#I really would like to become more familiar with my ancestry

[v1-kisser]

Learning Cherokee is so intimidating when you don't have any relatives or elders to speak it with

[fafnir19]

The Gender Switch Experience

Linus sat on his stool in the laboratory, swirling a stirring rod idly in a beaker of bubbling pink liquid. Elias leaned against the adjacent bench, eyebrow raised in amusement. Linus sighed, setting the rod down. "I just don't get it, Elias. How do women work? Why can't I find a girlfriend?"

Elias chuckled, adjusting his glasses. "You know, Linus, sometimes intelligence can be intimidating for some people. Plus, you can be a bit too deep with your scientific explanation of the universe. You need to be a bit more approachable and light-hearted." Linus huffed, running a hand through his blonde buzz cut. "But isn't it frustrating? Women seem to go for these brainless muscle masses, like that arrogant Aron from sales.

It's like their brains shut down in the presence of biceps and a charming smile." Elias arched an eyebrow. "Are you jealous of Aron?" Linus blushed. "Of course not! It's just... frustrating. I wish I could understand them better. And on top of that, my parents keep pressuring me about grandchildren. I'm their only hope to carry on the family lineage. It's like the weight of the ancestry rests solely on my shoulders."

Suddenly, Elias's eyes lit up with an idea. "Wait a minute, Linus. Remember our research project? What if we use our machine on one of us to understand the female perspective better?" Linus blinked, intrigued. "You mean the gender switch device?" Elias nodded. "Yes! We've been on the verge of a breakthrough, and this could be the perfect opportunity for you to walk a mile in a woman's heels, metaphorically speaking." Linus's eyes widened with realization. "You really think this could help me understand women better?" Elias grinned. "Absolutely! Plus, it could be a fantastic test run for our breakthrough project. Think about it, Linus. You could become Lina for a while and experience the world through a new lens." Linus hesitated before nodding resolutely. "I'll do it." Elias clapped him on the back. "Great! We'll do it on Friday evening when no one is in the lab. We'll keep it a secret, just between us." Excitement and nervousness swirled inside Linus's mind. What would it be like to inhabit a different body, to see the world through a different set of eyes? He couldn't wait for Friday to come. 

As the laboratory fell into a hushed silence, Linus positioned himself before the formidable transformation machine.

Nervously, he squared his shoulders, anticipation and trepidation intermingling within the depths of his being. Elias, his stalwart companion, stood poised to assist, his eyes alight with a fervent intellectual curiosity that mirrored Linus' own. "Do you truly wish to proceed with this, Linus?" Elias inquired, his voice tinged with a blend of caution and excitement. Linus met Elias' gaze, his own filled with unwavering determination. "I must understand, Elias. I must experience firsthand what it means to walk in a woman's shoes," he replied, his words resonating with resolute conviction. With a nod, Elias initiated the sequence, setting the transformative apparatus into motion. The contraption hummed to life, casting an otherworldly glow as it enveloped Linus in its embrace. Time seemed to stand still as an iridescent aura unfolded around him, bathing him in an ethereal luminescence. The air crackled with anticipation as Linus felt a strange, almost imperceptible tugging at the very essence of his being. His form contorted and shifted as the machine worked its mysterious alchemy, imbuing him with a profound sense of transformation. His heart quickened as he became increasingly aware of the subtle, yet undeniable rearrangement of his physicality. A surge of emotions coursed through him as he observed his chest swelling with newfound fullness, the contours of his physique assuming a delicate femininity. He gasped in astonishment as his once-familiar genitals underwent a profound metamorphosis, inverting and reforming into the embodiment of womanhood. A flurry of sensations, both exhilarating and disconcerting, washed over him, signaling the irrevocable completion of his transformation. Elias surveyed the scene with an analytical fervor, his eyes aglow with exhilaration. "It's working, Linus! You're becoming Lina!" he announced, a spark of triumph dancing in his gaze alongside a glimmer of incredulity. Indeed, the profound metamorphosis had come to fruition, and Linus had been reborn as Lina, her spirit pulsating with the complexities of her newfound identity.

With an unyielding resolve, Lina prepared to embark on a journey teeming with uncharted territory, her gaze alight with an insatiable curiosity. "Elias, I need to immerse myself in the world as a woman, to truly comprehend," she declared, her voice resonating with a fervent resolve. Acknowledging the weight of their audacious experiment, Elias met Lina's eye with a nod of acquiescence. "We must exercise caution, Lina. This is unexplored terrain, and we must tread with utmost care," he cautioned, cognizant of the gravity of their endeavors. As the evening unfolded and the initial shock of her newfound identity began to subside, Lina found herself filled with a sense of empowerment and curiosity. She wore a radiant smile as she thanked Elias profusely for his part in the experiment. "We should celebrate this momentous occasion, Lina," Elias suggested, his eyes gleaming with mischief. "Let's go out, have some fun, and truly experience life as a woman." Lina's eyes lit up with excitement at the prospect. "I'd love that! Let's make the most of this opportunity." Together, they ventured into the vibrant city, the evening air filled with an infectious energy. They found themselves in a lively bar, where the gentle clink of glasses and laughter mingled with the pulsating rhythm of music. Lina savored the feeling of newfound freedom and embraced the thrill of the unknown. As the night progressed, Elias and Lina indulged in a few cocktails, their lighthearted conversation punctuated by fits of laughter and the occasional insightful observation. It was a rare and cherished moment of unburdened joy, unmarred by the weight of responsibility and expectations. However, their carefree revelry was interrupted when a familiar presence entered the bar. Lina's heart skipped a beat as she caught sight of Aron, the very object of her frustration earlier.

She felt an urge to flee, but fear and defiance warred within her. Elias noticed Lina's unease and leaned in to whisper, "Let's leave, Lina. We can find another place to enjoy ourselves." Lina hesitated for a moment, then nodded her head with determination. "Yes, Elias. I want to dance. Let's go to a club." Elias raised an eyebrow, surprised at Lina's sudden resolve, but he acquiesced, understanding that she needed her space.  In the pulsating ambiance of the club, Lina lost herself in the dance, her body moving with a fluid grace that she never knew she possessed. The music resounded in her veins, infusing her with a sense of unbridled liberation. Elias, on the other hand, felt out of place in the thumping rhythms of the club and approached Lina. "I think I've had enough," he said with a strained smile. "Do you want to head home?" Lina, intoxicated with her newfound freedom, shook her head. "I'm going to stay a little longer. You go ahead, Elias. I'll find my way back." Elias hesitated, his concern evident in his eyes, but he eventually relented, knowing that Lina needed this night of self-discovery.  As Elias departed for the sidelines, Lina lost herself in the music, the vibrant allure of the night sweeping her into its enchanting embrace.

However, when an unexpected figure approached her amidst the dance, Lina's enthusiasm faltered. Aron materialized in the midst of the crowd, his confident strides carrying him closer to Lina with a charming smile playing on his lips.

Despite her initial reluctance, Lina found herself tentatively entertaining his approach, a strange sense of curiosity seizing her. "What's a vibrant beauty like you doing all alone on the dance floor?" Aron inquired, his blue eyes glimmering with a warmth that caught Lina off guard. Lina hesitated, caught in a curious dance of conflicting emotions. "I was planning to leave, but the music got the better of me. I couldn't resist the allure of the night." Aron's smile widened, the playful glint in his eyes stirring something unfamiliar within Lina. "I'm glad you stayed. Care to join me for a drink? I'd love to get to know you better." Lina's thoughts swirled in a tempest of uncertainty, her resistance slowly eroding in the face of Aron's undeniable charm. "I suppose one drink couldn't hurt," she acquiesced, allowing herself to be swept up in the enigmatic allure of the night. As the evening wore on, Lina found herself entangled in a captivating conversation with Aron, his charming manner casting an unexpected spell over her. The vibrant energy of the club intertwined with the heady allure of Aron's company, stirring sensations within Lina that she struggled to comprehend. Though she had harbored resentment towards Aron, Lina discovered a surprising charm and warmth in him as they conversed, his laughter infectious and his wit surprisingly disarming.

The night unfolded in a whirlwind of emotions, and before she could comprehend the gravity of her actions, she found herself in Aron's embrace, succumbing to an unexpected wave of desire. The next morning dawned with a disorienting haze of regret and bewilderment. Lina struggled to come to terms with her unexpected liaison with Aron, the weight of her actions settling heavily upon her. 

Eventually, Lina reunited with Elias, the gender switch machine restoring her to her original form as Linus. However, amidst their joyous banter, Linus divulged the startling revelations brought about by his time as Lina. "Elias, you won't believe what happened," Linus confessed, his expression a concoction of incredulity and astonishment. "As Lina, I found myself overwhelmed by unfamiliar sensations, and I… I slept with Aron." Elias arched an eyebrow, amusement dancing in his eyes. "Well, well, well, Linus. It seems that Lina had quite the adventure. And with Aron, no less!" Linus scowled, his cheeks ablaze with embarrassment. "It was a mistake, Elias. I don't know what came over me." Elias chuckled, offering Linus a reassuring pat on the back. "Relax, my friend. It's all part of the grand expedition of life. And I must say, this will make for a fantastic story to tell." 

As days turned into weeks following the experiment, Linus noticed a newfound vitality within himself, an inexplicable surge of energy and a fervent inclination towards physical activity. In a departure from his usual demeanor, he delved into rigorous physical exercise, his frame gradually gaining strength and definition.  Elias observed Linus's remarkable metamorphosis with a mix of awe and curiosity, remarking on his friend's newfound dedication to fitness. "I must say, Linus, the change in your lifestyle is truly astounding. Your commitment to exercise knows no bounds. What ignited this newfound passion?" Linus, a sheen of sweat glistening on his brow, beamed with a newfound confidence. "I can't quite put my finger on it, Elias. It's as if this surge of vitality has engulfed me, propelling me to embrace physical activity like never before. I feel like a whole new person." Elias raised an eyebrow. "A whole new person, you say? Are you certain it's simply the result of amplified endorphins from exercise?" Linus chuckled, the resonating tones of his laughter carrying a semblance of unfamiliarity. "Sure thing, man!" In the following weeks, Linus's fervor for physical activity yielded undeniable results. His physique underwent a stunning transformation, his once slender frame honed into a chiseled form that exuded an air of confidence and vitality. Rumors of his newfound allure rippled through the research facility, prompting admiring glances from colleagues and an influx of attention from female acquaintances.

