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quillyfied · 3 years

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Omenstuck Act 2 Bonus Content

Hello! Here’s just some extra bonus content from the pretty weighty upd8 I posted to my fanfic Omenstuck today (for Chapter 4: Act 2 specifically). A lot of background info went into it that I’m not going to get much occasion to use, so I’m doing what any self-respecting writer would do and dumping it here instead. Obviously has huge spoilers for Omenstuck so if you haven’t read the upd8s from today, don’t look. Hope the readmore holds on mobile, and there are some images below, too. Enjoy!

So for starters, I’m going to post the little cheat sheet that I had on hand for remembering all the characters’ assigned blood colors, Trollian handles, god tier titles, and quadrants (both filled and experimented with):

In order, here’s what we’ve got:

Crowley. Blood: burgundy. UN: anthomanicCaduceus. GT: Rogue of Life. Quadrants: Aziraphale (matesprit), Eric (auspistice, unwitting) and Hastur (other leaf of auspisticism quadrant, unwitting). Lusus: snake

Eric. Blood: brown. UN: coneyCloning. GT: Heir of Time. Quadrants: Auspistice to Crowley and Hastur (unwitting); Uriel (auspistice between arguing Erics, short-lived). Lusus: rabbit

Beelzebub. Blood: yellow. UN: carrionTyrant. GT: Prince of Rage. Quadrants: Dagon (moirail), Gabriel (kismesis). Lusus: giant fly

Ligur. Blood: lime/red (vacillating glitch). UN: guanineChameleon. GT: Sylph of Space. Quadrants: Hastur (moirail), Michael (kismesis). Lusus: chameleon

Hastur. Blood: olive. UN: amphibiousGrunt. GT: Knight of Breath. Quadrants: Ligur (moirail), Eric (auspistice, unwitting) and Crowley (other leaf of auspisticism quadrant, unwitting). Lusus: frog

Dagon. Blood: jade. UN: aquaticTaskmaster. GT: Witch of Mind. Quadrants: Beelzebub (moirail), Sandalphon (matesprit, short-lived), Metatron (kismesis, one-sided crush). Lusus: lungfish

Aziraphale. Blood: teal. UN: aetherialAntiquarian. GT: Thief of Doom. Quadrants: Crowley (matesprit), Michael (auspistice, coercing) and Sandalphon (other leaf of auspisticism quadrant, coercing). Lusus: ??? (dragon, owl?)

Michael. Blood: cerulean. UN: tenebrousAgent. GT: Seer of Void. Quadrants: Uriel (moirail), Aziraphale (one leaf of auspisticism quadrant, coerced) and Sandalphon (other leaf of auspisticism quadrant, co-conspirator), Ligur (kismesis). Lusus: ??? (tbh spider would still fit here)

Sandalphon. Blood: indigo. UN: toughenedCrusader. GT: Page of Blood. Quadrants: Michael (auspistice, co-conspirator) and Aziraphale (other leaf of auspisticism quadrant, coerced), Gabriel (moirail), Dagon (matesprit, short-lived). Lusus: ??? (Possibly musclebeast)

Uriel. Blood: purple. UN: celestialAureate. GT: Maid of Heart. Quadrants: Michael (moirail), Eric (mediated between two of his arguing selves, short-lived). Lusus: ??? (sea-goat still viable)

Gabriel. Blood: violet. UN: gregariousArchangel. GT: Bard of Hope. Quadrants: Sandalphon (moirail), Beelzebub (kismesis). Lusus: ??? (seahorse or shark)

Metatron. Blood: fuchsia. UN: communicantGodhead. GT: Mage of Light. Quadrants: object of one-sided pitch crush from Dagon. Lusus: Horrorterror from Beyond (Gl’bgol’yb, probably)

Here’s the shipping chart of what this madness looked like:

Solid lines for established or longer-lasting relationships, dotted lines for either crushes or experiments that didn’t pan out. Crowley, Eric, and Hastur’s auspisticism is dotted because it’s not a consciously-thought out relationship that’s actually been defined so much as a convenient social contract that keeps Hastur from killing Crowley by distracting him with a multitude of Erics, which makes it a pretty functional auspisticism, actually.

Some notes:

- If you’re thinking that the blood colors and god tier titles don’t exactly fit, you’re right, but there’s a reason, and we’ll get to it in future chapters of Omenstuck. Maybe one day I’ll do the thing proper and give them all more accurate classpects and blood colors, but I think I did pretty well, given everything.

