Bask In The Spotlight And Burn, Baby, Burn!!!! 🔥

happy lesbians

what's funny about the ending of endwalker is that, depending on who you are, it CAN be the likely-intended all-out victory of saving the universe and how even if none of the people who started this conflict are still around, you evoke your own will to survive and you finish it because your lives are worthwhile and anything that can exist is worth saving.

or it can be about how there's never gonna be a sunset to ride off in, and how the fight is never going to end because it's baked into the fabric of existence, and how given time and distance another hermes will ask another question and another meteion will fall to the depths of hopelessness and another You will have to rise up and kill them and it's all such a fucking waste, isn't it? because eventually the other You is going to lose. and even though your friends are worth the fight, your enemies are worth the strained empathy, and everyone you've never met can fit in your heart, isn't it exhausting to hold them there?

especially with the context of the thirteenth story right after. this fugly-armor jackass is proof that no matter how final your victory seems, tomorrow someone is going to wake up and kill their neighbor and someone is going to wake up and start a war. it's never over. you never rest. there's never peace. and you have to believe that it's all worth it despite that, and you CAN believe that because you couldn't have killed the endsinger otherwise, but isn't it tiring? don't you want to rest?

or it can be about how the only person who could possibly have surmounted those trials has to breathe them like air in order to live. you've been desensitized to challenge so much that you can dance through a war and come out unscathed, and all it elicits from you is a sad sigh. your ability to produce serotonin has been limited exclusively to saving all life in the universe. everything else is dull. and you didn't even get to bury him this time.

or it can be about how no one should ever have shouldered all that, and how there's no other way to return except broken. the scions pray you back to life and you kind of wish they hadn't. and now there's a glint in your eye that you can't see in the mirror but you see reflected in the faces of everyone you know that says you're a hairsbreadth from snapping clean in two. you should be locked away, you're too strong and too close to the edge, but who's left to lock you up? you killed your masters and gods and then you killed the thing your gods couldn't kill. you're alone at the top of existence and who could possibly trust you with that summit? you don't want to, but one day, like a beaten mutt, you're going to bite a kid and they're going to have to put you down. you're just too close to the end of your rope.

or it can be about operating a colonizer's paradise on a private island full of robots. i guess.

everything post-Endwalker hinges on the idea that even after saving the world and being released from their duty as Warrior of Light the WoL will seek adventure for it's own sake. They're still doing the same things they always do but this time purely because they want to.

And I don't think that change would have been possible without Zenos.

The final confrontation with him at the end of Endwalker, his questions spurring the WoL to think about why they do what they do, or the duel that serves to show them how fun it can be to fight without the weight of the world on your back. It's crazy to think that for all of the harm he caused the positive consequence of Zenos's actions was inspiring his friend to live freely.

Day III: Devotion

It’s done \o/   it was kind of a new thing for me, big groups and a different type of lighting but I just love the idea of the Convocaton’s prayers turned them into this mass  Mostly based on Drakengard 3  also some isolated shots cause I like how some of the individuals came out as well

they're talking about the important things in r/ffxivdiscussion for a change

There’s something uniquely haunting about the words ‘one brings shadow, one brings light’ and how many different things they mean over the course of the story. 

At the start of A Realm Reborn, the hero takes on the name of the Warrior of Light, and nothing could be more fitting. They are the champion of justice, someone who fights to bring peace to a war-torn, despairing world. It is a symbolism that resonates naturally and easily with the audience: the Warrior of Light lifts the shadow of the Empire, and lets people look forward to new beginnings, turn to a new dawn with the coming of the Astral Era. (As we eventually learn from Moren, the name was originally born of that symbolism: from people finding hope in their heroes, and giving them a name expressive of that hope.)

And then we meet the Warriors of Darkness: at first glance, they are obvious villains, seeking to undo the Warrior of Light’s work and drown the Source in darkness and fear. Their name evokes skullduggery and mystique, and it is a haunting inversion of the Warrior of Light’s, suggesting that they are bound to be our foes. 

And then we learn the truth of their origins: they were Warriors of Light, just like us, and their path, so like ours, brought ruin upon their world. We learn, for the first time, that the Light is a force to be reckoned with and feared, and that Light and Dark are not so different after all. 

When we finally get to the First, the inversion comes full circle. We meet Ardbert as the Warrior of Light, and our WoL is now the fabled Warrior of Darkness: the bringer of night and reprieve to a world that has known no rest from fear and striving. The term ’Warrior of Light’ is no longer a symbol of adulation, but one of reprobation and reproach. 