One fateful day at the gym, Linus found himself face-to-face with Aron, the very embodiment of the idealized image of masculine vitality that Linus had previously begrudged. The air buzzed with an unexpected tension as Aron regarded Linus with a glint of recognition and intrigue.

Aron's eyebrow quirked up in surprise as he studied Linus's physique. "Well, well, well, Linus. Look at you, morphing from a bespectacled scientist into a swole stud. Quite the metamorphosis, I must say. What's your secret?" Linus paused, acutely aware of the newfound strength that surged through his being. "It seems that I've stumbled upon a penchant for physical exertion, much to my own surprise. Perhaps I should be asking you for workout tips, Aron." Aron chuckled, a bemused smile tugging at his lips. "I must admit, the transformation suits you, Linus. Embracing the ways of the jocks, are we?" Their encounters at the gym became a regular occurrence, and soon, Linus found himself embarking on training sessions alongside Aron, their banter filled with a surprising sense of camaraderie. As they delved into rigorous workouts and exchanged jabs and jests, a bond of unexpected companionship began to burgeon between the once unlikely allies.

It was during one such training session that Aron inquired about a peculiar detail. "Say, Linus, I couldn't help but notice something. Your eyes are typically brown, yet they seem to be blue. Are you wearing contact lenses?" Linus furrowed his brow, a flicker of perplexity dancing in his gaze. "That's odd. I haven't donned any lenses, so this alteration is indeed perplexing."  

Seeking answers, Linus approached Elias. In the dimly lit laboratory, Linus paced nervously as Elias fiddled with vials and beakers. "Elias, you have to help me figure this out," Linus implored, his brow furrowed in worry. "My eye color has changed, and I don't understand why. It's like I'm turning into someone else." Elias adjusted his glasses and peered at Linus intently. "Hmm, let's run some tests. We'll get to the bottom of this, Linus," he assured, his voice laced with determination.

With deft movements, Elias collected samples and scurried off to the lab equipment, his mind whirring with potential explanations. After a few days of anxious anticipation, Elias bustled back into the room holding a sheet of paper. "Linus, I have the results," Elias declared, his eyes ablaze with curiosity. "It's... unexpected." "Spit it out, Elias," Linus urged, his nerves on edge. He braced himself for the impending revelation. "According to the DNA test, it seems that Lina, well, she was... she was impregnated by Aron," Elias stuttered, his shock mirrored by Linus's gaping jaw. "Aron? But... but that's impossible! How could this have happened?" Linus spluttered, his mind swimming with disbelief. "And what does this mean for me?" Elias paused, choosing his words carefully. "It seems that transforming from Lina back to Linus triggered a fundamental change in you. Because the lack of a uterus has prevented you from growing a child, it appears that your own genetic makeup has been irrevocably altered.You, my friend, are now technically considered Aron's son," Elias explained, his voice tinged with uncertainty. "No, that can't be right," Linus protested, his fists clenching in denial. "I refuse to accept that I'm anything like him. I'm not his son." "It's common for offspring to resist acknowledging their similarities to their parents," Elias chuckled, attempting to lighten the heavy atmosphere. "But Linus, when we really think about it, you've taken on a lot of Aron's traits, haven't you?" Linus fell silent, his mind grappling with Elias's observation. He couldn't deny that over time, he had mirrored Aron's behavior, finding a newfound confidence that had eluded him before.

Unbeknownst to them, Aron had overheard snippets of their conversation and sauntered over, a smug smirk dancing on his lips. "What's all this fuss about genetic makeup?" he inquired with a curious glint in his eyes. Linus flinched at the sight of Aron, his newfound anxiety clashing with his unease. "It's nothing, really. Just some absurd test results that we're trying to make sense of," Linus replied hastily, attempting to brush off the seriousness of the situation. Aron folded his arms across his chest, casting a knowing smirk at Linus.

"So, does this mean that you're no longer part of your own family line?" he prodded mischievously. Linus squared his shoulders, determined to refute the assumption. "Children carry the genetic traits of both parents. I can't just be solely considered like you," he asserted, his voice wavering with uncertainty. Elias shifted awkwardly, the weight of the revelation sitting heavily on his shoulders. "Well, the test results did show that about 90% of your genetic makeup is now paralleled with Aron's, with only 10% retaining aspects of your old self," Elias confessed, unable to meet Linus' gaze. Aron raised an eyebrow, clearly intrigued. "Does this mean that Linus' family line has now been wiped out - he is an only child?" he asked mischievously, his eyes glinting with mischief. Silence enveloped the room as Linus struggled to grapple with the enormity of the truth. How could he come to terms with the fact that he was more akin to Aron than himself and that his ancestral line has been vanquished?

Aron clapped Linus on the back, his expression brimming with amusement, "Look at that, you're one of the cool kids now, Linus! Embrace the change, buddy." "This is absurd," Linus muttered, feeling overwhelmed by the sudden turn of events. Over the next few months, Linus noticed a change within himself. His once-keen intellect seemed to wane, and he found himself drawn to activities he had never before considered. Linus clasped his hands and stared into the distance, "I never used to enjoy sports or casual conversations. What's happening to me?"

Elias patted Linus on the back, a tinge of sadness in his eyes, "It seems the transformation has altered more than just your physical appearance, Linus. Your interests, your behavior, they're all shifting." Linus shook his head, unable to comprehend the magnitude of the changes taking place within him. "I don't want to be like Aron," he muttered, despondent. As days turned by, Linus found himself a sudden desire to be more outgoing and social gnawing at him. "I never thought I'd say this, but Aron has become my best friend," Linus admitted to Elias, a sense of bewilderment lacing his words. Elias sighed, "It seems like you're embracing more and more of Aron's traits with each passing day, Linus. It's like he's become your role model."

In the nine months that followed, the change in Linus was palpable. His once razor-sharp intellect dulled, morphing into a shadow of its former self. No longer was he the dedicated scientist engrossed in groundbreaking research, but a husk of a man, devoid of his former brilliance. It was a bright Monday morning when Linus trudged his way into the sales department, a world away from his beloved science department. He was greeted with slaps on the back and hearty cheers from his new colleagues, among them, the suave and charming Aron. "Hey, Linus! Look at you, all dapper and ready to conquer the sales world!" Aron exclaimed with a roguish grin. Linus barely managed a dim smile in return, his once keen eyes now glazed over with vacant emptiness. His transformation was complete, and Elias could only watch in despair as his best friend slipped further and further away from him.

As the months went by, Linus' days revolved around sales pitches and closing deals. Gone were the days of intellectual pursuits, replaced by the pursuit of fleeting pleasures and hedonistic indulgences.

As Linus strolled into the sales department, a noticeable swagger in his step and a twinkle in his eyes, Elias glanced at him with a mixture of disbelief and resignation. "Linus, what in the world has gotten into you?" Elias asked, his brow furrowed in concern. "Hey, bro, check out my new watch. It totally seals the deal with the ladies," Linus drawled, flashing a blingy timepiece that gleamed under the fluorescent lights.

Elias's mouth gaped open. "Linus, you were a prodigy in the science department. A budding genius. And now look at you. What happened?" Linus chuckled smugly. "Who needs all that nerdy stuff when you've got charm, huh? Aron showed me the way. Now I'm living the dream, man." He slapped Elias on the back with a booming laugh, his once soft voice now laced with a newfound bravado. Elias's eyes widened as he watched Linus saunter over to the water cooler, surrounded by a flock of female co-workers hanging on his every word. Elias, torn between disbelief and resignation, approached the boss of the sales department, hoping for a glimmer of some solidarity. "He's dumb as a rock but knows how to use his good looks for successful sales. I guess, you should produce more of them, Elias," the boss remarked casually, not a hint of recognition for the man Linus used to be. In a moment of resignation, Elias turned to Linus, his once-friend, now a mere shell of his former self. "Linus, I need your help with something," Elias began, the weight of his words heavy on his chest. "I need a sample of your...cum." Linus, now devoid of his former depth, chuckled thoughtlessly. "Sure, man. Anything for you," he replied with a vacant look in his eyes, his once keen mind reduced to nothing but a mindless echo of Aron's.

And so, Linus and Elias drifted apart, their once unbreakable bond shattered by the cruel twist of fate. What was once a story of scientific discovery and friendship had now morphed into a tragic tale of lost intellect and shattered dreams.

[felinefractious]

Hi! I was wondering if you have any thoughts or resources on the Highlander/Highland Lynx breed? Or what, if any, is the difference between the two?

I've read that they're two different breeds, but that that may only be the case because of different registry requirements..??

Also, are they really truly domestic? Every where I've read has said that they most certainly are, but that they're also crossed with Jungle Curls? That bit has left me a bit confused...

https://www.petfinder.com/cat/sampson-71366971/wi/new-richmond/gregorys-gift-of-hope-inc-wi432/

This pretty little guy is up for adoption at a shelter near me, and I'm contemplating going to see him (if he isn't snapped up in the next week lol), but I'd like to cover all my bases for breed research first!

He apparently came in fully intact and was recently neutered which seems.... Strange to me. The people who surrendered him supposedly bought him from a breeder out of state?

I'm not by any means 100% certain, but i did look at a few Highlander catteries and I THINK I may have found his breeder? At the very least they have a king that very well looks like he could be this guy's sire

https://www. highlanderswildnwonderful.com/ Kings.html

I do still wonder why he would be sent out as a companion fully intact though... Or why he wound up in a shelter and not returned to the breeder...

Anyway! I'd love to hear thoughts/opinions resources for potential health issues

So far I've only read that they require frequent ear cleanings and have some UTI issues, but the stumpy tail does make me a little nervous... It doesn't seem to be the same thing as manx, buuuuuut......

Woah, amazing find!

From what I understand - and if this isn’t correct someone more familiar with the breed is welcome to correct me - but the Highland Lynx is essentially the outdated name for the breed more widely known as the Highlander.

The exception largely being the Rare and Exotic Feline Registry which has decided the Highland Lynx is still the Highland Lynx and the Highlander is the same thing but backcrossed to the Desert Lynx use in the breeds foundation.

Which doesn’t make sense to me, it should just be considered an allowable outcross…? But whatever. I don’t respect that registry anyways.

As for their domestic vs hybrid status it’s true that the Jungle Curl is a Jungle Cat and American Curl but it seems like the Highlander falls more into the Toyger realm… there are technically wild caat hybrids in the ancestry but they’re far enough removed that it isn’t super relevant.

