Just Read @intrepid-fictioneer-7's Analyis On The Madness Of Servants, And It's Got Me Thinking About

especially after the events of olympus it is paramount that fgo players understand that they are not above the narrative, and the story’s antagonists will never be as cartoonish and one-dimensional as they might think they are. their motivations, their thoughts, and their goals will always be more complex than the most surface level reading, and often you will not know what they are right away. passing judgment upon them is stupid, the decisions they’ve made come from far more gray and far less lenient circumstances. it’s always been that way. you are not immune to making those same choices. that’s the point. from the earliest days of the fate series, way back during the original vn era, one of the most compelling and prevalent ideas within the story was you might have something in common with your worst enemy. you might have also walked down their path had your roles been reversed. you cannot say you could have objectively done better or worse simply because you have the benefit of hindsight and because your experiences were different. shit, ubw smacks you on the head with this by making its main protagonist and main antagonist the same fucking person.

this is especially evident with the crypters. everyone wants to brand them as insecure, jealous, holier-than-thou mass murderers. this is disproven as early as lostbelt 1. kadoc didn’t take part in the bleaching of the earth’s surface. he says explicitly that when he woke up from cryostasis, the world had already been bleached. he wasn’t truly jealous of you, he was taking out the trauma of being denied a purpose and then dying out on someone like him. had guda been in his position, they would’ve reacted the same. he cools off in lostbelt 2, which is why he is kinder and happy to see your gaze has regained some measure of resolve.

ophelia, akuta, and pepe also reinforce this. none of them took part of the bleaching, and they killed no one. the bleaching was all the alien god. the lostbelts were all the work of the alien god. the only thing here that matters is that the alien god chose wodime as their emissary, and the other crypters were expendable. kirschtaria did not accept this. he would not abandon his friends, his comrades, his family. the choice was to cooperate with the alien god or die. could you have seriously, in all honesty, chosen differently? could you, knowing the entire earth was doomed by a product of its history, honestly have decided to keel over and taken your loved ones down with you? could you look me in the eye with zero bullshit and zero hesitation and tell me to my face you wouldn’t have chosen to cooperate if it meant you had an opportunity to turn things around so none of those billions of deaths were for nothing and the world wouldn’t belong to the being behind that destruction?

the lostbelt competition was a foregone conclusion. everyone knew kirschtaria was going to win, because the contest was designed that way. the alien god only intended for kirschtaria to win, and kirschtaria knew this. which is why he used his connection to the crypters as leverage. the other lostbelts were never meant to survive, they were kirschtaria’s way of keeping the crypters out of the alien god’s watch. that’s why kadoc, pepe, and beryl weren’t killed by kirschtaria when their lostbelts went SNAFU. it is an immensely cruel thing to do to all those worlds and all those lives, yet would you have done differently? if the lives of your loved ones were at stake, if you were being surveilled at all times with a gun to your head ready to pull the trigger at the slightest disobedience, would you have been so reckless as to put the people you cared about in harm’s way? because that’s what kirschtaria’s position was. the alien god was ready to crush kirschtaria’s heart if he broke their contract, and tipping off the crypters that he intended to do so would’ve gotten them all killed.

ultimately, that’s what drives the conflict between chaldea and the crypters. the shared need to survive pitting them against each other. there is no guarantee chaldea can restore proper human history, and wodime could not take that chance when he had a plan of his own and the clear methods with which to accomplish it. a new world, a new humanity, free to make new mistakes and reach new heights, free from the grip of the gods, free from the grip of the systemic forces that plagued not just the lostbelts but proper human history itself.

and i need to stress that the story isn’t trying to justify the deaths (if we can even call them that, in all likelihood) of 7 billion people by trying to say “maybe wodime was right!” what the story is saying is that, if there was a staggering loss of life, what alternative would humanity have to even have hope of moving forward? through lostbelts 1 - 4, you may be helping these worlds die peacefully, but you are still letting them die over the chance that you might restore proper human history. your success is an uncertain inkling, yet you have no choice but to move forward and accrue suffering to make sure NONE of those deaths are in vain. you are not judged for it, because the story knows there is no right or wrong answer to this kind of conflict, and the same principle applies to the crypters.