The duality of shadow and light is also exemplified by Emet-Selch and the Crystal Exarch. The Exarch turns to the future with hope, while Emet-Selch lives in the past, with the shades of memory. The Exarch seeks to protect Hydaelyn’s will, and avert the return of Zodiark. Emet-Selch slinks and prowls on the margins of history, weaving malign and intricate plots, sowing discord and fear and doubt. The Exarch stands at the forefront of history, facing down corruption and chaos, making his city a bastion of resistance and rallying everyone beneath the cause of hope. Emet-Selch represents the shadow of conquest and imperialism over the land; the Exarch has built a city of kindness, fellowship and egalitarianism.

And yet, even here, the symbolism is inverted, for the hope the Exarch brings is in the shape of the gentle night, while Emet-Selch seeks to drown the world in searing light. In the bright open spaces of the Crystarium, it is only the Exarch who walks in shadow. He deals in secrets, hiding his plans and his face and his name, while Emet-Selch seeks to understand, and bestows terrible knowledge. The light of the Exarch’s plan is perfect and pitiless, and it is up to Emet-Selch’s prowlings and plottings to save him, gun in villainous hand. 

And the most fundamental form of the inversion is learning that Emet-Selch is, in a way, fighting for the same thing as the Warrior of Light is: he is fighting to save his world and his people, and to him we are the villains. 

The light of the Warriors’ hope and belief breaks through the miasma of Hades’ terror and grief. And at the end, Emet-Selch stands there, ragged light spilling out of the hole in his body, and smiles, in a final gesture of acknowledgement. He dissolves into a shower of gentle light, spilling over the Warrior of Light like a benediction. 

Everything is inverted in the First: people glory in the name of sinners, shudder at forgiveness, and celebrate the night. The sin eaters are bright and beautiful and gentle, and they bring a terrible, merciless forgiveness: a forgiveness that tears you apart from the inside; a forgiveness that blankets the world in silence and inexorable light. 

The first time we hear the iconic line ’one brings shadow, one brings light’ is in the scene where the Warriors of Light and Darkness merge into one—the Warrior of Light helping to contain the light raging within the Warrior of Darkness, their souls embracing in understanding and warmth. It is a moment of glorious illumination: of the twin Warriors understanding their connection, and of Ardbert seeing his purpose, the clear resonant notes of the theme song ringing out in glorious triumph. But it is also a moment of gentleness and reprieve. The light is no longer spilling out of the Warrior of Light’s wounded soul; Ardbert is there, providing them with sanctuary, with gentle shade. The Warrior of Light does not have to be fight their battle alone and unflinching. They do not have to be perfect any more, for there is someone to watch their back. 

They are truly two-toned echoes tumbling through time: Ardbert retraced the Warrior of Light’s path on the First, and now they have retraced his.

The symbolism of light and dark is most starkly exemplified by Hydaelyn and Zodiark—Zodiark as the will of the star back to the past, to the splendour and sorrow and hubris of Amaurot; Hydaelyn as the will of the star towards light and growth and change. But now it is Hydaelyn who reigns, and defends herself against Zodiark’s incursion. She is no longer the disruptor, but the preserver of the status quo, of the lives that already exist. On the First, Light brings stasis and silence and emptiness. 

We revisit this symbolism with Elidibus in The Seat of Symbolism: the heart of Zodiark, taking on the person of the Warrior of Light, and fighting off Hydaelyn’s champion, who bears the mantle of a Warrior of Darkness. Elidibus is lost in grief and darkness and doubt; he fears loss, and he does not remember. He must fight to save his doomed cause, though he does not know why. The Crystal Exarch and the Warrior of Darkness bring him light, in the shape of remembering, and of absolution. Now he remembers the comrades he fought for, and the love that drove him; he does not have to struggle on in the darkness any more. 

In the Eden storyline, the symbolism of shadow and light is evoked by Ryne and Gaia, the Oracles of Light and Darkness. Mitron seeks to keep Gaia in the shadows, taking her memories, wresting away her agency over her life. Ryne brings her light, in a symbolic sense, helping her discover who she is and what she wants, offering her warmth and comfort and hope. But it is simultaneously Gaia’s darkness that helps them break the light’s chokehold and return life and growth to the world. It is the hammer of her darkness that breaks through the light’s overwhelming hold on Ryne, quite literally saving both her and the world. And in the end, she makes the powerful choice not to know of her past in Eulmore, preferring to turn her gaze to the future. Her story encapsulates a central theme of the Eden arc: escaping stasis, embracing change and growth, making new memories. 

In Shadowbringers, right and wrong are not inexorable absolutes that we are to be judged by. Light and Darkness are two-toned echoes tumbling through time: humanity and the dragons, the Warriors of Light and Darkness, the champions of Zodiark and Hydaelyn. We should not be too quick to form our judgements, for nothing is as it seems, and there is hope to be found in the night. 

Just remembering Ultima Thule, as one does.

Goodbye Hydaelyn Zodiark...uhh...Arc.

Let's haunt the narrative together!