Even after 4 generations a cat is largely considered domestic or “SBT” (Stud Book Traditional) and these guys are generally even further out than that.

Before I get into the health of the breed I just need to make a small correction to their description… this handsome fella is not chocolate, he’s black sepia - often called brown or sable, sometimes called natural.

The toe beans tell, and he has many beans to reveal his secrets.

Currently we are not aware of any issues related to curled ears the way there are with folded ears but anecdotal evidence suggests that they’re more fragile and.. yes, require more frequent cleaning. Dirty ears and ear infections are definitely something to be mindful of.

As much as I enjoy polydactyl cats I’m not a fan of deliberately breeding for the trait, the nails on these extra digits can be difficult for the cat to maintain and are more prone to becoming ingrown. Some cats even require an onychectomy (declaw) of the excess digits due to reoccuring problems.

[Image Source]

So acclimating to having their paws handled and tolerating routine nail clips is an absolute must.

And finally… the tail.

Your concern about the relation to the problematic manx gene is warranted.

There are presently two types of tail mutations documented in domestic cats: the “natural bobtail” manx gene due to T-box mutations and the “asian bobtail” due to an HES7 mutation. The latter is not presently associated with the same issues as the manx gene.

HES7 mutations are not present in the Highlander.

Two T-box variants have been identified in the Highlander breed, meaning the mutation for their bobtail is the same as those responsible for the manx. Standard Highlander’s can have no tail to a short tail, those with a long tail are considered non-standarf and are largely used only for breeding purposes due to the lethal nature of T-box mutations when homozygous.

Some Highlander lines owe their bobtail appearance to a “novel variant,” meaning no known mutation has been identified. As this variant or variants are currently unidentified we can’t confidently say which gene (if either of them) it’s most closely related to or if there are similar issues associated.

All that being said not all manx gene cats will present with related problems and for those who do the severity is variable, some may have minor issues that can be managed with diet or medication while others may be… pretty severely effected.

I imagine at this age they would have a good idea of if Sampson has any issues and to what degree they’re present if he does.

If you’re prepared to deal with potential health issues should they arise I think it would be lovely to adopt him, you’re not contributing to the breeding of more if you go through a rescue and are equipped to educate others on why “Yes, mine is awesome but no you don’t actually want one.”

Like Dr. Frank Bozelka and his rescue Scottish Fold. His videos are hilarious and informative, by the way, I definitely recommend giving him a follow.

It would also be good for him to be placed with someone aware of and prepared to accomodate possible breed-related issues instead of someone who just wants a fancy cat… but I understand this can also be overwhelming, so absolutely no judgement if you decide to pass.

But if you do adopt him I’d love to see more pictures! I want to squish his cheeks.

[from-the-coffee-shop-in-edoras]

The Fire Inside

Summary: Éomer is back in Minas Tirith a few years after the war, getting ready to help Gondor again with the ongoing clean-up after Sauron. But his life has changed and so have his feelings about war and warrior culture, so he needs Éowyn to help him talk it out.

Context: I love spending time with Éomer and Éowyn, and I hope this shows the affection between them and how Éowyn’s perspective (and some of Faramir’s) continues to inform Éomer’s understanding of the world. I’m interested in the way that they’ve both been really reckless with their lives in the past (her in the attitude she had when going to war, and him in the book after he thinks she’s dead and he kind of goes berserk and charges into a really bad situation) and how that echoes their own ancestry, given that one of the only things we know of their dad is that he was so passionate about fighting orcs that he rashly rode into an ambush and got killed. Now that both siblings have had more experiences and their lives have changed, I expect they would view their past actions quite differently now.

Content warning: Beyond a reference to the courting of death, there’s an implied history of miscarriage in Éomer’s marriage. My own relationship to pregnancy is v. complicated and that tends to pop up now and again in what I write, but I understand why other people might want to avoid that. (And for those who like to know there’s a happy ending, you can find in some of my other stories the proof that Éomer has a daughter, and his wife names her Sigewyn (“joyful victory”) in acknowledgment of their struggle to get there.)

**********

The greaves slid easily over Éomer’s shins, and he bent down to fasten them tight. The motion was so familiar, so ingrained in his memory, that he no longer needed to look or even to think about what he was doing. His fingers moved on their own to find and secure each buckle–one behind the knee, one at mid-calf and one above the ankle–while his mind wandered back over the many miles to his home, back to his wife and the last words she had whispered to him as he prepared to ride out. Those words played over and over again in his ears, and when his fingers finished their task he remained frozen in place, still listening to the loop of his wife’s voice. By the time a knock at the door returned his attention to his current surroundings, he wasn’t sure how long he had been stooped there, half-armored and adrift in a sea of thoughts and emotions.

“Enter!” he called over his shoulder, expecting Freaward to help him with the last few pieces of his gear. He stood and ducked into his mail coat, but, as he pulled it over his head, the hands that reached up from behind to free his hair from underneath the collar were not Freaward’s. He caught one, strong but graceful, in his own hand and knew in an instant who it belonged to.

“Éowyn!” He turned and pulled her immediately into a tight embrace. “What are you doing here? Aragorn told me that you were still in Ithilien.”

“Did you really think my big brother would come all the way to Gondor and I wouldn’t find a way to see him?” She put an affectionate hand to his cheek and then turned to the pile of his armor, rust red leather over iron plates bearing the device of the House of Eorl. She picked up the breastplate and spaulders. “And if you’re going to ride off into danger again, then I will see for myself that you are properly equipped.”

She set to work covering his chest and shoulders, a task that was normally performed by the young men still in training to become full riders. He couldn’t help but smirk a little as she positioned, buckled and tightened each piece. “Other men may rule bigger kingdoms or have greater wealth, but what other man can say that he has an actual princess of Gondor as his personal squire?”

She narrowed her eyes and reached down to yank on a strap around his ribs, cinching it so tightly that he doubled over and a grunt escaped his lips.

“I take it back,” he wheezed. “I’ll stick with Freaward. What he lacks in age and rank he makes up for with a kinder hand.”

She laughed and let go of the strap, stepping back to appraise her work. After a few small further adjustments, more gently executed, she handed him his vambraces and took a seat while he secured them in place.

“Now, brother, before you are called off, you must tell me how things are at home. How is my lovely sister-in-law?”

Warm blood ran to his face and ears, and he felt his heart thumping beneath his breastplate as he pictured Mereliss once again, her eyes shining brightly with happy tears. He shook his head lightly before looking up, aware of his awkward pause. “She is well, as always. She works hard, and you would be proud of the way she rules. She follows in your example as a woman of Rohan to be reckoned with.” His words sounded unnaturally rushed even to his own ears.

“I am glad to hear it,” Éowyn said, studying him carefully. “And yet, your manner suggests there is something more that you are not telling me. What is this look on your face? I cannot read it, but I see it clearly enough.”

He turned away belatedly, but there was no hiding now from what she had already seen and perceived. He would have to tell her something, either the truth or an invention to put her off. The truth was supposed to remain a secret, but…she was his only sister. His only close remaining relative of any kind, in fact. And he had always been a terrible liar. He cleared his throat.

“Just as I was leaving, Mereliss told me…Well, she had just confirmed…”. He pictured her again, gently placing his hand on her lower stomach. “It seems that she is expecting.”

“Oh, Éomer!” Éowyn leaned forward to grab both of his hands, squeezing them between her own. “I’m so happy for you both! There are no better tidings than a new baby–and possibly an heir for your line!”

He smiled and returned the squeeze. “Definitely an heir for my line. Boy or girl, this baby will inherit the crown.” He laughed lightly at the surprised expression on her face. “I thought you might appreciate that change. If it’s a girl, she will owe her title to Aunt Éowyn’s good influence.”

She beamed at him for a moment before the smile dropped off her face and she swatted at his arm. “You scoundrel! You had joyous news to share, and yet you made me pry it out of you? What if I had not asked?”

He held up his hands in mock surrender. “I’m sorry. It’s just very fresh, even to me, and Mereliss says it is too soon to tell others.” Indeed, though he had thought of nothing else since leaving Rohan, he had not told another soul. Instead, he turned the revelation over and over in his mind, alternating between elation and disquiet.

This was not the first time he had received such news from his wife, but each of the other times had ended only in pain. In waking late at night to find her huddled somewhere, bleeding and in tears. In walking into a room and seeing immediately by the haunted look in her eyes that something had gone amiss again. Their happiness seemed always destined to be heartbreakingly brief, a short, private journey from joy to grief. This time, her kind heart had attempted to shield him from the possibility of more disappointment by keeping the news to herself, enduring many weeks of nervous anticipation, doubt and uneasiness on her own, until she felt confident that things were different at last and that their happiness was here to stay. The joy and relief he felt were deep and profound, but now he found himself with pain of a different kind: the pain of missing even a moment of something he had waited for his entire life, something that had repeatedly slipped out of his hands but now seemed to be finally in his grasp.

Éowyn knew none of these details, but she could clearly sense that he had more to say and she waited patiently for him to share whatever weighed on his mind. He took a deep breath before continuing.

“I should be happy, and of course I am. This is something that we have desperately wanted and struggled for, more than you know. But I didn’t expect to be separated from her as it happened. Leaving loved ones behind to carry out a duty is never easy, but it has also never been this difficult. My body is in Gondor, but my heart is still in Rohan.” He shrugged helplessly. “It cannot be otherwise.”

“Of course not. Nor should it be. But you will be back to her soon. This separation is only temporary.”

He grimaced. “I hope that you are right. I’m here to fulfill my oath–the oath of our people–and I am proud to do it. But something inside feels different now. A little off.”

“What do you mean, ‘off’?”

“It is hard to put into words.” He picked up his gloves but did not put them on, fidgeting instead with the leather seams. “Fighting is what I have trained for and done my whole life. Sitting in a saddle with a sword in my hand has always been comfortable to me. Enjoyable even, at times. But it suddenly doesn’t feel that way now. I am uneasy, feeling the pull of home so much stronger than I ever have before. The charge of excitement that I used to feel on the eve of battle is gone. The fire inside me smolders rather than burns. And I worry that if I have lost that fire, if my sharp edges have dulled, I may find myself at the wrong end of a spear before I know what has happened.” He looked up, stricken. “I would not have my child grow up without its father, as you and I did.”