need i remind you that olympus ends with people being crushed by buildings, abandoning all hope, quivering and perishing in absolute terror as the only world they’ve ever known crumbles around them and the only beings that could save them were killed by your hand and by your order because there was no other way out. it is a gruesome death, an unsightly death. and it is brought about by your actions, and it is a terrible burden. and it is the exact same burden carried by kirschtaria, because he was a member of team A tasked with safeguarding humanity, and he failed. he does not claim that proper human history is full of too many mistakes to salvage because he is above them. he claims so because he also made mistakes in his own limited existence and doesn’t want that for whatever humanity can still exist in the world he means to make.

and you know what? kirschtaria even understands what you’re doing. he is the only one who can. he cannot agree but he understands. which is why he never denies you the opportunity to prove yourself. he opposes you, challenges you, dares you. but he never denies you. he says “you think you can bring back proper human history? prove it. prove you have the conviction necessary to bear it and beat me with it.” and then you do. because he wanted you to, because he believed in you from the very start that you could do it if you set your mind to it because kirschtaria wodime for better or worse believes in mankind, and you do too.

so, tl;dr you and the crypters are the same do not be so arrogant as to pretend you are better than the story and you are the perfect blameless unbiased judge of everything ever because you look really stupid doing that

I feel like people characterize Enkidu as some kind of calm, gentle softie, but like me tell you this: Enkidu can be gentle and kind, but usually is Feral af. Enkidu with fight anyone who fucks with nature. Like illegal hunters.

Imagine you’re in an illegal hunting party hunting out of season, when this screeching humanoid figure descends on you from the treetops. They’re a blur as they move, disposing of your buddies before they can even aim their guns. One guy is knocked out, another’s arm is broken. You trip over a root as you try to flee. You’re a goner now. You cower in the pine needles.

The figure grins at you, blood in their pearly teeth, canines gleaming, too sharp to be human. Their green hair is knotted with branches and leaves, a sprig of some sort of red berries tucked just behind their ear. Their white robe stained with brown stains- blood or mud, you can’t discern- and grass stains.

They move at you, and you flinch backwards, eyes closed as you wait for the end. You dropped your gun long ago, and you can barely use the hunting knife strapped to your thigh. It would be useless against the creature before you now. You are at the mercy of this predator. You wait for the blows to come, for those too sharp teeth to tear into your throat, for those nails to peel back your eyelids and gouge out your eyes.

But it never comes.

Instead, the clink-clink-click of bullets being removed from a gun. You open your eye, warily. Will they shoot you with your own gun.

The figure has gathered your party’s guns, and is removing their bullets. Your packs are dragged forth by a deer to the figure. A flock of crows surrounds the figure. When a bullet is removed, one of the crows plucks it up and flies away.

You can’t move, can hardly breathe, as you watch them. One movement, one breath, could spell your end.

The guns are empty now, and hey turn to the packs. Bullets are disposed of, glittering in crow claws as they fly away. Your food and water bottles are placed aside, and the figure puts your map and compass back in your bag. A squirrel runs off with a granola bar.

They look you in the eye, and you know that they could have killed you at anytime, they knew you were watching. But they didn’t.

They toss your gun at your feet, empty, and throw your much lighter pack back at you. You barely catch it. They turn to leave.

“Why?” You choke out through your terror.

The figure pauses, and looks back at you.

“Because you tried to steal from nature.” They say simply, as if it were obvious.

You blink. They’re at your throat, too sharp teeth glittering in a bared smile and nails digging at your neck.

“And if you ever try to steal from nature again, I won’t be as nice.”

You can’t help it, you black out.

When you wake, you find yourself outside a ranger station, tied up. You can feel your companions tied up next to you. You struggle to free yourself, but then you see them, in the tree line. The figure smiles.

Hello! May I request Enkidu from fgo x fem!master reader who tries hard to convince them that they're a human - not just a doll or a weapon, but a person - and they are so worthy of love (and please love yourself and let me love you already)? From whose perspective is totally up to your inspiration. Fluff or hurt/comfort both work

Hi, hi, this took like a super duper long time, sorry for that! I'm not very sure if this is what you wanted, but here goes nothing.

