take a step back after that, but the next time he was in L.A., he slept with a stylist he’d worked with a few times before. Then, he went back to London for his thirtieth birthday, got ratarsed on celebratory Nebbiolo with his best mate from RADA, and had an accidental threesome with Lucien and his fiancé. This resulted in a hungover call to Freya the next morning that was an unflattering shade of gay panic to his only queer sibling—aside from Henrik, who didn’t deserve to be subjected to Klaus’s post-coital regrets—over being a newly thirty-year-old celebrity who tried butt stuff for the first time and didn’t hate it. Freya was a good enough sister that she didn’t hold it against Klaus, but also enough his sibling that she nearly choked to death on her tea, laughing, and crisply informed him that even primarily straight men had prostates.
So, it’s not like he was pining. He wasn’t. But there was a certain level of wistfulness on the rare occasion when he did think of Caroline, which he tried not to do very often, given that he was certain the next time he heard anything about her, it would be because she was engaged to an increasingly renowned British actor with what Klaus could only hope would someday be a hairline that receded more than his own.
(Except it wasn't.)
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