She sighed and took his hand again. “Éomer, our father died because he had too much fire in him. He let his fire direct his actions, and he took risks that should not have been taken. He was reckless with his life, and he lost it as a result.” She paused, looking off into the distance at some past event that replayed itself before her eyes. “I have done the same. Been reckless, I mean. At best, I treated death with heedless disregard; at worst, I courted it directly. I was only lucky not to meet our father’s same fate. My fire, as you call it, did not protect me. I lived despite it.”

Her words struck him hard. She spoke of her own experience and yet he heard himself clearly in the description. His mind went back immediately to the siege and that little hillock by the port in Minas Tirith where his fury and his battlelust had driven him so deep into the Haradrim’s position that he found himself utterly surrounded by foes and preparing one last desperate shield wall, doomed to fail. Had Aragorn not arrived in the harbor at that exact moment, he knew well what would have become of him. He passed a hand over his eyes, as though to wipe away the image. He could not let something like that happen again. He would not. “Perhaps you are right.”

“Of course I am. Believe me, I have thought much about this. In the Houses of Healing, I thought of little else, and Faramir and I have discussed it often. What makes a great warrior is not enthusiasm for war itself. It isn’t acting from excitement or rage or ambition or revenge. It is having something to fight for and committing yourself to doing what is necessary to protect those things and to return to them.”

He looked up and smiled. “I certainly have things to fight for. Now more than ever.”

“And that is why you’re going to be just fine. Loving your life is a much better motivation than loving to fight, and it will keep you safe in the end.”

A horn sounded outside, the clear call bouncing off the stone buildings and walls of the city and echoing on for several seconds. The time for departure had come.

She picked up his helmet, smoothing the long, flowing horse tail at its crest, and held it out to him. He took it with one hand while the other reached around her shoulders and drew her in for another embrace. She squeezed him tightly and then looked up into his face.

“Be brave, but be smart. And I’ll be here to unbuckle all that gear when you return.”

He kissed her on the forehead and headed out the door, helmet in hand. She watched as he strode down the hall, tall and strong. Just before turning out to the courtyard where his horse awaited him, he looked back and saw her watching. “I’ll be back soon,” he called to her.

She raised a hand in farewell. “I know you will.”

[mermaidsirennikita]

ARC Review: Any Duke in a Storm by Amalie Howard

4.25/5. Releases 1/09/2023.

Vibes: romance on the high seas, badass heroines, ridiculously besotted heroes, and sword fight boners

Heat Index: 7/10.

Lady Lisbeth, countess, divorcee, and spy, is on the run. She's taken on the persona of Bonnie Bess, feared by all--except her new sailing master, the infuriating Raphael Saint. Problem one: Raphael may be a part of the smuggling ring Lisbeth is attempting to infiltrate. Problem two: she is, sadly, both extremely annoyed by and extremely attracted to him. Problem three: she may just have to rely on him if they're going to get away from the people pursuing her in one piece.

I was, to be honest, a little worried about how Amalie would pull this off. A lot of pirate-adjacent romances can get super fetishistic super fast. Plus, Raphael (who is of mixed-race ancestry) could easily dip into the Exotic Brown Man caricature. However, after I let her do her thing, I was pleasantly surprised with a romance that is both heartfelt and ridiculously sexy, with a solid dose of adventure. It's worth the risk!

Quick Takes:

--If you're a fan of "man falls first and harder" in romance... You'll love this. Lisbeth is a very guarded, icy heroine who's here to do a job and doesn't have time for nonsense. Raphael... is so naturally flirtatious, first off--but he's also much more in touch with his emotions and isn't afraid of letting Lisbeth know that he's interested. The sexual tension is THICK, but their banter and interplay is another huge part of the fun. They play off each other so well, and it all begins with a SWORDFIGHT!

--Raphael does bring a lot of humor to the story. In a lot of ways, he reminds me (and this is a compliment) of Prince Naveen from The Princess and The Frog? Like, he's very consciously leaning into being FRANCH, and he never misses an opportunity to hit on Lisbeth, but he also genuinely appreciates her talents and abilities and has a lot of really sweet moments.

He's also super secure in himself, which brings up another thing I loved about this. Raphael isn't by any means "feminine", and he definitely has several scenes wherein he takes a dominant role in his dynamic with Lisbeth. But he's also very comfortable with being, like... pretty. And delicate. He's a swashbuckler, but he'll also joke about wearing her blouses, and revel in the newfound possibilities of her taking control in the bedroom. There's a very "local man realizes he may have a bit of a submissive side and he's GOOD with it" vibe to it all.

--I don't usually like kids in romance, but here we have a legitimately good one! Lisbeth comes into the story familiar with Narina, a twelve-year-old girl whose mother she was friends with. Narina becomes a part of their adventures, and she's... fucking hilarious? Like, a foul-mouthed, snarky young girl who has a knack for piracy. And it's one of those things where Lisbeth is always like "DECORUM" because she's attempting to save this child's manners, and Raphael (who of course has an immediate affinity with Narina, NATURALLY) can't help but indulge her and encourage her wrongs. It's adorable, it makes him even hotter in a "doting father" kind of way and I loved the conclusion it reached.

--I'm really not an expert on this particular part of history, so correct me if my impression is wrong. But it felt like Howard made an effort to represent the unique interplay of cultures across the islands, as well as how one really isn't that different from the other. Raphael, as I mentioned, is French--but he's also of Indian and Creole descent. The novel doesn't delve too deeply into the complexities there, but you do get the sense from Raphael that he hasn't really fit into any of the boxes offered to him by nineteenth century society, as a French duke who isn't white and is very much his father's legitimate heir.

But I really appreciate seeing a book that really didn't take place in the ballroom, or ballroom adjacent, or really in England at all. You have a great sense of life at sea here, as well as some island-hopping, a detour to America, and so on. It offers a much bigger, grander world than a lot of conventional Victorian romances.

--There's a great emotional beating heart here, and you really feel Lisbeth falling for this man, essentially against her will, while he steadfastly waits for her to recognize her own feelings. It leads to a great culmination, and some truly swoony emotions.

The Sex:

Um, really good. I do want to call out that Lisbeth is pansexual, and the book doesn't shy away from that; one of the supporting characters is her ex-lover, and at one point another friend is outright like "oh wait, you like dudes too?" I loved that, and I loved that it's seriously not a big deal, just this known thing about her and her experiences.

But yeah. This shit is hot. There's not a huge emphasis on penetrative sex. Like it, happens, but there are a lot of other things that happen, and they do not feel any less like sex. (Including one scene that I don't want to spoil, but you don't see a lot of that exact configuration in historical romance, and..... it's so good.)

Raphael has piercing(s!) and tattoos, and Lisbeth's obsession with them is certainly incorporated. And like I mentioned earlier--there's some exploration of both of them discovering New Things about themselves together. Essentially, they both go into this believing they prefer to be dominant, and realize that they're both, perhaps... switch-y. This leads up to a scene towards the very end that delighted me Very Much. Put simply: the sex in this book is REALLY great.

Like I said, I was at first a little worried about how this one would turn out. However, I was ultimately really happy with where it went. Seeking a "woman and her overeager dangerous himbo go do piracy together" book? This is it.

Thanks to Netgalley and Sourcebooks Casablanca for providing me with a copy of this book. All thoughts and opinions are my own.

[outeremissary]

Balthazar 🌹 🍂💧

BALTHAZAR MY BELOVED. I am So Sorry about how long this took I uh. Spent a long time overthinking music for no reason in particular.

[prompt list]

🌹- What's this oc's biggest fear?

Balthazar’s greatest fear is being controlled- the loss of his autonomy is his worst nightmare, and he feels as if he’s spent a lifetime struggling to squirm out from under someone else’s thumb. He doesn’t want to feel like he can’t dictate the path of his own life or who he becomes. Of course, underneath that is the lingering fear that he’s already in that trap and there’s no escaping it… the expectations that have been heaped on him from early in his life as a result of his celestial bloodline have left him keenly aware that there’s a thing he’s naturally supposed to be, whether he wants to or not, and his inability to feel sure that he isn’t being pulled in some direction by that even as he rails against it troubles him. Is there something in his muddled ancestry that compels him to learn about it? Is there a touch of Elysium in a fondness for elegance in art? If he feels empathy for others or chooses to go out of his way for them, is that by his choice or is it the inescapable pull of fate? When he tries to make his magic into something that works for him, that serves his ends, does he only fall deeper into the snare of nurturing that inescapable piece of himself? As loathe as he is to embrace his ancestry, he’s painfully aware that his failure to reject it entirely is partly by choice. He’s afraid of being controlled, afraid of losing a sense of control, and yet he lives entangled in the very embodiment of that fear.

I guess a lot of his character and the general thrust of his character arc is negotiating with that fear because it’s something that will never really go away. He’ll always have anxieties about being exploited or shaped, and that metaphysical paradox of his existence is, well, his existence. He can’t be something else. And being able to navigate sites of especially high tension and vulnerability- the physical changes brought on by his bloodline, his growing relationship with Tristian, even his growing reputation as a ruler - all of that requires being able to accept the uncertainty of whether it’s all really under his control.

🍂- What music does this oc like?

Balthazar likes music with some energy. He’s spent a lot of time in dance halls and bars, and he enjoys the kinds of things that play there: upbeat, vibrant, dynamic, and good at keeping things moving with consistent driving rhythms and lively melodies. You might say that he was very familiar with Absalom’s popular music scene. He enjoys clever wordplay and flow, but isn’t overly impressed by overtly crass lyrics or things that come off as too self-important. He also has a healthy respect for music that includes a lot of improvisation- it’s an engaging display of skill and it keeps performances from feeling repetitive. Highly formalized performances are, by contrast, not especially compelling. I think that he’s the kind of person who would always enjoy a kind of music more with context and history though. Knowing how it reflects the people who produce it and the setting it was intended for makes it more compelling and alive.

He also has a nostalgic fondness for the songs that the landlady used to sing when he was a child- largely Keleshite romantic ballads with emotive, poetic lyrics. Many of these are more somber and forlorn than his usual preference. One particular song about a tragic lost love has stuck with him more than the rest, and he often absentmindedly hums or sings it when he’s on his own.

💧- What is this oc most passionate about?

