my stand in episode 1 thoughts, feelings, etc.
OHOHOOO FINALLY. FINALLY I FEEL INSANE ABOUT A SHOW AGAIN. poom phuripan my absolute beloved, i've missed you so fucking much.
the show really eases you into everything and so far i don't mind the back and forth, i think it's interesting to see the direct consequences and THEN the story of how we got here. i don't know if my opinion on that will change later but for right now it's really pleasing me. i also really like this gradual introduction we're getting into everything and the sort of thriller/mystery vibe to it all. it's giving me some very loose/vague manner of death vibes.
i immediately don't like the vibes of tong or wut but i'm reserving any real accusations until later, but i'm def side eyeing them. i've got my eye on you two.
it really took my brain some getting used to to understanding the joe we're seeing is joe's consciousness and everyone else is seeing the joe that was shown in his reflection in the hospital (i've never seen vice versa or many other shows that do this, forgive me) but once i wrapped my head around it i actually quite like it. mostly bc it means i still get to see a lot of poom.
anyway - thus far this has one of my favorite romance tropes; guy who is used to being treated badly/ignored and man who has too much love to give (to someone who may or may not deserve it, judgement withstanding on that rn.) joe is just such a heart eyed fool and i'm so glad to see poom in another role of lovesick, unfairly attractive, dork. it's a role he plays so well and he immediately endears you to joe so fucking much.
throughout most of the episode i was like ooh this is a bummer but the angst isn't too bad. and then. AND THEN.
ming coming over to joe's house and making a move on him, again, from the perspective of behind joe - where he looks so much like tong. the lamenting about him being a virgin and joe offering himself up to him. and then ming turning him back around to face the mirror. this way he looks so much like tong, he can pretend it's tong, and yet at the same time joe's face is right there, reflected back in the mirror, inescapable. i'm fucking eating this up, finally some good fucking food.
idk i'm probably not touching on everything i want to, it's been a long ass time since i've done one of these, but this is just what immediately comes to mind. now time to go make a gifset lmao.
(if you give me novel spoilers i WILL hunt you for sport)
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Metapost: "The Ascendent"
**this is a meta for my fic, Pieces Still Stuck in Your Teeth, and NOT a discussion of the BG3 game canon in any way. If you try and make this into a disk-horse, I will BITE you**
(spoilers under the cut for Chapters 1-23 of Pieces Still Stuck in Your Teeth).
So... remember in the Chapter One endnote when I said I was a Spike/Buffy fan first, and a person second? x
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In more seriousness, there was a number of fictional seasonings/ingredients that went into creating what I felt was the villain of a Gothic horror, and what I felt could turn the Ascendent into something that was both 'fixable', and something I enjoyed writing.
Those ingredients were:
Spike and the idea of 'soulless' vampires in the BtVS canon - do I like this conceit of BtVS worldbuilding and how it's used in the show? No. I think it often underlines how bad Whedon is at writing romance. BUT I do think it gives Buffy this free pass for which vampires she can/can't like or adopt, and I needed some of that for my protagonist. I need a 'I can fix him' moment - BtVS has those in fucking SPADES.
Howl's Moving Castle (this one was accidental, I'm still mad at myself but I can't deny it's there) - man conducts magic ritual for power, removing an essential part of himself in the process that needs to be returned
Picture of Dorian Gray (the idea of an exterior staying pristine while something hidden suffers and decays)
Curse of Strahd (the soulless in Barovia, which I mentioned in Chapter 23)
The idea of default moral alignments in D&D. I have a whole chapter arguing against this in my thesis (mostly bc it's often applied to entire races) but I was fascinated by creating a set of circumstances where I feel like a default moral alignment is valid, actually. 7,000 deaths seems like a good set up. I wanted to imagine a being that was trapped within a default moral alignment, and the laws of its very being prevent it from being good no matter what it tries, and it knows that (this kind of creates a feedback loop with the Spike/Buffy stuff)
The parts of the BG3 canon I took and REMADE (I'm stressing this throughout, I was making a horror story and a horror monster your honour):
Astarion conducts the Rite of Profane Ascension with scars on his back, but has to scar Cazador's back personally, suggesting that um... the Rite REALLY SHOULDN'T BE CONDUCTED BY SOMEONE WHO'S GOT THOSE SCARS. Cazador wasn't going to do it that way, is all I'm saying!!
The idea that Ascended!Ending Astarion is a concentrated version of certain traits that have persisted throughout his story - his flirtiness, his understanding of sex as a mechanism and expression of power, his use of a façade as a mask for trauma he refuses to acknowledge.