Masterpost

Human or weapon?

Enkidu is a weapon, nothing but a weapon. He knows and has accepted that a long time ago. He has no likes nor dislikes, no dreams nor hopes. It does not change even when the Babylonia Empire no longer stands, when the Mesopotamia gods are no more.

Even so, the Master that summoned him is so very kind. She constantly looks for him, asking for his likes and dislikes. When he retorts that he is a weapon, that he has no uses for likes and dislikes, she merely smiles.

His Master says that since he has no likes nor dislikes, they should find some for him instead so she brings him what she likes and watches his reaction. When she starts to run out of things that she likes, he is both grateful and not.

He is determined not to succumb, to remain the weapon that he is and will always be and yet, he fails. The gods would laugh at him if they can see him now, a weapon of the gods, and yet he falls to a single human’s determination.

He continues to repeat that he has no likes nor dislikes, but he cannot help but wonder who he is trying to convince, his Master or himself? Surely himself, because he likes the way his Master smiles, brighter than the sun, he likes it when she laughs, for it is more melodious than a harp, he likes it when she looks for him, trying to get him to try something new in her never-ending quest to get him to finally admit that he likes something.

He dislikes it when she is not by his side, when she spends time with people that aren’t him, when she graces her smile to someone that isn’t him, when she laughs in the company of people that aren’t him. He dislikes it when she is sad, the days that her smiles and laughter does not come as easily as they usually do.

Maybe one day, he will finally confess that to her that she has changed him, for because of her, he now has likes and dislikes.

Close-up version so we can see all that yummy intimacy! The full version is a bit bigger so I'll leave it below. Commed. Artist: Raccoon Nilh It's completed! I'm so happy with how this piece turned out! Raccoon Nilh did great work! Anyway, this is one of the illustrations for a future fanfic project I have planned. The name is: Pygmalion Gazes at the Stars. To avoid the fate of other stories I have come up but forgot to write down (they faded from my brain), I wrote down this (much truncated) plot draft. The original plan was something like... 7000 words of text over varios plot elements, the overarching structures, how the relationship will unfold, how it will be viewed through the astonishing eyes of Chaldea staff, the implications and fallouts of Daybit's presence, the climatic finale act complete with mad girlfriend Riri riding a motorbike and wielding a shotgun running over Lostbelt 7 to hunt down Daybit in his jeep.... among other things... ...anyway...

Premise

Pygmalion Gazes at the Stars begins as a continuation of canon—a hypothetical extension of Lostbelt 7 ending. In this version, Daybit Sem Void, having been defeated and undone in the final act of his own Lostbelt, accepts Tezcatlipoca’s offer to rewind time. He’s given a single opportunity to try again, to change the outcome, to pursue the answer he never found.

But instead of rewinding back to the start of Lostbelt 7, Daybit goes further. Much further.

He rewinds all the way to the very beginning—before the explosion at Chaldea, before the Lostbelts, before Team A was sealed into the coffins. This time, Daybit evades the collapse of the command room. This time, he does not follow the other Crypters into slumber or betrayal. Instead, he walks a different path.

He joins Chaldea’s new timeline and aligns himself with a girl he once underestimated: Ritsuka Fujimaru.

But his motives aren’t benevolent. This isn’t redemption—not yet. What drives him is an obsession. In his mind, Ritsuka is the one who defeated Ort. The one who overcame the impossible. The one who bested him.

In her, Daybit sees a rival unlike any he’s ever known. So he returns to the beginning—not to save her, not to support her, but to observe her. Study her. Surpass her. To do this, he refuses to take command as the 'Last Master of Humanity,' a title which would have gone to him as a member of Team A and the much more experienced Master than greenhorn Riri, much to everybody's surprise. In typical Daybit's manner, he refuses to elaborate beyond insisting that Riri is the best Master there is (because it's the truth in his mind! He hasn't surpassed her yet)

The rest of Chaldea doesn’t understand why Daybit defers to her leadership. Ritsuka herself is suspicious of his sincerity. But as the singularities unfold and the Lostbelt threat begins to stir once more, an unshakable bond forms—not through fate, but through day-by-day presence. Through belief. Through proximity. Through shared experience.

