#( one more meta )

[sidewalk-cracks]

The batkids encountering distressed children and calling them "sweetheart", subconsciously mimicking how Bruce would and will call them sweetheart when they're distressed, and not even realizing it?? Don't speak to me. I can't.

[grntaire]

“their miracle was so big bc crowley used to be an archangel” have u considered that aziraphale and crowley love each other so much that their love alone could move the tides just by staring at the ocean for too long. have u considered that they did the miracle not really to protect gabriel but to protect what they had, what they’d built with each other. and that was them barely even trying

[thymechaos]

i just can't believe that oda fucking create sanji, a stereotypical ladies man who simps to an embarrassing degree for women while having his hackles comically raised around everyone he perceives as a man - and most notably butting heads with the more obvious ~manly man~ of the crew. haha, classic anime running gag, the kind that gets obnoxious at times but still makes you laugh.

AND THEN, like a billion chapters later, motherfucker steeples his fingers and goes "soooooooo... what makes a person Like That?"

and the answer is that he grew up in fucking Toxic Masculinity, The Kingdom. the answer is that he was always Different, in a way other guys instinctively perceived as weak, and that made him the target of visceral scorn and violence. the answer is that he was sensitive, sweet, caring, nurturing - feminine-coded traits which are only valued by patriarchy insofar that they're performed by women in service of men. the answer is that in a kingdom comprised almost entirely by violent men, the only ones who were ever kind to him, the only safety he ever had, were a girl and a woman.

so cooking is for women and servants, it makes you less of a man. only women will ever really value you for your passions and dreams. women are also actively hurt by the way the world works, they are unsafe unless they comply with men's violence, and you have to protect them.

(men will always know what you are, and they will hurt you if you let them.)

and even after he leaves... at baratie he is cherished and respected, but even that is an extremely masculine environment. we don't talk about our feelings, we don't let our guard down, the only love is tough love. when he tries to express his artistry and express himself through his cooking, rather than just filling orders and making money, he gets mocked.

so here is a man who will not raise a hand to a woman, because he rejects the masculinity he was raised with and refuses to become yet another man subjecting women to violence. he is desperate for women's attention and affection because it's SAFE, it's the only kind he can trust. other men are potential threats and must be treated as such. he must at all times be snarky, tough, Not Feminine, because to be perceived otherwise is to be powerless, to be hurt.

like y'all. the queer coding of it all? the overtly feminist themes? the active rejection of toxic masculinity and the way it's shown to be directly tied to imperialism? what the fuck.

[go-learn-esperanto]

I see so many people starting to use Threads as a way to escape Twitter and yes, it's owned by Facebook's CEO and giving Facebook the monopoly of social media is bad but I think we should also talk about the fact that, you know, Threads isn't avalibe in the EU for privacy reasons????? That should be concerning to EVERYONE

[loriache]

"I've been waiting for ages for somebody to unmask them."

This moment tends to elicit negative reactions in a first read through, and I've got some opinions about why where Kabru is coming from here actually makes a lot of logical sense. So I thought I'd elaborate on that.

I think people hear this and go, "He thinks they must be hiding something because they gave money to someone? What a cynic." Or "he dislikes them because they did charity?? What's wrong with this guy!". And obviously, a lot, a lot is wrong with him. But I think this makes more sense than it seems at first glance! What people evaluating this judgement miss is why Kabru is paying attention to Laios and co to begin with.

Kabru knows of the Touden siblings because (he's a little bit of a stalker-) he is keeping an eye on all the relevant parties in events developing on the island, in order to be able to guide them to his preferred outcome. This includes adventurers because they are the ones actually exploring the dungeon! He's well aware that something as minor as internal tensions between party members could be key to the historical events that are developing. (He would love the assassination of Archduke Franz Ferdinand.)

His desired outcome is that whatever the rewards are of breaking the dungeon's curse, whether that's kingship or the ancient elven secrets of dungeons, are claimed by:

A) a short lived person

B) Someone who will be a good, effective leader and/or use those secrets and the power they carry wisely, with foresight, and to establish a political bloc for short lived people.