The lines alluding to dissociation in the brothel foursome, post-Ascension.
The idea that Astarion seduced Tav to survive or protect himself- in my case, because I made the Ascendent empty save for Astarion's survival instinct, the idea that he would gravitate towards Tav as one of his default modes to potentially survive made sense to me - this is why it becomes an obsession.
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For me, when writing, the Ascendent is a few things:
An intensification of vampirism in a different, fucked-up direction. Yeah, A!Astarion, you can walk in sunlight and you can eat and drink and don't need blood. But you are still a hungering maw of emptiness that feels like it will never be whole or close and connected to the living - just now in a wildly different, metaphysical/existential direction! Welcome to depression, alienation, and otherness!
A soulless being, that knows it is soulless - that initially was very happy with its life but then as the years passed, increasingly spends its every waking moment knowing there is something innately wrong with it that it can't seem to shake, no matter how much it engages with life and all the pleasures of life. (see the 'every meal without savour' speech)
A magically literal metaphor for Astarion's dissociation in moments of extreme trauma, up to and including the fight with Cazador - essentially, the moments when there is nothing but a performance or an exterior, because the self/soul are suffering and they cant' come to phone right now
Astarion's survival instinct. As I say in Chapter 23 - Mephistopheles thinks it is an empty body, who's performance is trying to deny the reality of it's own existence. Rosalie, who has a bit more understanding of Astarion, sees that the performance is not just a coping mechanism but one of Astarion's main modes of survival. The Ascendent is Astarion's survival instinct/techniques for endurance, without any soul or person behind them to protect. This is how I tried to tie in the flirty, hypersexual persona and wrap it with a bow.
I wanted a monster that was undeniably scary, and monstrous to me (oh? you can't fit in or be happy no matter what you do and no matter how hard you try, and you think there's something intrinsically off? how's that autism diagnosis going Emma) but that I also felt sympathy and true sorrow for. I needed to have motivations for him chasing after Tav that I could write meaningfully from and sympathise with.
Not only has Astarion used Tav as a life-raft once before, they've also proven to be the most secure thing he's ever clung to. Of course a rabid survival instinct Astarion would become obsessed, and see them as a potential solution to the problem (this was then intensified by Rosalie also being a walking, overbearing moral compass, and having bound him in a contract in the first week of living, accidentally - a lawful good immoveable objects meets a default moral alignment unstoppable force.)
...Because I also wanted that moral alignment spice!! Wizards of the Coast, default moral alignment is fucked up actually!!! Imagine something trying so desperately to be good - literally being bound in a pact and having been told to be good - but the laws of the universe and its very essence are like "nah mate, we kind of want to destroy and annihilate everything, we're neutral evil personified". That's scary!! that's fucked up!! that's what a birth from 7000 deaths gets you!!!
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So, now for the actual timeline, for people who aren't interested in my silly musings but mostly just want answers lmfao.
Rosalie makes the decision not to intervene in Cazador's mansion, making it seem like she'll support whatever decision Astarion will make there.
Rite of Profane Ascension happens. Astarion conducts the ritual, rips his own soul from his body, the Ascendent is born with literally zero context. Mephistopheles is fucked in Cania, because a bunch of stuff has just gone wrong.
(oh, by the way, the Ascendent knows Infernal as a default language. Bc it's born from an Infernal rite.)
The Ascendent is now default neutral evil, and feeling some kind of way. Rosalie and him break up. He's supposed to have everything, but the one thing he thought was a done deal - his most stalwart suppporter - just rejected him.
Netherbrain defeat (the Ascendent is not invited. Imagine being an all-powerful, hypersexual survival instinct vampire, and your ex-girlfriend neither wants you for sex, nor your power.)
Rosalie accidentally binds the Ascendent (a soulless devil) in a pact demanding that he never kill anyone, when that's literally what the Ascendent's new existence/new default moral alignment is driving him to do. Then, she fucks off and goes into hiding.
Well. The Ascendent can just get another wizard, to help him learn all of Cazador's secrets to cope [Hemlock is recruited].
The years go by! The Ascendent is doing sooooo well. Everything is great, guys! I'm rich, I'm beautiful, I have lavish parties and lots of sex - why do I feel nothing? I'm a vampire perfected - I have no hunger for blood, I can walk in the sun, I can enjoy all the freedoms of a living, breathing man - why do I feel like I'm starving? Why does everything turn to ashes in my mouth? I have friends - oops, I've sabotaged all those friendships with my innate neutral evil destruction. Why can't I feel anything? What's wrong with me? I'm doing everything right? Why doesn't it feel that way?