This was an oddly difficult question because I could think of a few things he’s passionate about, but trying to determine what he’s most passionate about had me kind of stuck. I kind of wanted to say “it’s the fashion things, it’s the high culture image crafting,” but I feel like that kind of misses the point even if it’s something he certainly does love. I think the major underlying theme there is that he really enjoys the game of existing in high society. The artifices of public life naturally interest him, with complex, messy social relations straining at the spoken and unspoken rules, traditions, and rituals holding them in check. The masquerade of it all, the pageantry of symbols: it’s compelling. And culture is a big part of that. I wouldn’t call Balthazar an artistic person or someone who’s generally motivated by a deep creative curiosity or passion, but he’s very interested in how aesthetics communicate and how they make an image that’s presented to the world. So there’s the love of crafting a personal image, having an aesthetic (a very indulgent one) and making it manifest and presenting a certain way to make a very intentional impression, but at the heart is the thrill of being able to take control of this social arena and bend it to what he wants. He likes being important and powerful and feeling in control, and he does have something of a love for intrigue despite his general air of misanthropy and complicated relationship with the public eye. While he’s certainly a person who’s very driven by his own goals, I think that even without specific ends he finds a lot of satisfaction in social manipulation. It just compels him somehow. Feeds that sense of power. Fun. Tempts a sense of mischief.

[enbyleighlines]

I’d like to hear about your Tellius witchfest AU! My silly artist brain is just imagining everyone in witch outfits casting sparkly spells lol

Would Soren help Ike learn to cast spells? Would he find some way to turn into a dragon form? 🤔 Also, what are the mutual benefits (or drawbacks) to the whole laguz familiar situation?

Ahhh, thank you for asking!! The aesthetic I was thinking was more like halloween-esque witches, like you see on those pretty lofi for witches youtube videos. Witchfest takes place in autumn, and is basically their version of halloween.

Ike himself doesn’t practice magic, at least not consciously. He works as a repairman with his father’s company, and anything he fixes winds up enchanted with super durability, making it nearly impossible to break. However, Ike himself is unaware of this magic ability. He goes to witchfest to support his mother and sister, who both practice apothecary (healing witchcraft).

Branded like Soren work a little differently in this AU. They can transform into something that looks a laguz stuck in between their two forms, but they can’t control their transformations. Basically, they transform whenever they experience very strong emotions, so Soren taught himself from an early age to always bottle up all of his emotions so he doesn’t accidentally reveal his laguz ancestry.

(And like in the original story, Ike and Soren meet as young children, but Soren was in his transformed state, so instead of Ike forgetting the interaction, he merely doesn’t recognize Soren when they meet again.)

As for laguz and beorc forming a witch/familiar bond, it has both benefits and drawbacks! On the positive side, it makes both of them stronger. The beorc can cast more powerful spells, whereas the laguz can stay in their transformed state for longer periods of time. The closer they become, the more power they gain from each other’s presence. The main drawback is that, the stronger the bond, the more acutely they can feel each other’s pain. And since beorc still have shorter lifespans, that means a laguz will eventually suffer through the pain of their bonded witch aging and dying. Hence the practice falling out of favor, especially amongst the laguz.

Thanks again for sending me an ask! I really appreciate it!

[druidofthealders]

Brigid of the Alders

So I guess it's important to foster pagan community to, like, actually talk about the kinds of things you do, your UPGs, your deities, etc. So I figured I'd talk about my stuff.

I've been a pagan since I was a lil kid, and I'm in my 30's now. It's been a long and winding road, through a lot of wild experiences and youthful appropriative practices (shout out to my teens "shamanism" phase lol). I mention this because by the time I hit my mid-twenties or so and I backed away from closed/appropriative shit, I felt unmoored in my spirituality. A lot of the practices I'd run into -- and pantheons and their accompanying worship -- were born of cultural experiences that I, as a white middle-class American girl, did not have.

So, I thought, how about I look into some of the pantheons of my ancestors, in Ireland and Scotland and Russia? But turns out "blood" doesn't turn into cultural experiences :P GO FIGURE. I am no more "Irish" than any other born-and-bred American. I looked into various flavors of GaelPol and Celtic Reconstructionism, but I guess it turns out it's important to me to come at it from my own cultural context. I had a really really hard time connecting. (And do note, this is for my personal comfort and experience; what works for y'all is what works for y'all!)

I eventually considered, like, okay, then fine, what kind of gods would a white middle-class American girl with ancestry in a variety of places worship? Who's out there who can work with me? The answer was a couple of things:

Local land spirits (I try to look into local indigenous practices, not to "become" anything but to treat the land in the way they think is best)

House spirits

"Shards" of Gods

What the heck are "Shards" of Gods?

Well, here's my personal take, on something that really works for me and jives with me. Just as there are original gods of the homeland, I think that immigrants definitely take their gods with them. And gods are born of humans, just as humans are born of gods, and so as the immigrant culture changes and evolves, so does the god, so that there's a splinter shard of that god that serves a people.

It's a kind of mix between the legacy of those that have gone before me, and making my own pantheon. Shards are gods in their own right, cut from existing cloth but grown into a new shape, a new existence.

I've circled Brigid for ages but never quite was able to match with her until I came down to this paradigm -- and then got hit with the clearest, most "HI THERE" I've ever felt. So -- I present my splinter of Brigid, Brigid of the Alders.

Brigid of the Alders

Like the Brigid of Ireland, Brigid of the Alders is a goddess who focuses on smithing, healing, and poetry. However, she's a PacNW splinter for the modern day. Smithing, for her, seems to be Creation -- but specifically Creation that is of your hands, with raw material. I've tried dedicating my day-to-day work to her -- digital art -- but that doesn't seem to stick. When I did some sculpting, however, that rang very nicely for her.

Healing remains the same, as does Poetry. My Brigid requires a poem every time I work with her. It doesn't matter how good it is, it can just be dashed out in my head. But it is required before she'll answer my call.

I love Brigid of the Alders deeply. She is so important to me, and I genuinely feel like she cares about me too. She's guided me through a lot of my healing I've had to do recently. She's helped me reconnect to my crafts.

Other Shards

I haven't really come into any yet, but I've been getting drawn more and more to the Hellenic pantheon. It's possible I'll find a new Shard relationship there, perhaps not. But I'll try to document here as I keep it up.

I'm also absolutely going to look into homebrewing my own deities as well. I'm very familiar with thoughtforms and I know when I was a youngun I practically had my own pantheon I'd made. Some of them I might bring back. Who knows?

Anyways! This is my experience. Hope it helps or at least entertains, haha

[this-is-how-i-study]

Psychological Studies (CAFS)

Ah. Leadership. Now isn't there a lot of that in Slugterra.

Okay, okay. Let me just say, I love Slugterra. There are things I admire, and things that I think need improvement.

So, I gotta study leadership stuff.

There are many leadership styles, but Kurt Lewin categorized four. Autocratic, democratic, transformational and finally, laissez-faire. Now, obviously we have Eli as the leader, but I've got something to say about that part of his story.

He starts out as not a leader but learns fast and accepts others with a very nonjudgmental view. He's a quick thinker especially under pressure, and his most leaderlike trait - in my opinion - is his ability to communicate and bond with others, which is crucial for his democratic style of leadership, but also for a transformational style.

Democratic leadership style is exactly what it sounds like. A democracy. Basically, there's a group with lots of discussion allowed, and everyone gets a say to help the leader to make the final call.

Transformational style is less set on completing a task efficiently but seeks more to complete a long-term goal of creating a social goal. Like how Trixie blogs the damage Blakk does to inspire people to fight back.

The first introduction we have to him is a newbie entering an almost alien world. A normal kid fresh into fifteen with not-so-normal secrets. He struggles with slugslinging at first. He assumes that his place would already be established by being a Shane, until he gets knocked on his butt and has to get saved instead of it being the other way round like he assumed.

We see his openness and naivety here, and also when he signs up for the Tournament. He stands out as an outsider, a Shane who can't slugsling. However, he quickly steps into the expected role of him only to face the trouble that defeated his dad five years ago.

He communicates efficiently with his slugs, not just the whole naming slugs part, but also how Burpy just immediately knows what Eli's plan is in his first round with Shockwire, and how Eli naturally becomes a leader figure in the round with Kord, Trixie and their slugs against the Power Triplets.

So, first, I would've liked to see more on Eli and Will's relationship. And second, Eli's flexibility with others and any situation he's in leans towards both high task and people emphasis, meaning he has good social abilities and workplace abilities among a group.

So, Eli has a democratic and sometimes a transformational leadership style.

The problem with how the show addresses this is it happens fast, which, okay, maybe he's just a natural leader. But it's a little too fast. There should've been more of a struggle for Eli to really step into his father's footsteps, since it literally only lasts, like, half an episode that he goes from 'I-have-no-idea-what-I'm-doing' to 'Yep-all's-good'.

Speaking of which, I have this fancannon(?. Sorry, not familiar with all this yet): The reason Eli's so good at slugslinging and connecting with Slugs and being able to withstand the Shadow Talker is because of a genetic thing, and not about the whole Shane thing. Maybe the Shanes have some ancestry with the Shadow Clan that gives them a closer connection to the energy down there. They both start with the letter S - alliteration, ha - and if Will was able to wear the Shadow Talker and Eli is too, then it's genetic. Possibly. And Eli's able to do that shared-sight thing with Burpy.

Eli should have a character arc that the show misses. And that's kind of my problem here. So yea

[dandthegods]

Mythology, The Melting Pot, and Me

As a pagan in America, and a bit of a folklore enthusiast, I’m struck by how disconnected to my country’s and my religion’s folklore sometimes. Let me explain. 

When it comes to my country’s folklore, I have two options: studying the folklore, the myths, and the legends and stories of the native tribes, or become familiar with the seemingly random cryptids and legends that come from the new born culture of the United States. And there’s some hesitation on both for me. On the former, it’s a fine knife’s edge trying to avoid cultural appropriation while still having a desire  to express some cultural appreciation. I try, I love hearing stories and delving into them as I would any other mythology, but it’s always in the back of my mind that those aren’t ever my stories and they aren’t really meant for me? If that makes sense. 

Then the latter group, the legends of the United States, are mostly born from magazine deadlines and meant to bolster a sanitized white origin of the America that leaves a sour taste in my mouth. Because they aren’t and weren’t ever really legends or myths that people BELIEVED in. Paul Bunyan was birthed out of an ad agency in the 1900’s. The Mothman is more of a joke than an actual believed in thing. And things like Area 51 are basically silly conspiracy theories. That lack of true belief, the lack of generational belief, leaves them feeling empty when my pagan self wants to connect to where I am. 