In trying to surpass her, Daybit begins to understand her. And through her, he begins to understand himself again.

The Pygmalion Effect

The heart of the story lies in the psychological concept known as the Pygmalion effect: when someone believes in you so completely, you begin to rise to meet their expectations. Ritsuka, who starts the story uncertain and insecure, begins to grow into her role because Daybit believes in her without question. That belief changes her. And, over time, it begins to change him too.

This story isn’t just about one person sculpting another. It's about two people who become better versions of themselves through mutual belief. Ritsuka sees through Daybit’s inhuman detachment (in typical Riri's fashion. What's a Cloudcuckoolander Daybit compared to literal BEAST Draco?). She recognizes his pain and loneliness, which even Daybit himself fails to vocalize. In doing so, she returns his gaze with her own belief—that he isn’t beyond saving, that he’s still human underneath.

The Shape of a Life: Daybit, Riri, and the Slow Return to Humanity

One of the most grounding elements of Pygmalion is the day-to-day life that quietly unfolds between Daybit, Ritsuka, and Mash. After the decision is made to support Riri, Daybit quite literally never leaves her side. He insists it’s necessary to observe her constantly in order to surpass her—he must be there at every moment to record her strengths, catalog her missteps, and understand her entirely.

And so, Daybit eats when Riri eats. Trains when she trains. Reads mission reports at her side. They review battle data together, share coffee across the table, and discuss Servant summoning strategies long into the night. Eventually, sleeping arrangements become shared, too—not from romantic initiative, but because Riri falls asleep at her desk too often and Daybit refuses to leave her unattended. In his words: “It is vital to track the frequency and condition of her REM cycles.”

Mash, ever loyal, is often close by. In many ways, this strange trio becomes a unit—Chaldea’s emotional core. Riri becomes something of a pseudo big sister to both of them, despite Daybit technically being her senpai. Where he brings raw analytical ability and bizarre alien foresight, she brings warmth and trust and an instinctive grasp of people.

What starts as Daybit’s obsessive campaign to study and “surpass” her becomes something else entirely. Through Riri’s routines—meals, laughter, arguments, fatigue, quiet joy—he begins to feel again. He starts noticing things: how good coffee tastes after a long mission. How soothing Riri’s voice is when she’s humming without realizing it. How Mash smiles a little more easily when the three of them are together.

Without meaning to, Daybit begins to experience what he lost: a sense of family. And while he would never use that word himself, it takes root in the quiet spaces between battles—in the walk to the cafeteria, the silence before sleep, the shared glance across a crowded control room. For someone so thoroughly estranged from humanity, routine becomes a lifeline. Intimacy, even platonic, becomes a catalyst.

Riri doesn’t notice at first. She simply enjoys the company and tries to take care of both of them. But slowly, through a hundred unnoticed moments, she becomes the center of a new constellation—a small, strange, but fiercely devoted family. In essence, Riri becomes a lens through which Daybit can perceive his own humanity again.

The Alien Within: Daybit and the Question of Intimacy

There’s a specific narrative I want to explore through Daybit, inspired in part by Phoenix by Osamu Tezuka (and its later reinterpretation in Saya no Uta) and my own interpretation of Daybit as a character (which I probably should write out one of these days). It’s the idea of a person whose perception of humanity has been fundamentally altered—someone who no longer sees other people as people. Someone for whom connection becomes foreign and unsettling.

Daybit, in this story, doesn’t simply struggle with love or intimacy; he doesn’t even process it in the same way anymore. He’s so alienated from humanity—emotionally, psychologically, even spiritually—that human urges and instincts don’t quite register as real to him. When he looks at others, he doesn’t see potential partners. He sees something akin to how we might view another species.

It’s not that he can’t form bonds. It’s that he doesn’t expect to or even thinks he needs to. But then, into that distorted landscape, walks Riri.

He doesn’t initially see her as a woman or even a person, but as an anomaly. A perplexing variable that he cannot simulate, cannot solve, like how she even bested him in the canon Lostbelt 7. Slowly, through observation and prolonged proximity, she becomes the exception to his estrangement. Not through any deliberate seduction, but through sheer presence—through being human in a way he had forgotten was possible.