- This means that it was Hastur and Ligur’s jobs, as the Knight and Space players, to breed the Genesis Frog, which creates each new universe, and that tickles me to the bone.

- Ligur’s whole situation is a nod to both Good Omens and to Homestuck; for a bit I entertained making Crowley the hemo-mutant that Karkat is, but thought he fit best lower on the totem pole (on his belly he shall crawl and all that). Canonically, Karkat’s bright red human-like blood is a mutation off of an old hemospectrum caste, the limebloods, and it tickled me to think of Ligur occupying both the limebloods and the red mutation that spawned from it, as a nod to his color-changing in Good Omens and his affiliation with chameleons. Also, apparently it’s the guanine in their skin that makes chameleons change color, which is what the G in Homestuck pesterchum handles stands for (bc the chats are all supposed to represent DNA strands that make up each Genesis Frog that creates each new universe), so it came together kinda perfectly. If Ligur ever was in a pesterlog, I was going to code it so his lines would alternate colors, but it didn’t pan out that way.

- Was it overly simplistic to cast Hell as the lowbloods and Heaven as the highbloods? Yes. But there are two reasons for this, one of which I can’t say because spoilers, one of which I will freely admit, which is that I got tired and just simplified where I could because I was already putting more effort into backstory that turned out to be less relevant than I thought once I finally got the dang thing written.

- In the bowels of my Instagram there is a doodle of Gabriel with the traditional Bardic codpiece and an expression to match, but I didn’t keep it in canon. It is definitely there in spirit and more loving detail will be paid attention to it if I ever go back and do a proper Homestuck troll AU.

- There was a subplot I discarded when thinking of the quadrant entanglements that involved Dagon hooking up with both Sandalphon and Michael in a redrom way and that being one of the catalysts for the bloodbath at the end, because I adore Dagon/Michael and wanted to go there first but she was already appearing so much, and I remember reading about Dagon/Sandalphon once in a fic I wish I could remember off the top of my head and it was so bizarre I adored it. Ultimately I stuck with Dagon and Sandalphon having a redrom fling, because why not.

- Dagon was also going to have a whole Thing against Metatron that boiled down to her having vestigial seadweller traits and being jealous of an actual seadweller that didn’t do his heritage credit, but Metatron was such a non-entity that it didn’t feel relevant to bring up, with so much already getting crammed into this upd8.

- Gabriel and Eridan have some eerie synergy and that’s a hill I’ll die on.

- Uriel was supposed to have a bigger part, too, delving into how they fit into the whole purpleblood Mirthful Messiahs cult and how they use their paint to emphasize their vitiligo (inspired by their canonical pretty gold face markings), but once again...not enough room, not enough interaction with Crowley or Aziraphale. They were either going to be a huge part of it, or eschew it entirely in favor of worshipping Metatron and possibly Metatron’s eldritch lusus instead, but eh. Roads untraveled. I also didn’t doodle their facepaint while I was doing my concept sketches/brainstorming activities so I just let it be.

- The whole Michael and Sandalphon using a heavily manipulative auspisticism to blackmail and control Aziraphale was a concept I had from the beginning, but when I wrote the scene, it actually shook me up a lot; Auspisticism is one of the platonic and weirder quadrants in Homestuck, but it didn’t hit me until I had written it how that particular dynamic could be exploited and turned into something kinda borderline abusive, if not outright abusive (I’m trying to be more careful in how I apply the word so I don’t know for sure if what I wrote counts as fully abusive, or just a super bad time). To be honest, in all the Homestuck fics that ever were, I don’t think I ever read a single one that described what I did in this fic (and RAPE MENTION TW a part of me that is forever struck by my friend’s fic that described a brutal pale rape, as in forcing the usual nonsexual markers of the pale quadrant on an unwilling victim, was worried that I had written ashen rape, which was NOT where I wanted to go; after worrying about it to friends and sleeping on it, I don’t think I quite went there, but the implication that it COULD happen is going to haunt me for a while).

- I did want to get more detailed with a lot of things, like Crowley and Aziraphale’s influencing and talking with humans, and how it was affecting things like their vocabulary and how they saw the world, but it was just too much to tackle in any great detail.