The person he can best trust to do this is, of course, himself. But due to his PTSD regarding dungeons and monsters, he's not able to develop the necessary skills to conquer the dungeon. Once he realises this, he starts looking for someone else who he can support to that end.

But most of the adventurers don't have any intentions of conquering the dungeon, don't have the skills, or are unsuitable in other ways. In fact, it seems like some potentially suitable people are the Toudens. There are a lot of good rumours about them going around - they actually seem to have a very positive reputation! That's what Kabru means when he says "unmask".

So when Kabru is observing something like them giving money to an old comrade from their gold-peeling days, he doesn't consider it a problem because "they're giving money to this person who doesn't actually need it" or because they must have some dark secret if they act superficially nice. I think he actually understands this situation and what it implies about Laios (in particular) perfectly well.

Laios and Falin gave money to an old comrade who got injured and couldn't work. That person then healed up but kept taking their money. Then he used the money to start smuggling illicit goods to the island.

The key is that for Kabru, the problem here is the same as with the corpse retrievers - people using the dungeon's resources to fuel dangerous, selfish, or violent pursuits cause problems for the island, attract more criminals and people with motives other than breaking the curse, and increase the chances of the whole situation ending in tragedy.

Kabru is willing to work with the Shadow Lord of the island if it gets him to his goal - he isn't scrupulous - but the criminal element of the island increasing is something he sees as a major issue.

Also, when you're evaluating someone as a candidate for power, riches, secrets, potentially kingship - then being curious about how the money you give to people is going to be used is kind of a relevant trait!

Interpersonally, Kabru's actually very easygoing - I mean, Mickbell isn't exactly an upstanding guy, is he! But Kabru likes him and they get along well. These traits wouldn't be a problem at all in a friend, or a comrade, or someone Kabru was confident he could use. But he can't get a handle on Laios, and Laios is someone who has the potential to be a major player!

On Laios' end, this is the same as with the marriage seeker who joined their party. She kept asking for things and he gave them to her, because he tries to be nice to others. He even gives her money! It's the exact same thing.

That's fine, but it became a problem because he basically wasn't interested in her motives, didn't notice she was trying to manipulate him, and it also didn't occur to him that the other party members would notice or be affected. We can assume the situation with the gold peeler is the same. When Kabru says that "It's not that they're bad people, they just aren't interested in humans," he isn't wrong.

The extent to which this is true of Laios is linked to his autism imo, (because it isn't just disinterest - he genuinely isn't able to notice nonverbal cues that people are lying to him or have ulterior motives) but to a greater or lesser extent I think it's a very common trait. Most people aren't actually that interested in other people who aren't close to them. Kabru is the weird one here. It isn't an issue except as a leader - which is why we see an immediate comparison to the Island's Lord, because that's how Kabru is evaluating them.

And disinterest in/lack of ability with people to the extent Laios exhibits it, it does, actually, make him a worse leader... it's just that as we see in the story, people can help him out. The rest of the party tell him the marriage seeker is taking advantage of him so he tells her he can't give her special treatment anymore. They're pissed and it's a crisis point - he couldn't have recovered their trust without Marcille and Falin - but that's exactly the point. With Marcille and Falin, he was able to recover their trust.

And he has other good traits that make up for it, such as his intelligence, strategic knowledge, open-mindedness and sense of fairplay.

Kabru doesn't disqualify Laios as a candidate based on what he sees about him from afar, though - he still tries very hard to get close to him, obviously hoping that if he manages he can steer Laios to defeat the dungeon and make up for his lack of people-skills in the aftermath. (Which... he does eventually achieve that goal!) He completely fails until the events of the story, so... definitely I think "They just aren't interested in humans" could also partially be a stung reaction to Laios' complete disinterest in him.

Anyway, that's my read on what exactly Kabru's "issue" with Laios is. Obviously, once he does find out what Laios' true nature is like - about his love for monsters - he develops an entirely new set of fears about Laios' priorities. But since Laios kept that a secret until the start of the story, he has no idea of that yet.

Given all that, I think it's interesting that he says that he doesn't think that the Toudens are suitable to defeat the dungeon, and that he's hoping they'll turn out to be the thieves. As some of his few potential candidates, people who he thinks may play a big role in the island's future, you'd think he'd hope they would be good people!