In intimate moments, he doesn’t perceive her body as a biological object. Instead, he processes it through alien metaphor: as glass, as sand, as something granular and collapsing yet beautiful in its impermanence. His approach to sexuality is less instinctual and more cognitive—curious, reverent, disoriented. And it’s through this lens that he begins to re-approach what it means to be human at all.

Ensemble Cast and Ripple Effects

In this timeline, the Crypters begin to survive. Daybit’s interference changes the game. The grand sacrificial ritual behind the Lostbelts starts to unravel. More of Team A wakes up and sees what’s become of Chaldea—and of Daybit.

Many assume he’s running the show, only to be surprised when they realize it’s Ritsuka in charge, and that Daybit defers to her completely.

That confusion sparks speculation. Is Ritsuka a product of mage-breeding experiments? A genetically engineered super-Master? The Crypters can’t believe someone as unremarkable as her could be that good—so they start looking for hidden reasons.

Only Beryl, strangely enough, sees the truth. He knows love when he sees it.

And so begins a chain reaction. The rest of the Crypters start to bond, to grow, even to form their own ill-fated or awkward relationships. Chaldea becomes a strange sort of found family—one with plenty of dysfunction, plenty of arguments, but also moments of warmth and honesty. There's even a light parody thread running through it: "nature documentary"-style commentary on the "mating habits" of socially inept magi.

The Conspiracy: Who—or What—is Riri?

As Daybit continues to defer to Riri and the Crypters begin to rejoin Chaldea, something unexpected happens. Whispers begin to circulate. Because to them, Riri shouldn’t be possible. In canon, Riri's success was chalked up to as nothing more than a fluke and the result of her hiding behind Mash by the Crypters (except Wodime but he didn't exactly share that with the class). But in this timeline, Daybit's presence and continual deference to Riri in battle and in decision making as a Master throws that assumption out the window. Mash's deference can be reasoned away because she was just a fancy homunculus to the mages. But Daybit is considered Wodime's peer. There's absolutely no way Daybit would defer to some unknown neophyte without a reason.

The Crypters know Chaldea. They were the elite. Team A was handpicked by Marisbury himself. And yet here’s this complete outsider—a supposed “average” Master candidate who somehow survived the destruction of Chaldea, succeeded where no one else could, and has Daybit of all people in her orbit, treating her like the sun around which he orbits.

They start to wonder: is she really just a lucky survivor?

A theory takes root. That Ritsuka Fujimaru was never just a random candidate. That she may have been the final product of an off-book genetic engineering project—Marisbury’s last, hidden card. A counterpoint to Mash Kyrielight: whereas Mash was engineered to contain a Heroic Spirit, perhaps Riri was designed to command them. A Master refined at the genetic level, optimized for survival, summoning, and leadership.

The fact that she and Mash are inseparable only fuels the theory. Were they meant to function as a paired unit? A living singularity and its anchor? It makes a certain kind of sense because Mash while she was working with Team A never displayed this level of power, initiative, and agency. She couldn't even manifest her servant power in a controlled manner. But if she's essentially a lock just waiting for the key to unlock her true potential, then Riri's presence and their combined success make a lot of sense. And now, with Marisbury gone, has Daybit—forever the outsider among mages—stepped in to claim the prize before anyone else realized what she was?

Even if the theory is false, it spreads fast. It’s easier for the Crypters to believe in a conspiracy than in a miracle.

An Unconventional Romance

Their relationship is not straightforward. For the longest time, Daybit sees Ritsuka not as a love interest, but as a rival—his greatest adversary. He meticulously documents her successes and her failures, determined to surpass her. His “affection” manifests as an obsessive need to learn from her and record everything she does, including moments as mundane as her falling asleep on the command room desk.

He’s oblivious to the fact that this has long since become something deeper. The Chaldea staff eventually catches on, of course. Some even tries to intervene in an attempt to help the poor, socially inept young man with his massive crush... to no avail. Daybit insists that everything he does is so that he can surpass her one day. What? This journal he keeps to record everything about her, even down to her nap time and favorite food and all the little stumbles she makes? Clearly, these are useful data points and potential blackmail materials to be used to devastating effect. There’s even a betting pool on when—or if—he’ll realize it himself. And naturally, there’s comedic potential here: Daybit sabotaging Valentine’s Day to intercept chocolates meant for Ritsuka, criticizing Servants like Dantes for being “untrustworthy,” and insisting on spending every waking hour “calibrating” with her for “operational efficiency.”