Also, I can't kill anything to feel better about it, because my hidden ex-girlfriend bound me in a pact.
In this time, to reflect the gradual degradation of the Ascendent's happiness and it's increasing awareness that it is something Other and innately wrong, the reflection starts going weird. Starts going strange. Starts getting a bit fucked up. Almost as if, when he looks in the mirror and sees a person, *nothing* should be what's there. Imagine being a spawn who couldn't see your reflection, and then a vampire who could see it's reflection, but knows that they're innately empty. Knows there's nothing there. I'd freak out a little bit about it as well tbh, I'd go a bit tooth and claw and elongated jaw about it.
The Ascendent finally admits that's there must be something kinda fucked about it. Life just ain't working out, lads. He starts looking for any and all impossible cures that will help with the malaise in his soul (and that innate essence problem, caused by default moral alignment). These include: more bad decisions, such as a house in Cania bc the Ascendent is hoping he'll feel more at home with devils than he does with mortals. All it does is make him feel more isolated and alone.
But eventually, he settles on two things! - Wish (Hemlock's idea), and Rosalie (the Ascendent's idea). Clearly, we just need Rosalie back! Her leaving is actually what fucked him up in the first place - none of this existential bullshit! She fixed us one, she can fix us again.
But looking for Rosalie hasn't worked out. In order to get a shot at her, the Ascendent goes and bargains for his own soul from Mephistopheles. Mephistopheles, adding a new sheet in excel titled 'what the fuck happens when i give this soulless monster a soul to play with?', agrees and starts tracking his new data.
Obviously, just putting the soul back in yourself will fix you. But the Ascendent, the nothingness living inside Astarion's body, will die. Taking the soul back would erase itself. The Ascendent - who is survival instinct personified - would never do this.
So instead, it starts interviewing and cannibalising the soul. Bc a soul is what it needs, this is the closest it's ever felt to being alive. Bc it's made this all about Rosalie, he thinks he's found his solution. The chase is making him feel alive again. It's true love, lads! not the soul.
Wish auction happens - the Ascendent is beaten to the punch by some unknown (hot) wizard.
This avenue cut off, the Ascendent makes the decision to try and win Rosalie back.
Astarion advises that to make her come back to the Gate, he should murder a bunch of people. Because this comes from the soul, not the soulless devil nothingness, it circumvents the pact.
...The events of Pieces begin!
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And finally - the Ascendent tries to destroy Jar!Starion for many reasons in Chapter 19:
The Ascendent knows that it dies, if the soul and the body get reunited (or is that constant high alert survival instinct just no longer needed, because the problem is fixed? you decide.)
The Ascendent values Tav above itself. Tav is going to fix them. Astarion believes he could never fix himself.
Dissociation - that soul isn't me. I'm here, looking at my soul. If I get too close, it'll kill me.
Self-hatred - that soul isn't me. That man made a mistake, and I've had to live with the consequences. He doesn't deserve to live, for what he's made me become.
The knowledge that Rosalie/Tav will only ever want that version of him, not the one that's living and breathing, that sees itself as the most wretched, fucked-up version of itself. So... give them no choice. They have to deal with me and love me at my worst.
And if the Rite didn't work - if the version of the Ascendent walking around isn't the best one, and the one people want... what was it all for? Why does the Ascendent feel like this? Why does it have to suffer?
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....And, that's my little meta post! If anyone has any questions about the timeline or any motivations at any points in the fic, I'm obviously more than happy to explain things via ask/comment, as always!
TLDR: I just wanted to make a Gothic horror. I wanted a dark romance, fucked up obsession vampire/mortal dynamic, but I also wanted a situation that was scary for both Astarion and my Tav. I personally think an Astarion who is so dissociated and separate from reality that he feels that in his bones daily, is scary. It's the lingering impact of the traumas the Rite and those 7,000 souls embodied.
I was literally just trying to make it a horror, for everyone involved.
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i fired up civ 5 recently bc i wanted to see how it compared to my memory of it, and if anything it's actually much, much worse.
one unit per tile just... does not work with the idiom of the civilization series! units are not like armies in a GSG, they're like units in an RTS game: grist for the meatgrinder. you build them and throw them at your enemy and if they lose combat, they die. they don't retreat and recover morale, you don't get a chance to reposition and try again, they just go poof. but now in addition to that, you can only fit one unit of a type on a given tile, which means combat is forcibly spread out over a huge space. it's slow, slowed down further by the fact that it now takes a couple turns to fully resolve a fight--i guess the idea is that you can have your injured units fall back, except because of the way units get blocked in now, no you can't!--but you still need tons of units to take cities.