- the whole thing where Crowley uses his god tier powers to steal Life energy from his fellow stranded trolls and makes plants that could potentially feed them one day? Totally unexpected. I did a LOT of refreshing myself on the classes and aspects of god tiers when I was doing the groundwork for this part of the fic, but it didn’t strike me that that was a thing Crowley could do until I was already writing it. And maybe Aziraphale should’ve been a little more horrified by it, but Crowley’s right, they ARE immortal now. Also the whole “taking Life energy and redistributing it among allies” thing probably wasn’t meant to be interpreted as “puts the other trolls in the Mood for quadrant hookups” but it was too hilarious a coincidence to ignore. Life needs things to live, as a wise internet dnd player once said, and when you’re the last of your species, you’ve gotta do what you can to propagate (even if it’s functionally impossible to restore your species, since there’s no Mother Grub to donate slurry to and no ectobiological lab to make ectobabies from. God loves a trier). Does that make all the hookups dubious consent, since weird Life magic was involved? I don’t think so, I think it just accelerated what was already present, but I’ll leave that to y’all to judge.

- Crowley was actually supposed to be the one to die. It said so in my notes. It was a whole Thing, Crowley getting speared or shot or whatever and looking at Aziraphale like “ha I got this one better luck next time”. But then I made Aziraphale a Thief of Doom, which was originally a joke to myself about how he hoards books (Thief players are hoarders and Doom can represent rules or systems), and then he got all contemplative and hit ME back with “no, no, sister, you made me a Thief of Doom, I’m gonna steal this death meant for Crowley and keep it all to myself, and there’s nothing you can do about it.” And he was RIGHT. I can’t believe I’ve killed Aziraphale THREE TIMES now. And I completely forgot about how god tier players are also immortal from being killed unless the death is Heroic or Just until, again Aziraphale reminded me by pushing Crowley out of the way--therefore making his death to sacrifice himself for his friend and beloved Heroic. I played myself in every possible way. Checkmate, brain. (As for what that means in future chapters, stick around, it’s only gonna get weirder, but Homestucks who are puzzled at the inclusion of Dream Shards rather than Dream Bubbles are encouraged to draw some conclusions of their own.)

I think that’s all I wanted to talk about, so have a doodle of Michael with her Seer hood drawn for funsies.

See y’all later! Feel free to send me an ask or a comment or whatever if you have any questions or just wanna talk about this madness I’m creating!

#good omens #omenstuck #quilly writing #quillartist #quilly writing: director's cut #oof y'all i did so much weird work on this #feels good to have it all out there

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ghoultyrant · 5 years

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I've tried a few times to write Samus' pov before and I've had a lot of trouble. I feel like she is fairly inscrutable as characters go, being largely voiceless, and taciturn even when she does speak (not counting Other M). A lot of her dialogue is also removed from social interactions, being internal memos in scan logs. Idk. Maybe this is just me.

Samus as a character isn’t so much a cipher as an archaeological mystery.

The point of that comparison being that the Metroid series actually tends to tell a large fraction of its story through its environments, and does so quite well. Metroid II makes it clear that the endgame area is some manner of laboratory where the Metroids were apparently created, probably by the Chozo, but at some point control was lost. The laboratory is their nest because that’s where their existence as a species started, rather than the Metroid Queen selecting it as a good brooding ground for some other reason. Notably, the laboratory is unusually isolated and difficult to reach, even by Metroid II’s standards of travel distance, suggesting that the lab was deliberately cut off from the rest of the planet, and also probably explaining why the Metroid Queen didn’t wander off elsewhere to nest; she very possibly couldn’t.

In turn, this grounds a detail many players probably never questioned, but which is slightly odd on its own: that Metroids can apparently only grow into their Alpha and so on forms on SR388. As a consequence of natural evolution, this is certainly possible, but seems odd. But given that they’re clearly artificial, it’s easy to guess that the Chozo put that in as an artificial constraint; most likely the Chozo had plans for shipping them out to other worlds, and for some reason or another didn’t want them to change form once they were off the planet. (There’s a lot of plausible reasons for why they’d want this, but that’s a bit of a tangent)

Furthermore, this also grounds the Metroid Queen itself. Most players probably never question the fact that there’s literally only one Metroid Queen on an entire planet, because after all she’s the final boss. There’s obvious video game design reasons involved. But actually, it makes perfect sense in-universe: while fandom frequently assumes that any Metroid could potentially molt all the way to being a Metroid Queen, and that’s not an unreasonable assumption, it’s also entirely possible the Metroid Queen was one-of-a-kind because the Chozo carefully designed things so she’d be unique; that the Metroid Queen was built to be a Queen from the ground up, and is not supposed to be capable of producing more Queen-capable Metroids. That would be a logical thing to do to limit the damage in the event of a containment failure, and neatly explains why the planet has only one Metroid Queen even though Metroids themselves are running rampant across the planet.