I suppose it's better, in his eyes, because it means that he's involved in something "interesting". They haven't just had their stuff stolen by regular criminals (boring, puts them further away from his goal) - they've been caught up in the beginning stages of "a historic event". The desperate and dwindling group forgetting morals in their quest to retrieve their lost comrade probably appeals to his sense of melodrama. Because he also just... loves drama.

Despite it being "uglier than anything he was expecting", he still pursues Laios as the person he wants to conquer the dungeon pretty much as soon as it becomes clear that he won't be able to do it himself and they are out of time. That's because... well, to be fair, there aren't any other options. And he fits standard A: he's short-lived!

and Kabru still hopes he can fit standard B, too, and be persuaded to use the power he wins for good. No matter how many nightmares he has about Laios, or whether he thinks about killing him. He doubts him, but ultimately he puts his faith in him and seems happy after the manga's ending that he made the right decision.

[juniemunie]

[Abandoned by the Lightners, his heart became cracked with hatred.]

Hitting a lil' too close to home?

[sauronism]

celebrimbor pointing out the imperfection in sauron's fabricated reality, as both of them match in skills as a creator. sauron can craft the most appealing illusion in the entire world, but celebrimbor will always sees right through the deception, due to sauron's need for order. the reality he crafted is perfect. too perfect. nothing in this world is perfect. the patterns of the mouse, and the candle is the flaw within his works. celebrimbor merely critiques it.

[otheredsam]

i love twinky doe eyed cutie pie seductive bratty power bottom whore sam as much as the next girl

exhibit A:

but there is something so personal about battered attic wife domesticated purified milf stepford bitch sam ????

exhibit B:

[mohntilyet]

illario as the grandchild that is most like caterina is something i'm loving to chew on. the grandson that took her lessons to heart the most. kill anyone who sees your face and knows your name, "we are not revolutionaries", the first out of the two to prioritise the contract. power at any cost, and the only one to lean into the unnecessary abuse that their grandmother told them was tradition. why is anyone surprised he allied with the venatori? and then there's illario's considerable skill in infiltration and manipulating any mark, he has always had the charisma that lucanis lacked. illario isn't attached, he has/can/will use someone and immediately drop them; "that does free me from promises i don't intend to keep". he can lie about how much he cares so well that he fools a magister into believing he loves her. he kills zara without hesitation to cover his own tracks, meanwhile lucanis blindly promises a young girl in the middle of a siege that he will help her find her father. even the lessons about family stick with him, and in this entire messy power struggle, he never actually orders anyone to directly kill caterina or lucanis, not until he's backed into a corner.

and even after all that. despite even lucanis believing illario should be first talon, lucanis is still the better killer. illario is not strong enough to be the brutal assassin caterina needs him to be. so when lucanis seems to fill the role his mother left, grief and love for her dead heir apparent remains, and any of the other qualities caterina needs in her next talon doesn't matter. whatever his mother was, lucanis has to be. what illario does doesn't matter, because he will always be second best to caterina's memory of her favored daughter.

[vaguely-concerned]

the more I play the more I think lucanis basically knows it's illario who betrayed him right from the beginning (he's had a year in the ossuary to think. not that many people knew where he was going. when you ask him 'did Illario know you'd be on that ship' his only answer is the hardest flattest 'yes' you ever heard). so it's not so much about figuring out who the traitor is (because that's ludicrous. we all know. immediately. they didn't really bother to hide it lmao) as about methodically closing off every single avenue of denial lucanis has clung to that whole time with as much or little gentleness as you might prefer until he has no choice but to admit it. because the moment he has to admit it, he'll have to do something -- feel something -- about it. and that's such a catastrophic event in lucanis' inner landscape (he has had TWO people in this whole entire world up until now and will do anything to hold on to them with a heartbreaking child-like desperation, even at and especially through the detriment of his own self) that he'd rather just. not. what if we quite simply. didn't. what if we just stayed here in the emptiness where we can both pretend you didn't hurt me in a way I should never forgive. I have so much practice in that with caterina already it's always worked out great for everyone so far. (press x to fucking doubt but that's trauma logic for you lol)