So that leaves me with my religion and my ancestral mythologies and stories. While yes, I find a deep connect with them, I worship and believe in the Gods and venerate the gods of my ancestry, there is a thin veil between feeling truly intertwined with them. Just being so distant from the lands they originated and  it’s been several generations since my family voyaged to Ellis Island. They just barely feel out of reach. 

That’s why I think I gravitate towards, and write my own, modern American myths and stories. Why American Gods has become my all time favorite book almost instantly. The stories I write are of the creatures, monsters, gods, and beings from mythologies living and existing in and dealing with the world of America. It fulfills and bridges that gap I feel. And they become part of my beliefs. I can end up believing that it’s possible that a Leprechaun owns a comic book shop. It’s an option that Hermes runs a rural auto body shop. I can see Zeus and Thor being airline pilots. 

America is a melting pot, with people, with culture, and with mythology. The reason I write what I do, the reason my mind works in that way, is because it has tasted the mythology stew and wanted to add a little bit of my own ingredients into it. 

I write stories, but I also believe in them. 

[lifehealed]

Ancestry - Anémone Lamoureux

Hometown: Périteaux, a long defunct village nestled to the east of Santalune Forest Era: 10,000 years prior to modern times, 7,000 years before the war Family: Husband, twin daughters, grandchildren, and many, many descendants (including Amaryllis) Pokemon: Florges (white flower), Hatterene

Anémone's earliest memories took place in Périteaux's monastery. Though the village itself was quaint, worship of Xerneas was an important aspect given their proximity to the life god's abode. There were festivals and celebrations dedicated to Xerneas, held on the spring solstice.

The monastery was dedicated to the worship and reverence of Xerneas, with the most dedicated worshipers becoming priests and nuns. Anémone grew up in this holy place, having been left at the doorstep of the monastery according to the sisters. Thankfully, she wasn't alone. The monastery had a couple of other orphans like herself that were taken in.

She was raised by the nuns there, being educated in reading and writing (an incredible feat that wasn't commonplace outside of the rapidly growing town, Lumiose), along with attending daily prayers and worships. Every season, they also made pilgrimage to the forest. There, they would leave behind offerings at a small shrine dedicated to Xerneas. These items included fresh produce, flowers, leafy herbs, and fresh berries.

It was one of Anémone's daily prayers that something truly extraordinary happened. As a child, her prayers would be much more like a friendly, one-sided conversation directed towards Xerneas. Of course, she would also pray for a healthy, bountiful life, but she would also speak candidly and openly. Never would she have expected Xerneas to reply back.

Having a voice inside her mind that wasn't her own was shocking, and the young girl had her reservations at first. Was this really Xerneas...? But who else could speak with her in such a way?

Anémone assumed Xerneas spoke with all of the nuns and priests, so she had mentioned this event casually over dinner one day. The reaction of all at the table told her that this certainly wasn't the case. This revelation was met with complete shock and disbelief. Many of them actually didn't believe her at all, despite Anémone's insistence.

If she had the hindsight, she shouldn't have brought it up at all. Her treatment at the monastery became starkly different. She was treated as a liar and naysayer, while a select few viewed her in fear. The sisters threatened her with lashings should she ever make such a claim again, and she was treated more poorly than the other orphans.

Still, though, her resolve didn't falter. Anémone knew she was honest and true in her words, and continued her prayers and worship of Xerneas. She fell into her reverence far deeper than the rest, speaking with Xerneas often through her mind. Though the god was never near her, they could still talk as if they were. In a way, Anémone felt personally connected to the deity, something that gave her great comfort in her struggles.

On what she presumed to be her tenth birthday, Xerneas would speak to her directly. This had never happened before - it was always her initiating the conversation. Their voice was gentle, and kind, much like a parent speaking to their child.

'Come to my forest, child. There is something I must give you - something that you have earned. Do not fear; I will teach you how to use this gift.'

At this point, Anémone felt she didn't have much to lose. Turning her back on the monastery was something she would have hesitated on a few years prior, but not now. There was an indescribable feeling pulling her towards the forest, like a moth to a flame. She felt it in her very heart and soul, as if she were tethered to something far greater than herself.

She left with only the clothes on her back, and no one had tried to stop her. Santalune Forest was a familiar place to her, though the forest was met with a far greater clarity than she remembered. Though Anémone wasn't told where Xerneas would be, she still managed to find them despite that. There was almost a sort of pull she felt, directing her right to them without neither of them needing to communicate.

Anémone had never seen Xerneas in person until this point. Something deep within her soul felt at peace being near them, as if this was how it was meant to be. The god of life was majestic and ethereal, easily dwarfing the girl's small stature.

Their horns would change from a pale blue, to a brilliant golden hue. Several markings along their antlers would shimmer iridescently, and Anémone could see a glittering blue color flare around the deer - Fairy Aura.

'I bestow upon you my blessing. I bestow upon you a piece of my power.'

Before this, Anémone felt like she had been asleep her whole life. Xerneas' gift was what truly woke her up, enlightening her to a whole different world. She had always been able to see things others could not. Their auras, the very force of their lives, but now she felt more deeply connected and in-tune with herself.

Together, they would tread deeper into the forest. Xerneas moved with grace, befitting of the fae king. She had lamented her lack of personal belongings, to which Xerneas assured her she need not worry. All her needs would be taken care of in their domain. They would reach a stone archway, and upon stepping through, the forest had changed drastically. It didn't even feel like the same place anymore, somehow becoming drastically more verdant and full of life than ever before.

Xerneas' blessing was a major turning point in Anémone's life. Her time spent in their domain, imbued with the energies of life and the fae, were pleasant. She was bestowed a Flabébé and a Hatenna, acting as her attendants and protectors whenever she exited the realm. Anémone was taught by Xerneas how to utilize her newfound abilities. The power to heal, to bestow her aura upon others to mend their injuries and ailments.

Anémone spent well over a decade in Xerneas' domain, practicing her power and honing her manipulation over her aura. She learned ways to pick up on subtle hints and clues in the auras of others, becoming a true master in the way of aura. She was smart enough to write of her experiences at length in a leather-bound journal, going into great detail.

Journal after journal was filled with her writings, proving an extensive history of her time spent in the fairy king's domain. Anémone's time there caused her own aura to become imbued with fae energy. She was considered faekind, and learned there were other fae like herself. Not just fairy pokemon, of course, but humanoid fae.

They naturally existed in Xerneas' realm, living in harmony with the fairy pokemon and attending to the king and their needs. It was one of these fae that she would fall deeply in love with. They shared their philosophies on life, their experiences, and often were seldom seen apart.

Anémone had become a master over her abilities, boasting an expert finesse and understanding over her healing, and her aura. Upon getting a read on someone's aura, she could then pinpoint them to a scarily accurate degree. No one could ever truly hide from her, and if she needed to find a particular person, she absolutely would.

Her personal connection to Xerneas was something the two would learn more of together. The duo weren't just connected at the mind, but at the very soul. They were tethered to one another, a connection wound by fate itself, decided upon the moment Anémone had been born. They shared in each other's emotions, their pain, their dreams, and their memories. In a way, they were almost an extension of one another.

Finally, the day she and her lover wed had arrived on the spring solstice. It was a grand celebration, met with music, dance, and bountiful foods. Within the following year, Anémone would give birth to twin girls.

Time would pass, as it always does. Her daughters would grow older, as would she. When both of her daughters turned twelve, it was discovered that they, too, had the same power as Anémone. She went right to work, teaching them and ensuring they would be able to utilize their healing and aura prowess. As she did, the two girls were able to gain quick understanding over their abilities. Anémone encouraged them to write about their own experiences, gifting them journals. This would begin a long history of record keeping for the family and all who came after, with these accounts proving helpful to the daughters born in the future.

Eventually, the twins would venture out of the forest to live on their own accords. They wished to be of help to others with their healing, something Anémone viewed as noble. The girls would go on to wed, and have children of their own. Curiously, however, one of the girls birthed a son - this child had no latent powers within him beyond slight aura prowess, able to see the auras of others but nothing else beyond that.

Anémone, with time, would grow old. That was such the life of a mortal being, and was the cycle of life and death. Her life force was incredibly strong, bolstered by her connection to Xerneas, but she was not immortal. Her life was long, finally passing away peacefully at over one-hundred years old.

Xerneas mourned her death deeply. To love a human as their own was to open yourself to pain and grief. They had briefly considered bringing her back, in their own selfish thoughts, but thought it best not to interfere with Yveltal's duties - they did not want an angry visit from Zygarde, either.

Anémone's death took something out of Xerneas, as if her departure took a very piece of their soul. Her daughters and their children would come to mourn as well. Xerneas vowed their safety and protection, along with access to their domain as they wished. This was extended to their children, their children's children, and so on. The daughters that carried Xerneas' blessing, and the sons that weren't as lucky to inherit such powers - they would all be extended the same courtesy, regardless of era.

And so, Xerneas would soon fall into a deep, deep slumber. Their tree form rest silently next to Anémone's grave, roots embedding themselves deep into the earth. The same flowers she was named after sprout and bloomed all around them - her spot of eternal rest was one of peace.

[gorgonarcher]

Game 2 - Pathfinder 2e

Okay, so I've gotten into Pathfinder a bit recently after a long period of time being a bit doubtful of it. A lot of the public APs I've seen of it have not really made me confident it was something I'd enjoy. However, with recent Hasbro nonsense, my group has tried it out a bit and found we enjoyed it. We're currently playing a Anathema Vaults just to test it out and some of us have converted Icewind Dale: Rime of the Ice Maiden to PF2e and is playing that (though it wasn't in a time slot I could make, unfortunately).

In any case, we've found it to be a lot more granular, the cookie cutter nature of D&D being my biggest complaint with it. And allowing for a lot of flexibility in concept. But let's get to making our gorgon archer.

Archery is just a matter of getting the proper proficiency, but as usual, I'm placing the impetus on archery and gorgon-ness so we'll want something a bit martial-oriented. This brings the following options front and center:

Fighter

Ranger

Rogue

Monk

There is a Monk ki-spell called Medusa's Wrath that is literally the stoning gaze available at level 16. So it could be a good option. Given my normal direction on a full fantasy Gorgon Archer is more along the lines of a Ranger, I'm likely going this direction just for the different flavor. However, Medusa's Wrath can be reached via dedication feats taking at least two Feat options.