Speaking of the Chozo and environmental storytelling, the fact that we saw their statues on two different planets back in the original trilogy was already a strong indication that the Chozo were a spacefaring species. Metroid Prime using scan logs to spell it out was a confirmation of an already-likely-true thing, not a state of canon invented by that particular entry. Again, I imagine a lot of players never questioned it because there’s game design reasons that are obviously applicable (eg that Chozo statues are frequently used to mark Important Power-Ups), but it’s extremely good environmental storytelling.

Anyway, that’s just some bits from Metroid II. Aside Other M and let me be brutally honest Samus Returns (I enjoyed it, but it mostly doesn’t try to do environmental storytelling, and probably-accidentally heavily retcons things, with the Metroid Queen’s nest no longer being set deep inside a laboratory being the most blatant example), the Metroid series does this heavily and constantly. The player is expected, if they care about the story and the world it takes place in, to look at the details they can see and make inferences.

And if they don’t care about any of that, it’s not intruding on their experience: they can just play a fun little game with blasting aliens and whatever.

Looping this back to Samus, though: yeah, we mostly don’t get Samus’ voice, both in a literal sense and in the writing sense. What we get is a ton of secondary information hinting at the kind of person she is, supplemented with concrete facts (eg that she was substantially raised by the Chozo), and then are expected to draw inferences.

As one of the more obvious examples: the first two games implicitly establish that Samus has to have a high degree of confidence in her abilities, or if she doesn’t she’s got a literally suicidal streak. She twice accepts missions to travel alone, deep into hostile territory, with the interstellar bounty hunter equivalent of nothing but the clothes on her back. Metroid II’s manual tells us that some elite corps of soldiers was sent to SR388 and never heard from again, and this didn’t dissuade Samus from going in completely alone.

This strongly implies she earnestly believes she can do the job when a literal small army couldn’t even survive: it’s not just that the Egenoid Star Marines failed at the mission, it’s that they were so completely out of their depth that none of them were able to escape the planet to report their failure!

Important and related is that starting from Metroid Ii it’s very normal for Samus to unambiguously have the option of just turning around and leaving. Her ship is on-planet, she uses it to leave at the end of a given game, and nonetheless she sticks each given mission out. She doesn’t encounter Omega Metroids and go ‘no, this is too dangerous, I’m out’. She doesn’t rampage across half of Zebes in Super Metroid and give up in disgust when she fails to find the stolen Metroid reasonably quickly. She doesn’t report the Space Pirates on Tallon IV to the Federation and leave them to clean up that particular mess while she goes to get a drink. Echoes and Fusion are the only games that actually trap Samus on-site temporarily to justify her ongoing presence, and even then if you bother to visit and scan her ship regularly in Echoes you’ll discover it’s ready for liftoff well before it’s time for the endgame, while in Fusion it actually doesn’t take that long to get back access to the Main Deck and thus her ship.

A lot of games that place a player character alone and far from civilization are very careful to explain that the player character was stranded in this strange place, and implicitly or explicitly sets the player character’s goal as escape back to civilization. The implication is generally that these are people who would never willingly inflict such a situation on themselves, and if they ever accidentally found themselves in such a situation with the ability to back out, they’d take it in a heartbeat.

Samus, meanwhile, keeps ending up in these situations and sticking them out. She doesn’t mind being alone with her thoughts for long periods of time.