after everything illario did, so much of the storm of lucanis' emotions around it is 'what the FUCK did you get yourself tangled up in this time and how do I get you out of this mess safely'. what's worse: the fact that your brother murdered you, or that he put himself in horrible danger doing so and thus exposed you to the risk of losing him forever. lucanis' heart certainly has an opinion here and it's fucking unhinged (affectionate)

the themes of dissociation in lucanis' character in general makes me feel nuts. allllll these contradictory messy things he needs to cut off from each other because they can't coexist or be easily reconciled inside him. but all remain stubbornly true separately anyway and will have their due one day. love and resentment. tenderness and fear and rage. terror and longing. love and freedom don't coexist. the burned out golden child anthem is playing in the background. he was always caterina's favourite and he has to keep striving to deserve that dubious honour with every breath he takes and then, presumably, mercifully, some day he will die and be excused and can rest. and until now he's suppressed all the -- natural, healthy, protective! -- negative feelings that threaten the few attachment relationships he actually has, at the cost of ever actually having his needs for connection and safety met and leaving his core self imprisoned and compromised. and spite goes 'what. no. that's dumb fuck that' (*spite voice* I do not understand that and even if I did I would not respect it) and does not allow him to fall back into that, which I think is what saves his life, ultimately. it took being possessed by a demon for lucanis to even contemplate telling anyone he loves 'no' in any way, but hey. whatever gets you there right lol

lucanis is dealing with the freeze response allll the way down baby. and he was even before the ossuary, that just turbo powered it and brought it to a breaking point way before it could happen naturally. but something was going to break eventually no matter what, and I'm just glad that in the end, through the power of friendship and also pure spite, it doesn't have to be him

[consultingfujoshi]

I'm starting to think that maybe outie irving sees his innie in a similar way that helena does, ie. a tool he can use to further his own ends. he's clearly got a plan, and he chose to become severed to advance that plan somehow. is he going to be shocked or even angry to find out his innie has spent the last 3 years worshipping the company he's been trying to infiltrate from the outside? he literally created his innie for the purpose of bringing down lumon, and you're telling him he's actually the MDR hall monitor and lumon's biggest cheerleader?? will he freak out if he finds out he's been down there falling in love and getting his heart broken and wanting to LEAVE because of it instead of trying to find the testing floor hallway? innie irv's reaction to breaking out is like the total opposite of what his outie would have wanted if you ask me based on how he immediately goes to tell whoever he's working with that his innie got the "message" (saw the paintings) and that probably means to expect forward movement in whatever their plans are, and instead of pursuing it innie irv wants to leave the severed floor forever. what would outie irv's reaction be if dylan had let him walk out into that stairwell. would he have walked right back in like helena did on her first day?

[sighed-the-snake]

Wait a minute. Wait a minute. This line hits differently after S2.

You two?

The Antichrist KNOWS ALL ABOUT THEM?

What did he do for them that he told them so confidently not to worry about their future? What did he change while he was in God Mode editing reality? WHAT DID ADAM DO?

[kurthummeldeservesbetter]

listen I know death of the author and everything and we should all ignore what one of the co-creators of arcane says anyways but like. it’s so fucking hilarious that quite literally everyone else involved in the making of the show ships jayvik. animators. storyboard artists. some of the writers. the fucking music video for the line included jayvik scenes. I’m pretty sure the voice artists ship it or support it. like this one man is like idk we designed them in mind as brothers and the rest of the people involved are like we did?

[sparsilees]

tom riddle is a yapper. he loves his monologues and dramatics.

draco malfoy is a yapper. he, too, loves the sound of his voice and dramatics.

ron weasley has no qualms about being loud and seen. he grew up in a large household, fighting to be heard over his siblings.

harry potter grew up in a cupboard, friendless except for the spiders, and learned to subdue and suppress and submit at the dursleys. he isn’t loud, he isn’t boisterous, he isn’t talkative, he doesn’t like socialising, he keeps his opinions in his head and his feelings buried inside, he has very few close friends, he doesn’t reveal his worries and struggles easily, he dislikes showing his pain and weakness, and he sure doesn’t give up his secrets and personal details freely, sometimes not even to ron and hermione.

this is what canon harry’s like—very quiet and an introvert, someone who speaks when spoken to or has cause to broadcast his voice, and someone who’d rather blend into the walls than draw unnecessary attention to himself.