which means they didn't get rid of doomstacks. doomstacks are still logistically necessary to win wars! they just made them really fucking annoying to move around the map.
and on top of that, because OUPT applies to all units, it means you are also constantly having your scouts and workers and other civilian units being blocked in by your own units of the same type, or other players' units of the same type, meaning if you sign an open borders treaty with the AI you are frequently signing up to having your own units' movement being jammed up in the worst way by computer players. and on top of all THAT the units cancel their movement orders if the destination tile is blocked, even if the destination tile is on the other side of the map and you can't see it--which means, basically, any long-distance movement order is liable to be randomly canceled if an AI unit ends its turn on your destination tile.
it feels janky at every single level. the worst possible fix to something that wasn't even really a problem--and if they really wanted to they could have implemented some kind of very basic attrition mechanic. or some other kind of soft cap.
and and and on top of all that, it makes roads and railroads substantially less useful, bc frequently you cannot actually fit all your guys on one road or railroad--but you can't just carpet your territory in roads now like you used to do, because roads cost maintenance per turn. just. ugh. fractally bad decisionmaking! like different people were working at different ends of the design doc and not communicating at all!
the global happiness system means expansion is soft capped early in the game, which makes it feel less like an empire management game than a game of managing four to five cities. since very many units are now hard capped by resource availability now, and expansion is limited, AFAICT in most normal games this means you get like.. two swordsmen? ever? mainly it's strong attack units that are capped in this way, but their defensive counters are uncapped, which means actually playing strategically with your army composition is more annoyance than it's worth. in practice, what this incentives is just building the best trash unit you can afford en masse and throwing them at the enemy, but, of course, see the problems with OUPT.
they took out civics and replaced them with Social Policy trees. but everybody has the same set of social policy trees. and there's a bit of a tradeoff here in which trees you choose to fill out first, but you never then switch those old trees out for new ones like civics. they're just permanent bonuses. so there's no sense of, like, choosing your government type.
and then in BNW i guess they realized people missed that, and created Ideologies, which are just a bonus extra-big social policy tree where you get to pick between liberal democracy, communism, and fascism. but of course there's only three. and this isn't unlocked until the late game.
what they really should have done is added more civics and rather than just having you progress from early game civics to late game civics made all civics contextually useful. and maybe given you some extra civics that were unlocked early in the game so you could strategize around them.
as a part of this change culture is now more load-bearing, but cultural victory is just... weird and stupidly complicated. you have to build tourism, and do archeology, and build wonders that provide slots for great works that your three different kinds of great artist create, and all this other crap. versus domination, where you just conquer the other guys. or science, where you just build your spaceship. it's dumb and bad and awkward.
there's no conquest victory now. only domination. but because of the way domination works, it's now not possible to move your capital manually. this is awful and i hate it! let me move my capital, damn it!
buildings no longer go obsolete, which means that if i am founding a city in the year 1973, i still need to build a City Walls in it before i can build a Military Base. this feels ridiculous. and the series already kinda has this problem where it feels like late game it takes forever to get a city really up and running--don't make it even worse by making me build shit from classical antiquity before i can build modern facilities!
the AI is not very bright. they don't expand very much. on big maps, most of the map will remain empty most of the game, at least up through mid-level difficulties i usually play at (that are supposed to be "standard", so I assume the game is balanced around them)
diplomacy is irritatingly primitive. there are few ongoing agreements. declarations of friendship all last a fixed amount of time. the AI is constantly interrupting you to tell you it doesn't like you or it does like you or you and another AI player all like each other. just expose an opinion modifier and be done with it! harun al-rashid and i don't need to pass notes like it's grade school!
they nerfed the range of air units and especially nukes. which feels really weird. the 20th century saw the invention of strategic bombers that had a range of thousands of miles. why can mine only reach cities right next to my own? why do my nuclear missiles have a pathetic range? sure, sub-launched nukes are a thing, but they're only one part of a proper nuclear triad. there's no MAD anymore!
especially because the world congress can order you to stop building nukes and there's nothing you can do about it. you can't defy world congress bans and suffer a penalty. international law has some kind of magical force that even if you are the undisputed hegemon you cannot help but obey. this is very stupid! especially because they could not think of anything interesting for the world congress to do, so it's all shit like banning random luxury goods.
all the stuff i do like--the city-states, the hex grid, the core idea of the trade route system--is swallowed by annoying bullshit. to take the trade route example: you can make money by setting up trade routes. it can be quite lucrative! and you have to protect your trade routes from bandits and shit. but the menu for issuing trade route orders is a mess--way too much scrolling, you can't sort by lucrativeness of destinations, you have to constantly re-issue trade route orders, and the last trade route a unit was on isn't highlighted, or sorted to the top or anything like that. so it's lots of scrolling around, it's very annoying, and it's repetitive as hell.
the real stick in the eye is that this game was not only reviewed well, it was reviewed glowingly when it came out. which is bizarre to me! yes, it looks nice. the art is good and the music is pretty. but it feels awful to play! it is on almost every single metric less fun than civ 4! civ 3 is more fun, and civ 3 was terrible. i hope to god firaxis was bribing people left and right for good reviews because the only alternative explanation i can think of is that everybody who was reviewing strategy games in 2010 was also in the grip of a brutal glue-sniffing habit.