It’s worth mentioning that the Japanese version of the original Metroid tracked how long you’d played, only your hours of play were presented as how many days Samus had been on Zebes. If you treat this ratio as canonical to all future games, which are generally designed so a first-time player will beat them in 4-20 hours... yeah. Samus has repeatedly spent several days or weeks in a row far away from civilization, and is just fine with sticking those situations out, and even inflicting them fairly spontaneously on herself if she has a specific reason for doing so. (eg she goes to Tallon IV in pursuit of Ridley)

Now, since this is inference there’s a fundamental ambiguity here. I personally tend to interpret Samus as being someone who finds socializing with her fellow sentients to be a stressful experience, such that going out into the wild for a week is a form of decompression and relaxation, but this isn’t the only plausible interpretation, and honestly I probably go to that interpretation because I don’t cope well with that kind of social interaction, rather than it actually being a better interpretation. One could plausibly interpret Samus as someone who, say, is actually fairly intensely social and just rates (Insert mission objective here) as more important than her own personal comfort. (In this interpretation, it would be assumed she instead decompresses from her missions by partying with her must-exist-in-this-interpretation large circle of friends) That’s certainly an excellent justification for her chasing Ridley in Metroid Prime, for example, and if we ignore Other M entirely I can’t think of a Metroid game that could be said to contradict that particular interpretation. (And Other M doesn’t count because it contradicts literally every other game on so many levels; if one game doesn’t fit while the rest are consistent with each other, you toss that one game as an inconsistency)

(Well, actually, another reason I take my interpretation of Samus is that she was raised by Ascetic Space Bird Monks, but then again plenty of people rebel against their upbringing. It’s perfectly possible to say Intensely Social Samus was driven crazy by the Chozo expecting her to be an Ascetic Space Bird Monk But As A Tiny Human, and even suggest that she takes being Intensely Social even farther than she would’ve otherwise as pushback against that whole thing)

BUT

While there’s room for interpretation and murkiness on details, Samus across the games has a fairly clear sketch of a certain range of plausible personalities. This range is also further reduced if we actually, for example, acknowledge Samus’ monologues from Fusion, which make it clear Samus concerns herself with the big picture (Suggesting that she sticks out her missions at least in part because often The Fate Of The Galaxy hinges on them kind of thing), and also seems to indicate (Consistent with her observed behavior), that Samus isn’t someone inclined toward negotiation as a problem-solving mechanism -that is, she doesn’t even countenance the possibility of trying to talk the incoming Federation goons into not trying to weaponize the X, going straight to ‘I need to make sure it’s not possible for them to try’- and that she’s got a bit of a philosophical streak to her, of exactly the sort one might expect of someone raised by Ascetic Space Bird Monks.

But even without the Fusion monologues, it’s not actually that hard to dig up a coherent personality for Samus, consistent with what we see across most of the games and compelling in its own right. It just takes a mentality that, while unusual for most writing/reading, is completely consistent with how the Metroid series prefers to convey its stories.

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meggannn · 7 years

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shepard v. ryder

some meta, with no spoilers, about the differences between the characters, and how relieved I am that BW didn’t head in the direction of a “blank slate” PC like the Inquisitor for the Pathfinder.

I know this is an unpopular opinion, but I like it when Bioware gives us canon facts about our PCs. I know people find it limiting, but I like it because it tends to give me something workable as a “reader” of the story they’re putting out, and it usually – imo – works out better than when they give players a free-for-all blank canvas, which is what we saw with the Inquisitor, and sort of with the Warden.

I have to explain where this post is coming from by starting with an explanation of what I think is an example of a PC done poorly. this may earn me some irritated anons or reblogs of people defending their Inquisitors, but I think the Inquisitor is a prime example of when BW does PCs wrong. I think their writing is at their strongest when they decide what at the emotional core that’s driving the PC – eg Hawke, who fights for family and loved ones, or Shepard, who fights to preserve life even at the cost of their own. even the Warden had a loose narrative arc: it was a traditional hero’s journey – maybe stale, maybe cliche, maybe old, but it was there. the Inquisitor didn’t really… have any of that. they reacted to events, they never acted first (unless you count the mark, which wasn’t their choice to begin with). they had emotions, but there was no consistent theme or growth with those feelings. they made choices that didn’t change who they were, because the player had to decide who they were, often via headcanons and fic. in all of the histories (human/elf/dwarf/qunari), there were codex pages and occasional mentions of a family or life before the Inquisition, but – and I say this having admittedly not played through all of the backstories myself, but reading up enough on them – there’s nothing very substantial to grab onto. it leaves the player to fill in the blanks just to figure out who the person you’re seeing on screen is (and there are a lot of blanks), and in such a heavily story-driven game series affected by PC actions, a blank canvas for a protagonist doesn’t always fit the role well, narratively speaking. I know some people call that freeing for the purpose of OC-making, but I personally call it bad writing; there is no overarching narrative for the Herald, no… personal resolution that stretches across all playthroughs. (you might be able to count count confronting Solas in Trespasser? but that brings up a whole other litany of problems I have with that DLC, and how I think the Inquisitor’s most substantial growth as a person probably happens post Trespasser and how I’m mad that’s only hinted at, not confirmed, and that’s a rant for another day.)