And yes, there is a definite archer monk build.

Now the issue with doing a ranger and multiclassing with a monk is that there is a key point of "gorgon" that is mostly going to be accessible by also dedicating into Witch for the Living Hair option. So that would be five Feat choices in total given over to getting that spell. Not terrible given just how many Feats you get in this game, (either one or two new feats at every level) but still a bit of an ask.

Besides, as I said, monastic archer is an interesting flavor to take.

Now, for Ancestry (race for people used to D&D) there's a couple of options:

Nagaji - snake people

Vishkanya - human-like snake people

Once you bring Heritages (think subraces) into then Human and Elf become good possibilities too. First, while each Ancestry has it's own set of Heritages, the developers have said it's okay to mix and match them to represent mixed blood. Which means, for example, you can give a human a heritage from Vishkanya.

Now for Heritages, there's a few that aren't attached to specific Ancestries. These are things like Nephilim (encompassing both tieflings and aasimar for those familiar with D&D), Aiuvarin (half-elves), Dromaar (half-orcs), and so on. One of these that appeals to me especially for this is Beastkin (think shifter with more shapeshifting). However, I just noticed a thing.

I've til now dismissed interest in the Nagaji, purely a taste thing, I'm not much interested in people without human heads. Doesn't seem to bother me with stuff like Disney movies. But looking at the Nagaji there is a heritage that avoids that: Sacred Nagaji (official art below)

So I'm going to go ahead go with that.

Which brings me to background. I usually do something a bit outcast-ish for a Gorgon Archer, but this feels a bit unnecessary for this character since there's entire snake-people cultures. Plus, again, let's stretch from my normal. (Not that many people have seen my other builds, since I doubt many have seen my old blogger site) but, anyway.

So on to Background. There's a lot for Pathfinder, I don't really want to lean too heavily into the "sacred" thing or the typical monastic monk (sort of a problem with the class being named monk... not all monks are actual monks.) In this case, I'm going to go with Courier.

So that gives us:

Ancestry: Nagaji

Heritage: Sacred Nagaji

Background: Courier

Class: Monk

So, let's get to determining Abilities. The way this works is we get bonuses for each of the following:

Ancestry: Two, usually one set and one free.

Background: Two or one depending on background

Class: One

Since we're going archery, we'll be doing Dexterity where we can.

The nagaji set boost is to Strength and we'll add the free one to Dexterity.

The courier background gets two boosts, one has to be to Dexterity or Intelligence and the other is free. They can't both be Dexterity because you can gain a boost to the same Ability from the same source. I'm taking Dexterity for sure and I think I'll go with Intelligence for the second. Why that and not Wisdom? That'll come up later.

Monk gives us one boosts to either Strength or Dexterity and we'll go with Dexterity.

In addition, at first level we get four boosts each of which has to go to a different Ability. We're going for Dexterity, Constitution, Wisdom, and Intelligence.

This makes the states look like the following:

Strength +1

Dexterity +4

Constitution +1

Intelligence +2

Wisdom +1

Charisma +0

You can actually do these things in whatever order you want, the game has a suggested order, but also are explicit that you can do things in any order. Especially for things that may have requirements. In this case, I'm going to move to Skills next, as that will determine what feats are available.

First, some Skills came with Background and Class

Courier provides the following Skills:

Society

A Lore skill related to the City you're from.

Class provides the following training, not all of these are skills, but I'm including proficiencies as well:

Trained in Perception - most classes seem to start with this.

Expert in all three Saving Throws - seems to be a Monk thing

Expert in Unarmored Defense - Monk thing

Trained in Simple Weapons

Trained in Unarmed Attack

Trained in Monk ability save DCs

Trained in 4 Skills plus Intelligence (+2 here)

10 Hit Points + Constitution per level (that's right, you don't roll HP)

So, I have to pick 6 skills

Acrobatics for maneuvering

Athletics for climbing

Deception for intrigue

Diplomacy for etiquette

Stealth for intrigue

Survival for travel

Now we come to feats. There are four kinds:

Class Feats - abilities particular to your Class

Ancestry Feats - abilities particular to your Ancestry

Skill Feats - abilities particular to your Skills

General Feats - general capabilities

Most martials, Monk included, get a Class feat at 1st level. All classes get a Class feat at each even level afterward.

Characters get one Ancestry feat at 1st level, then it seems at 5th and each 4 levels afterwards, but this seems to be a determined by class, so their may be some classes that get more or fewer Ancestry feats.

Skill feats are definitely a class thing with Rogues getting a Skill feat every level and other classes seeming to get them every even level.

General feats seem to come at 3rd level and every 4 levels after, but again, some classes might be different.

We get one right away because of the Courier background, Glean Contents, which allows her to figure out what papers contain without disturbing seals or with only a quick glimpse. Then we get an Ancestry feat and a Class feat.

Class feat is easy: Monastic Archer Stance. Because we want to be an archer.

Now the Ancestry feat. There's two that stand out, one is Cold Minded, which gives a +1 to saving throws vs emotion magic and Serpent's Tongue which gives the Scent ability. I'm going for the Scent ability in this case to be able to catch awareness of enemies.

That gives us the following end result for 1st level:

1st Level Sacred Nagaji Courier Monk

Strength +1

Dexterity +4

Constitution +1

Intelligence +1

Wisdom +2

Charisma +0

Hit Points: 11 AC: 19

Fortitude +6

Reflex +9

Will +7

Monk DC: 17

Trained Perception: +4

Initiative: +2

Skills

Trained: Acrobatics +7

Untrained: Arcana +2

Trained: Athletics +4

Untrained: Crafting +2

Trained: Deception +3

Trained: Diplomacy +3

Untrained: Intimidation +0

Trained: Lore: City +5

Untrained: Medicine +1

Untrained: Nature +1

Untrained: Occultism +2

Untrained Performance +0

Untrained Religion +1

Trained: Society +5

Trained: Stealth +7

Trained: Survival +4

Untrained Thievery +4

Weapons

Fist +7, 1d6

Tail +4, 1d6

Longbow +7, 1d8

Class Feats

Monastic Archer Stance

Ancestry Feats

Serpent's Tongue - Scent (Imprecise) 30ft

Skill Feats

Glean Contents

Features

Sacred Nagaji Tail - 1d6 Unarmed, Brawling

Sacred Nagaji stability +2 to Fortitude and Reflex saves to resist Grapple, Trip, and other similar abilities.

Flurry of Blows

Low-Light Vision

Powerful Fists

That's it for 1st level done for. I'm going to continue on to 4th level however, to reach for an important bit for the gorgon concept: snakes for her. Granted, we can just describe her as having snakes for hair, but when the option to represent something mechanically, I'll take it and since I can't do more than fluff it at 1st level, I'll move on to 4th.

2nd Level

For the second level, we get into how Pathfinder does multiclassing. It does it, as it does most things, through feats. We're going to take a Dedication Feat for the Witch class, which is why we wanted Intelligence at +2 to meet the requirements.

Dedication Witch gives the following:

A patron

A familiar which knows two Cantrips.

The ability to prepare one Cantrip per day.

Training in a skill based on patron.

For patron, we're choosing Spinner of Threads, feels like that goes in with intrigue a bit. This means she gains the Occultism skill and gains spells from the Occult list. For a familiar, we're going with a sparrow.

For the two cantrips, Approximate and Message. She'll probably prepare Message on most cases. But Approximate would be useful for some investigations.

She also gains a Skill Feat and I'm taking Streetwise so she can gather information through Society instead of Diplomacy.

3rd Level

At this point, we gain our first General feat. As a note, when you get a General feat you can instead take a Skill feat. In this case, I'll take a General Feat, Incredible Initiative so that she gains +2 to initiative. Initiative usually uses Perception, but you can make a case for using other skills, such as if you're being very stealthy (Stealth) or start with a battle cry (Intimidate)

She also gains the following Monk features:

Mystic Strikes so her unarmed attacks (and bow attacks while in Monastic Archer Stance) count as magical.

Incredible Movement so she gets +10ft to Movement and +5ft for every 4th level after.

We also get to increase a skill. We could increase one of our skills to Expert, but instead, we'll take another skill to complete our intrigue concept: Thievery.

4th Level

Now we get to another Class Feat which is going to be "Archetype Feat" which are basically the multiclass feats. And we're going to take the feat we dipped into Witch.

We taking Basic Witchcraft, giving us a 1st or 2nd level Witch Class Feat, which will be Witch's Armaments. That gives us a choice between claws, fangs, or living hair. We're obviously going for living hair.

Now, we take a Skill feat which will be Ambush Tactics, which means she has a good eye for spotting ambushes within a terrain she has a Lore for... Cities.

And now at 4th level we have our Gorgon Archer. You'll note that AC has gone up. Level is part of all calculations, including AC, Attacks, save DCs, and Skill bonuses. Untrained skills do not increase so they would just use base Ability score.

I'm also going to say right now that going for Living Hair is not optimal, but it is a good flavor and what I'm looking for. Also, the hair, while a weak attack, has traits making it useful for disarming, tripping, grappling, and is also agile, meaning it doesn't suffer from multiple attack penalty as badly.

4th Level Sacred Nagaji Courier Monk

Strength +1

Dexterity +4

Constitution +1

Intelligence +1

Wisdom +2

Charisma +0

Hit Points: 54 AC: 22

Fortitude +9

Reflex +12

Will +9

Monk DC: 20

Trained Perception: +7

Initiative: +2

Skills

Trained: Acrobatics +10

Untrained: Arcana +2

Trained: Athletics +7

Untrained: Crafting +2

Trained: Deception +6

Trained: Diplomacy +6

Untrained: Intimidation +0

Trained: Lore: City +8

Untrained: Medicine +1

Untrained: Nature +1

Trained: Occultism +8

Untrained: Performance +0

Untrained: Religion +1

Trained: Society +8

Trained: Stealth +10

Trained: Survival +7

Trained: Thievery +10

Weapons

Fist +10, 1d6

Tail +7, 1d6

Longbow +10, 1d8

Living Hair +10, 1d4

Class Feats

Monastic Archer Stance

Witch Dedication

Basic Witchcraft: Witch's Armaments: Living Hair

Ancestry Feats

Serpent's Tongue - Scent (Imprecise) 30ft

Skill Feats

Ambush Tactics

Glean Contents

Streetwise

General Feats

Incredible Initiative

Features

Sacred Nagaji Tail - 1d6 Unarmed, Brawling

Sacred Nagaji stability +2 to Fortitude and Reflex saves to resist Grapple, Trip, and other similar abilities.