[casscainmainly]

A Deep Dive Into Why Cass Threw Dick Out A Window

If you've been here long enough you've probably seen or heard of this moment, which is super hilarious and iconic. It's mostly discussed in reference to Dick and Cass' relationship. However, in my opinion Cass throwing Dick out a window had very little to do with her opinion of him, or even of Barbara; it has more to do with her understanding of romance and love. I briefly touched on this in my gender/sexuality post, but I'm going to explain more in depth my interpretation of how Dick functions in Batgirl (2000) as a whole. (This moment is very open to interpretation though, this is just my opinion!). So let's try to answer Dick's question: what was that all about?

Love, Language, and DickBabs

While Puckett's run is notable for not having Cass date anyone, romantic love does play a role in Cass' early understanding of the world. It's the impetus that spurs her to write: in issue 2, she sees a wife read a letter from her deceased husband, and her reaction affects Cass so strongly she immediately starts trying to write. (She also kisses the husband on the cheek earlier, which may or may not be a crush). Romance, and the ability to communicate your love, is a fundamental part of Cass' desire to learn language.

So we have Cass, who has experienced neither love nor language, living with Babs, who's in a relationship with Dick. This telephone conversation in #4 (the issue where a metahuman changes Cass' brain into understanding language) again links romance to communication. Dick and Babs are talking on the phone, unable to see each other but understanding each other perfectly; Cass and Babs, on the other hand, live together and can't understand each other at all.

"She can't talk, so it's not all that different [to living alone]." Babs is telling an eavesdropping Cass that her inability to speak prevents her from love and connection - a love and connection symbolised by one of the first romantic relationships Cass is consistently around, Dick and Barbara.

Dick as an Ideal

There's a debate whether Cass likes Dick or not because half the time they're friendly, and half the time she's punching him or throwing him out windows. This disparity makes sense if you consider that Cass strongly associates DickBabs with communication, understanding, love - very idealised notions - but she does not associate Dick as a person with them. Her interactions with Dick (sans Babs) are cute and normal - Batgirl #29 and Nightwing #81 feature some very adorable Dick-Cass moments, with no real tension whatsoever.

It's only when Cass sees Dick in a romantic light (as in associated with Babs) that she makes him into a symbol.

Cass often tries to copy Babs, thinking it's the 'correct' thing to do - in DC First: Batgirl/Joker, she goes after Joker because that's what Barbara did; later in Horrocks' run she'll wear Barbara's outfit. In a way, Cass' affairs with Tai'Darshan and Kon - as much as I do think Tai'Darshan was genuine attraction - is another way to 'copy' Barbara. In #42, Cass stares at a picture of Dick and Babs while asking if Babs likes boys. Obviously Cass knows the answer is yes, but see what she asks next, and how Barbara responds:

She shifts from 'like' to 'love', and Babs responds that she 'care[s]' about him. For Cass, whose arc in Horrocks' run is about parsing out the nuances of attraction, understanding the difference between like, love, and care is incredibly difficult. She struggles to separate familial from romantic (Bruce in #50) or romantic from platonic (Kon, and in somewhat the reverse way Steph). In this conversation, Cass comes to associate Dick with like, love, and care - DickBabs becomes not just a symbol of romantic love, but of any connection whatsoever.

The Old Costume

I've discussed elsewhere that Cass wearing Babs' old costume in #45 is a representation of her desire to be 'girly', and how she associates girlhood with someone other than herself, discarding her own costume for Babs'. But putting on a costume is not the only prerequisite for being a 'girl'. In Babs' speech to Cass, she emphasises being sexually attractive to men, with her final comment being about this "particular look Dick used to give [her]". For Cass, visual language is incredibly important; putting on Babs' costume is not about being or feeling like a girl, but about being perceived as one. Dick is symbolic of the perceiver: the one who can essentially 'grant' women their femininity.