my point is that I’m personally thrilled to see they went back to Shepard- and Hawke-style protagonists with the Ryders. the first time I realized BW was going in a completely different direction with Ryder and wouldn’t make them “the next Shepard,” I was thrilled. it’s very clear from the prologue they’re entirely different people. Shepard is a military commander with an established, respectable Navy career before the events of Eden Prime. even if they’re a loose cannon, Shepard has worked their way up the chain of command; Shepard is an N7; Shepard knows how to work alone and with a crew; hell, Shepard’s done enough to earn Spectrehood without even a lengthy vetting process.

Ryder is young, and it shows. Ryder has, if ever, at least not consistently, led a squad, and certainly never commanded a ship – and that shows too. Ryder is sarcastic, energetic, and occasionally juvenile, even despite selecting professional/logical choices. when Ryder makes decisions it’s often them speaking out in support or in judgment of one choice or another in a conversation, compared to Shepard’s more decisive calls made by someone with authority in the field. I don’t mind that, because I think it drives the point home: even in Shepard’s most renegade moments, they could be rude, hostile, or downright cruel to people, but they were never… youthful. or childish.

I’m not saying this to say Ryder is childish; I’m saying this because I think Ryder’s is – or will ultimately become – a coming of age story, because they purposefully start young and inexperienced, which is in direct contrast with Shepard’s journey in the trilogy: by the time we meet up with Shepard, they’re already an established soldier, and depending on your background choices, they’ve probably already seen one form of hell or another. they have a bad feeling about Nihlus’s mission, but I’d be surprised if most Shepards didn’t think they could handle whatever Eden Prime was going to throw at them. Ryder doesn’t have that experience to fall back on, so Ryder travels to – and eventually falls headfirst into – Habitat 7 knowing they’re in for a rough ride, and bracing for impact the entire way, because the manual didn’t cover this.

my working theory is that Ryder’s will be a coming-of-age story about taming youthful energy and craving for adventure/exploration while learning not to lose the spark that drives them (against politics, against species-wide extermination, against cultural clashes between the MW species and the angara, etc). depending on the Ryder, they may have varying levels of maturity – or immaturity – but in default dialogue (by which I mean lines Ryder says that you don’t choose), a consistent theme I’ve noticed is that they still look and act and speak young, even when they’re not snarky. directly contrasted with Shepard’s story, which is – I think most people can even loosely agree on this? – about finding ways to go on through the hard times, and people who will stand by you when you’ve been beaten down and you’ve seen the absolute worst the world has to offer. neither of these characters are really about survival or living to fight another day; any intelligent species we’ve seen in the ME universe can survive just fine. but these traits – curiosity, exploration, and the will to continue even when the odds are impossible – are humans’ strongest traits, as noted in various ME codexes. (not that no other species is inquisitive or will-driven, but this is mentioned time and time again that humans have both of these in spades, much more noticeable than other species, in ways that often drive the narrative into directions they wouldn’t in the hands of, say, an asari or turian.)

I’m not saying “all Ryders are like this” because that’s not the point of an character-customizing RPG. fandom has proven BW can give us the mould of a character and let us fill in the blanks – like Hawke or Shepard (as opposed to the ‘blank slate’ of an Inquisitor or Warden) – and people can still come up with incredibly diverse OCs and go in totally different directions from each other. so personally, I don’t find it at all limiting or a bad thing to say that I think Ryder’s narrative journey is going to be about X or Y (because it can also be about other things the player decides fit their OC the best!). but I do think Ryder – and the other two in particular – all have undeniable traits that exist no matter your canon, and I’m personally very, very glad to see they’re going in this direction again with their protagonists. my second sigh of relief was upon realizing that they’re not trying to recreate Shepard 2.0. obviously it remains to be seen if they make more content with Ryder (fingers crossed), but so far, I’m really pleased with the direction they’ve chosen for them (and their twin).

#me commentary #shepard #ryder #megan talks about bw

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