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thinking about a no upside down au steddie fic where steve and eddie run into each other years after moving away from hawkins, and eddie remembers steve and his fall from grace as king, and is kind of intrigued to see what kind of person he is now
and steve doesn’t remember him at all at first, because, look, eddie changed his hair again, and steve’s had a few head injuries (no upside down but i imagine he still went thru some shit with the party and with robin), and he didn’t really think about eddie in high school anyway, and he’s trying to forget about hawkins as much as possible (besides the kiddos, but they’re all moved out for college now, anyway) (obviously he lives with robin)
but steve is different now, happier, more open, flirts with guys, flirts with EDDIE, and eddie….. well, he wants to know more! and he tells steve he knows him from hawkins, and steve’s sunny little smile flickers a little, but he just apologizes for not remembering him and mentions he has some memory problems
and they get to know each other, and eventually as eddie tells him more (and maybe with the help of some yearbooks) steve remembers eddie. and. well. they like getting to know each other. and they like each other. and then they get together
eventually they’ve been together for a while, and eddie thinks he wants to maybe introduce steve to wayne, and he mentions he’s going to go back to hawkins for a long weekend (as he’s done a couple times) and this time he’d like steve to join him
and again steve’s sunny smile flickers a bit, but he says he’d love to meet eddie’s uncle, and… they go to hawkins. and it goes well— meeting wayne, at least, but steve seems a little on edge the whole time they’re there, tense when they drive in, fidgety when they go to the grocery store, et cetera. eddie thinks maybe steve is nervous about staying with the man who raised eddie, which is ridiculous, because wayne LOVES steve.
it’s not til they leave the town altogether that steve relaxes, and eddie realizes it wasn’t “meeting the parents” but rather going back to hawkins. and speaking of meeting the parents, steve didn’t ever bring his own up, even though eddie knew they still lived in hawkins. and the way steve glanced around whenever they went in public, like he was scared of getting recognized
and he asks about it, and steve doesn’t really want to talk about it, but he gives eddie snippets of it. people he wanted to leave behind in hawkins, memories that resurfaced, things he wants to forget
eddie goes back to see wayne sometimes, and the first time he doesn’t know whether to ask steve to come, so he just mentions he’s thinking about going to hawkins for some weekend and steve immediately starts making plans with him as if the invite is implicit. they go back to hawkins several more times, steve still tense and pent up the whole time they’re there
over time steve reveals more and more to eddie. everything that made hawkins hell for him, from the things he himself did in high school to the things people did to him. stuff tommy and carol and billy said to him. some of it is just typical high school bullshit (and oh, the nancy thing.) some of it is the tragedies steve went through, the horrors he had to protect his kids from. the injuries he sustained. more generally the homophobia that permeated the whole town, keeping steve from being himself. the lack of support in the indiana public school system for a high school senior who’s had two concussions and gone through incredible trauma.
his parents. the reason why steve’s mail is addressed to ‘steve buckley’ now, not ‘steve harrington’.
(that doesn’t come out until much, much later, and eddie is kicking himself for ever suggesting steve come back to hawkins.)
eddie, who hardly had an easy time of it in hawkins, is absolutely blown away by what steve had gone through in the same town, right under his nose. the entire persona that steve was trying to leave behind — the cool as a cucumber, unaffected, douchey mask he wore to hide all that he had endured. the head injuries. the emotional tragedies he had gone through. the way he had to be the rock for the kids even as he went through the same things as them.
he tries to tell steve they never have to go back to hawkins again, and steve is having none of it. he tells steve wayne can come visit them in their new city, and steve thinks that’s completely unfair to the man who had raised eddie, seriously, you’re going to make him come all the way up here?
and well i don’t know exactly what the ending is but steve is so stubborn about trying to love hawkins because it was eddie’s home and he wants to be able to go see wayne because wayne deserves to see his kid and eddie deserves to see his uncle and steve doesn’t want to be the problem :(
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