But Cass is disgusted when Tim calls her hot, which adds to her confusion - why should Dick being attracted to Babs make Babs happy, but Tim (who's not a sibling at this time) perceiving her like that grosses her out? Cass' inability to feel good - to feel 'feminine' - through the male gaze is another sign, to her, of her failure to be a woman.

Which finally brings us to issue 46...

That Ableist Kon Comment

Cass finds out Dick breaks Babs' heart and then starts hallucinating on a drug. One of the things she hallucinates is Kon saying "who wants to date a cripple? Ain't that right, Nightwing?" and Nightwing responding "not me--at least, not anymore."

For the first time, we get to the heart of why DickBabs mattered to Cass: it was an example of a disabled person in a loving, romantic relationship. It goes back to that phone call in #4, where Babs implies that Cass is hard to care about because she can't speak. The Kon comment suggests Cass has carried that with her all this time, trying to find proof that she can be loved, no matter her disability. DickBabs showed her it could be done - the break-up shows her now that it can't be done.

Dick's hallucination mocks her disability: "look at her--she can't even read!" Attributing this mockery to Dick (whose real-life counterpart, unlike the other hallucinations, has never said anything remotely like this) shows that this 'Dick-as-ideal' is intrinsically tied to Cass' self-worth.

Honestly this whole post stemmed from me thinking about this one panel. There is no real reason, from Cass' view of Dick as a person, for her to think he's brave and noble and kind (more so than anyone else). But it's in the DickBabs context - that Dick seemed to love, wholeheartedly, a disabled woman - that makes Cass think this way. And now that DickBabs is broken up, it shows that she, too, is rotten to the core; that someone like her cannot be loved.

And so when Dick shows up, she throws him out the window.

Conclusion

In this moment, Cass isn't just reacting to Dick breaking up with Barbara, she's reacting to what it means to her. If Dick can't stay with Barbara, then that means Cass, as another disabled woman, is also unable to be loved. This all leads up to #50, which features another Cass punch to Dick's face, but more importantly is when Bruce and Cass reconcile through Cass' first language. It's a confirmation that though her verbal skills may not be fully developed, she still can communicate, and she can love and be loved.

I don't think a lot of the ideas I touched on here are fully developed, or conclude cleanly. For example, how does Cass' 'failure' to be a woman relate to her inability to be loved? Is she able to have a stable romantic relationship? There are lots more questions, but the role Dick specifically plays in Cass' understanding of romance is probably not going to develop further. I just think it's interesting how Horrocks uses the Dick-Babs relationship to explore Cass' identity.

[jq37]

Aelwyn is sixteen and preparing for midterms at Hudol. Uniform pressed and starched, head full of incantations and spell components. She doesn't mean to bump into Adaine and get orange juice all over her shirt but today isn't the day she's going to start showing weakness.

"You know, you really should watch we're you're going," she says archly, playing off the clumsy mistake as a purposeful jab.

Playing it off a bit too well because, the next thing she knows, Adaine is flipping her off and a bolt of queasy looking, green energy is coming towards her. Ray of Sickness. And she can't spare the spell slot for Counterspell because she needs it for her exams.

"You little bitch!" Aelwyn says once she's emptied the contents of her stomach down the front of her shirt.

"Good luck with your exams," Adaine says sweetly.

Aelwyn is eighteen and the oldest, mangiest cat she's ever seen in her life has just vomited on her shoes.

"My," she says, casting a shield spell around her ankles to stop the cat from clawing at them. "You weren't kidding. He is a little bastard, isn't he?"

The shelter volunteer looks mortified. "Oh, gods! I am so sorry. I tried to warn you--I mean, not that I'm blaming you but--"

"No, it's alright. I did ask you to show me stragglers."

The shelter worker gestures to another pen on the other side of the room. "I can show you the kittens we just got in or there are some very well behaved older cats as well if you'd--"

But Aelwyn cuts her off, scooping up the old cat--though she holds him at arm's length for now, just to be safe. "No need. I haven't changed my mind. I'll take this one." She looks at the tag on his collar. "Hector."

Aelwyn is three and, as of a month ago, no longer the youngest Abernant.