Finale: Conflict and Clarity

Hah! Well, I can't put too many details here because I don't want to spoil the plot, but it will involve an alternate Lostbelt 7. This is where it starts for Daybit (and Riri), and this is where it will end. This is the stage of their showdown... and their first big argument (break up! In typical romantic plot!)

It will be explosive! Action! Speed! Car chase! Guns galore in typical American action romance fashion! The young couple meet in battle to resolve their differences! All that jazz!

The Ending: A Declaration

The ending is, in a sense, Daybit's proposal to Riri, in the usual Daybit's fashion. He tells Ritsuka that she is, and always has been, his greatest adversary. That he wants to surpass her. That he will be there at every stumble, and rise beyond every triumph.

It’s a confession in his own language.

And Ritsuka, with tears and laughter and maybe a few swears, throws it right back at him. Yes, she's going to be his rival! Now and forever! Provided he doesn't mess up again! And no he won't surpass her anytime soon, because she's going to try her damnedest to keep the lead on him.

A Story About Belief

At its core, Pygmalion Gazes at the Stars is a story about how belief transforms people—how seeing someone clearly, and choosing to believe in them, can be the most powerful form of love. It’s about alienation and reconnection. Found family. Quiet moments at the edge of the universe.

It’s not just Daybit sculpting Ritsuka into the savior of humanity. It’s also Ritsuka remaking Daybit into someone who, for the first time in a very long time, looks up at the stars and doesn’t feel so alone.

would you like a nice glass of

How about some hcs with Hans and Shakespeare having a master that's also writer.

Hans Christen Andersen and William Shakespeare + Master Who Writes!

Hamlet was the bane of my existence. End of story, literally.

Being writers themselves, Hans and Shakespeare are often found in Chaldea’s library and archive reading and studying written material from eras beyond their lifetimes.

One day, during their usual perusing, they stumbled upon you sitting quietly in a corner desk, pen and paper in hand. Of course, they cannot help but become curious about what you are writing.

You tried to hide your materials at first, after all, you were just a novice writer and now two of the most prolific and well-respected authors in the literary canon were now asking to read your manuscript. Having them read your writing would bring you nothing but unadulterated embarrassment at the difference in your abilities.

But after finally prying your current project away from your hands, rather than loosely skimming through the jumble of words, they immediately began discussing the thoughts and ideas you put into each sentence, giving suggestions as to how you could better convey your ideas. 

Shakespeare, however tried to turn every single one of your projects, whether it be historical-fiction, romance, sci-fi, always tried to twist it into a bizarre tragedy.

Sure, the writing was beautiful and deeply symbolic, but you just could not see any reason for you to end a bildungsroman story with a grand, Stephen King-esque end…interesting enough, but not really what you had in mind…

Sometimes you ask them about their past works’ and give hypotheses as to why they wrote a character in a specific way, or why they used a specific setting.

When you asked Shakespeare about what his inspiration for writing Hamlet, and whether if Hamlet was truly mad, he just laughed and commented that sometimes analyzing too deeply answers nothing.

Just for fun, you, Shakespeare, and Hans sometimes writes stories of the servants in Chaldea.

You and Hans co-penned Gilgamesh’s New Clothes, a parody of his own work, and it was all fun and games until KoGil got his hands on the manuscript and carelessly showed it to his older counterparts.

Thus ensuing a pair of VERY angry Gilgamesh’s threatening to destroy Chaldea with Enuma Elish until you and Hans pitifully watched the manuscript burn in the incinerator.

Good thing you wrote an extra copy…right?

something about death flags (those quickly approaching and those already passed)

“In nature, there’s no glory without sacrifice. Loss and gain are always balanced. Much is lost and much is gained. The people of the era will weigh the scales of good and evil themselves, and their value will be judged by future generations.”

Orleans | Septem | Okeanos | London | E Pluribus Unum | Camelot | Babylonia