She's had baby dolls in the past but never a baby sister and this is exciting new territory. She's full of questions. When is she going to be able to walk? When is she going to be able to talk? When will she be old enough to have lembas bread instead of formula?

Her parents seem less fascinated by the new addition to the family than she is but her mother is amused when she slaps away the hand of a colleague of her father's who tried to touch Adaine before sanitizing his hands, standing between the much larger man and her sister.

"So defensive. Perhaps she'll be an abjurer."

When Aelwyn asks what that is, her mother says that it's a kind of magical protector and she likes that a lot. That sounds like a good thing to be.

At night, Adaine cries. Except, she doesn't hear it because the mobile above her crib is etched with runes that cast the Silence spell.

"But what if she gets hurt?" Aelwyn asks.

Her father brushes her off. That's what the Unseen Servants are for. But she thinks that's what an abjurer might be for too and even though she isn't one yet, that doesn't mean she can't start practicing.

So, every night, Aelwyn waits until her parents have put Adaine down for bed and then tiptoes into her room. She checks to see if Adaine is silently wailing and if she is (and even sometimes if she isn't) she presses her face between the bars of the crib and sticks her little hand over Adaine's face.

"Don't cry," she says, even though the Silence spell mutes her words as completely as the tears. "Mum said I'm an abjurer. Nothing will get you. Don't cry, baby."

Adaine grabs her hand with impressive grip strength for something so small and, within a few minutes, she's trancing peacefully.

Aelwyn is seventeen and her sister is off to save the world again. This time from a Night Yorb--whatever that is.

It feels cruel that Adaine should have to go risk her life again so soon after she just almost died--not almost died, she did die before being raised by her cleric.

She wants to come with, to help in some way. Surely she could be helpful--last quest they brought Gilear for Helio's sake!

But Adaine doesn't ask her and she can't bring herself to say the words she needs to have the conversation she wants. So, instead, she lightly whaps Adaine on the shoulder with her spellbook as she's packing for the quest.

"I know you haven't done much studying lately what with your grades being based on how many hobgoblins you kill or whatever ridiculous system Aguefort has cooked up," Adaine rolls her eyes at that, "But if you don't mind a little cram session before you leave tomorrow, I can show you how to cast Teleport like I said. Might help you stay a touch less dead on your quest."

Her tone is light but her eyes betray her: Please, please, please don't die again.

Adaine's expression softens but then she scoffs, playing her half of their game. "I don't know what a Hudol dropout who's been in jail for the past year is gonna teach me but do your best."

Aelwyn is seven and her father is cross with her.

"Really Aelwyn," he says and even though they're talking via crystal she can feel the frost of his glare. "You thought it was appropriate to call me at work for no good reason? How many times have I told you and your sister to not bother me while I'm working."

She hates the word bother. She doesn't want to be a bother. She tries very hard not to be. Maybe she just didn't explain herself well enough.

"I know, father. But Addy got really scared and panicky on the playground. She was breathing really hard and--"

Her father makes a noise of disgust. "I don't have time for this. She is in primary school now. Stop coddling her. And her name is Adaine, not Addy. Please speak properly. I'm raising you better than that."

He hangs up before she can say anything else.

Aelwyn is eighteen and most of the claw marks on her arms have healed, which is nice. On her lap asleep is Hector who has apparently decided he likes her enough to use her as a radiator but not enough to submit to medical treatment without using her arms as a scratching post.

"You little heat vampire," she says as she slides her thumb across the screen of her crystal, searching for a video that will help her out. Eventually she finds one that looks promising and she calls it up.

On the screen, a halfling is standing next to a cat who is actively shredding her sweater with its claws. "You're going to be tempted to use some kind of a shield spell when applying the ointment," says the halfling. "But cats can smell abjuration magic and they don't love it. You won't get close enough to do the job. Isn't that right my darling?"

In response, her cat hacks up a hairball.

"Darling indeed," she says under her breath.

But even laced with sarcasm, the word is sweeter against her tongue than she anticipated.

She sinks her hand into Hector's fur and scratches his back for a few moments before tentatively speaking aloud. "Sleeping well, my darling?"

Hector says nothing--he's asleep and a cat. But warmth blooms in Aelwyn's chest--more than enough to make up for what Hector is leeching from her.

Aelwyn is seventeen and her father has just given her the most horrible command she's ever received in her life--and she's counting being made to sink a ship full of people in that calculation.

She knows her father doesn't expect her to delicately extricate the knowledge he needs from Adaine's mind. He expects her to get it at all costs. To ransack and pillage the memories if necessary with no heed of the consequences on her psyche. He'd probably prefer it that way--the more broken Adaine is, the easier it will be to mold her into a version of herself that is more useful to him.

Aelwyn is usually a smooth talker and a convincing liar but now, she stumbles all over her words, babbling out a stream of deflections and pleas as her heart squeezes tighter and tighter in her chest until she can't hold back the truth that she's been suppressing for years anymore.

"Adaine's just…she's a baby."

Aelwyn is eighteen and her apartment is full of cats.

She's always thought that the phrase, "One thing led to another" was a bit of a cop out--clearly there were key steps between point A and point B being glossed over--but in this case, there is truly no better way for her to articulate how she went from zero cats to ten cats in such a short amount of time.

She's sure that if she was still living with Jawbone, he'd have something to say about it but that's exactly why she isn't currently living with Jawbone.

She portions out food for all of the cats, saving Hector for last because he likes to eat curled up next to her.

"My darling baby boy," she says, lifting him onto the couch with her because the jump up is a bit much for him and his old bones. She kisses him on the top of the head and then pulls out her crystal. She scrolls mindlessly for a bit before checking her messages despite the fact that there's conspicuously no notifications.

Not that she has many people to expect texts from but she hasn't heard from Adaine in a few weeks and it's unsettling. When they weren't getting along, they were still living under the same roof. She was able to keep tabs on her, more or less. Now, they're closer than they've been in ages but barely talking.

I'm the older sister, I suppose, Aelwyn thinks. I should take the initiative.

She pets Hector with one hand and drafts a message with another: Are you alive, bitch?

She's about to press send but then she frowns and deletes the draft. After a few moments of thought, she taps out a new message: Can't believe I'm gonna say this. Miss my little sister. Everything all right?

Aelwyn is seventeen--though she doesn't feel like it.

Her mind is telling her that she's sixteen and that she was just been broken out of a jail cell in Solace but Adaine is telling her that she's just been broken out of an entirely different prison after being tortured for months even though she doesn't remember any of that.

But her body feels frail and Adaine says she's been in her mind which means she must have used the hard reset.

She's suddenly feeling very vulnerable--not because of the disorientation or the of the levels of exhaustion she can feel weighing on her like leaden chains. No, it's because of the fact that Adaine using the reset means that she must have read the treacle-y note that she left there for her to find.

It was just an insurance policy, she tells herself. There was wisdom to buttering up your savior to make sure she'd do what you needed her to do.

She manages to mostly believe it. But the small, truthful part of herself that knows how deeply she meant the words is so uncomfortable that she antagonizes Adaine until she's annoyed enough to hit her with a spell, sending her into blissful unconsciousness.

Aelwyn is nineteen and she's going to kill her mother.

Well, not alone of course. Adaine deserves the kill at least as much as she does if not more. It'll be a group effort.

It's a strange mix--the cold fury at her mother mixed with the warmth she feels for her sister, sitting across the table from her. She summons a flame to her palm, a preview of what their mother has waiting for her. She watches Adaine's eyes harden with resolve and she sees the face of her baby sister, left to wail alone silently for hours, soothed by her presence. "Let's get her."

"Yes, my dear," she says, the endearment coming freely as if this has always been their dynamic. "We'll get her."

But there will be time for that later. Right now, it's time for ice cream and seeing Adaine so content in such a simple pleasure causes the warmth in her to surge so suddenly that it would be startling if it wasn't so pleasant. The urge to voice it is so powerful that she doesn't know that would have been able to stop it at any point in life, let alone now.

"I hope we get to eat ice cream and cast magic forever," she says, words that would have been impossible for her to say one short year ago and impossible not to say now.

And, to her delight, Adaine agrees.