Flurry of Blows

Low-Light Vision

Powerful Fists

Witch's Patron: Spinner of Threads

Mystic Strikes

Incredible Movement

Occultism Witch Cantrips: Approximate, Message

I thought I was going to stop here, but I'm going to go ahead and push to 20th because Medusa's Wrath happens at 16th level and when I've gone that far, might as well go to the end. On my blogger, I'd do summaries every 5 levels. Instead, I'll just do the level up decisions and then summarize at 20.

5th Level

This is one of the few levels that only comes with a single Feat. In this case it is an Ancestry Feat. For this I'm taking Nagaji Spell Familiarity which gives her a list of three cantrips she can choose between preparing each day. These are Daze, Detect Magic, and Mage Hand.

This level also comes with a Skill Increase and four Ability boosts.

For the Skill Increase I boost Society, and for the Ability boosts I choose: Dexterity, Constitution, Intelligence, and Wisdom.

Dexterity doesn't go up here because once you get to +4 it takes two boosts to go up. So I'm going to buff up my lower Abilities a bit first. Boosting Intelligence gives her another basic skill training, for that I chose Medicine.

At this level, her Perception, Unarmed attacks, and Monk attacks (like bows) are now up to Expert proficiency.

6th Level

Now we get another Class feat and a Skill feat. For this I'm choosing:

Ki Strike - our first Focus spell

Forensic Acumen - now that she has training in Medicine, more intrigue

Now we have to choose whether her Ki spells are Divine or Occult and I'm sticking to theme and going with Occult.

7th Level

At this level we get a General feat a skill increase and the first Path to Perfection. That's basically a choice of a saving throw to increase. Now, Pathfinder has retraining, but the third path goes to Legendary while the first two go to Master. I'm going for Reflex at this point.

For the General Feat, I'm choosing Feather Step, allowing her to Step into difficult terrain, which is normally not possible. For the Skill Increase, I'm going to increase Deception to Expert.

At this level, she also gains Weapon Specialization, adding damage to weapons and unarmed attacks.

8th Level

At this level we get another Class Feat and a Skill Feat, for these I'm choosing:

Pinning Fire - Letting her immobilize a target she hits twice with a Flurry of Blows from her bow.

Eyes of the City - letting her use Society to Gather Information instead of Diplomacy

9th Level

At this level we get a Skill Increase, an Ancestry Feat, Monk abilities increase to Expert, and Metal Strikes so that her unarmed and bow attacks (while in Monastic Archer Stance) count as Cold Iron and Silver.

Skill Increase: Society

Ancestry Feat: Guarded Thoughts - making it hard to read her mind.

10th Level

At this level we get another Class and Skill feat, and four more Ability Boosts.

Ability Boosts: Strength, Dexterity, Wisdom, and Charisma

Class Feat: Ki Rush - burst of quick movement

Skill Feat: Biographical Eye - this is the Sherlock Scan

11th Level

At this level we get a General Feat, Skill Increase, and the second Path to Perfection.

General Feat: Ancestral Paragon for a bonus Ancestry Feat

Ancestry Feat: Nagaji Lore

Skill Increase: Deception

Path to Perfection: Fortitude

Now, Nagaji Lore comes with a couple of things:

Training in Occultism and Crafting, but she already has Occultism, so instead we take Intimidation

Training in Nagaji Lore

12th Level

Another Class feat and Skill feat.

Class Feat: Elemental Strikes - adding elemental energy when using Ki Strike

Skill Feat: Lie to Me - ability to trip people up that try to lie to her.

13th Level

At this level we get another Ancestry Feat along with her weapons and unarmored defenses becoming Master in proficiency.

Ancestry Feat: Disruptive Stare, to make enemy spellcasters have a tougher time.

14th Level

Another Class and Skill Feat.

Class Feat: Focused Shot - lets her ignore cover and concealment.

Skill Feat: Quick Jump - lets her jump quicker

15th Level

Now we get one Skill increase, one General Feat (which I will turn into a Skill Feat), the third Path to Perfection, and Greater Weapon Specialization.

Ability Boosts: Dexterity, Intelligent, Wisdom, and Charisma

Skill Increase: Society, now it's Legendary

General/Skill Feat: Legendary Codebreaker

Third Path to Perfection: Will

Increasing Intelligent gives us another basic Skill Training. And I'm taking Performance for that.

16th Level

And here we come to finally getting Medusa's Wrath because it's a new Class Feat and a Skill Feat.

Class Feat: Medusa's Wrath

Skill Feat: Slippery Secrets - so it's harder to catch her in a lie.

17th Level

At this level we get an Ancestry Feat, her unarmored defense advances to Legendary, and her attacks count as Adamantine.

Ancestry Feat: Nagaji Spell Mysteries. Allows her to prep Charm, Fleet Step, or Heal once per day.

18th Level

And now we get another Class and Skill Feat:

Class Feat: Diamond Fists, since Monastic Archer Stance causes these abilities to affect her archery, it carries over. Each successive hit she makes in the same round does more damage.

Skill Feat: Doublespeak, the ability to say one thing and mean another.

19th Level

Now we get a Skill Increase, General Feat, and Perfected Form which basically means she can't roll less than a 10 on her first strike each turn.

Skill Increase: Thievery

General Feat: Reveal Machinations

20th Level

The last Class and Skill feats. The level 20 Class feats are the typical capstone abilities and for this case, I'm taking Enduring Quickness which basically gives her an additional action every round purely for movement. I'm running out of exciting things for Skill Feats though.

Class Feat: Enduring Quickness

Skill Feat: Underground Network

The final build is this:

[dreamii-yume]

Would you like some love triangle ideas? If yes hear this, Diluc and Eula fighting for the same person

Idk why but i've always thought that those two is so similiar yet so different at the same time. So seeing them fighting for the same person Will be a ride :D

Maybe darling is a one of the knight who's working under Eula, and she is also one of her best friend whom Eula trust and love so much, who sees past her stern demeanor and ancestry.

But lately Eula realize that someone is crushing on her best friend (and secret crush, we all knew it) and that is none other than Diluc, and he seems like he's having a soft spot for darling despite her connection to the knight. But what darling didn't know is that Diluc is secretly protecting her , like helping her mission in the dark and boy, Eula is not happy that someone is (in her eyes) stalking her best friend and trying to convince darling that Diluc is a dangerous man and not fit for her.

A battle between a disgraced knight and the uncrowned king of Mondstadt, both fighting for darling love and heart. Will their love ended up in tragedy? Or Will they have their own "happily ever after"??

Omigod yes, I know right—!?

I love their lines about each other just going “They’re pretty good…BUUUUTT—“ Mutual resentment I love it lol

Aight, how do i say this without making it obvious on how much i want to jump onto eula’s chest like— This can go one or two ways lol

So, Eula being your respectable senior as a knight in training AND being your best friend at that matter would probably earn her more of that Darling Points™ Like, everything this girl has done for you has been nothing but good, so you probably won’t think too much of it if she tells you to avoid that weird red-headed man. He is a little strange just watching you in the shadows like that, creepy even so if Eula says to stay away from him, you probably really should. She is still your senior and it’s your duty to follow her orders in the best of your abilities as a formidable knight yourself…Besides, you trust her with your life, so there’s really no room for any doubt when it comes to her.

But then, let’s say you get backed into a situation where you have no choice but to actually come closer and talk to the guy. You’re not very familiar with him but a few Knights seem to respect him a lot, saying he was once a powerful knight as highly regarded as the acting grandmaster, the cavalry captain, and Eula. You wondered why he quit the knights though and settled into becoming a vigilante for the city, his story had got you really curious to know more about him. You know Eula wouldn’t like you disobeying her orders but— if Diluc had been the one protecting you from the shadows and Mondstandt altogether, it really doesn’t make him a bad guy in your eyes. He even gives you advices on how to handle your weapon better, maybe Eula might just have been wrong about him all this time?

And so, I can see the tension going off the charts at this point on, where their real yandere tendencies comes knocking at the door. Maybe Eula’s personality getting more unhinged the more you try to reason out with her, saying how Diluc doesn’t seem so bad and lowkey disagreeing with her in rare occassions. This just triggers her into snapping little by little, you know? Her normally cool facade breaking at the thought of you doubting her might just end up forcing her to resort into using a more…physical and direct approach.

While that’s happening though, Diluc will happily take advantage of your trust and slowly gaslight you into thinking that MAYBE Eula is really the one who’s a real danger to you all this time. She’s saying all these stuff that doesn’t even make sense to you anymore, are you absolutely sure you can still trust her in that state? If you want out, you can just call for him to take care of this problem for you…Despite the fact that something about his actions doesn’t seem right to you as well, the way his eyes darken and his touch lingers against you. It felt uncomfortable and ominous, but you tend to keep quiet about it.

All in all, it’s just a race on who can kidnap you the earliest lol They both sound protective, Diluc being more of a worry wart and Eula being manipulative with her words. They don’t seem like the “duke it out” type of people though, coughkaeyachildecough I can only imagine what kind of chaos this will unfold if ever they do decide to settle this out in a confrontational kind of way…It sounds like it’ll be a really intense yandere vs yandere heated debate in my head though but what do you think _:(´ཀ`」 ∠):

Oh, and by the way…It doesn’t seem unlikely in a normal occurrence, but there’s still quite the chance that they might just end up sharing ( ͡° ͜ʖ ͡°)Who knows~ ♥︎

[cappymightwrite]

Jon Snow, Manfred & The Byronic Hero: Part 2

Previous Posts: PART 1

Hopefully Part 1 served as a good introduction on the topic and characteristics of the Byronic Hero, as well as how Jon Snow in particular is likely an iteration of this figure. But now we come to the real meat of this meta series — a closer look at Byron's dramatic poem Manfred (1816–1817), and more importantly, its titular character in comparison to Jon Snow. I was originally going to do an analysis and comparison of two key episodes in Manfred and A Storm of Swords, Jon VI, but have since decided to give that its own post... that's right kids, there will be a part 3!

(Detail from Lord Byron, Thomas Phillips, 1813)

So... why Manfred? Why not Childe Harold's Pilgrimage, or The Corsair, or Don Juan, or any other work by Lord Byron? Well, I'll tell you why, my sweet summer children. It's because of THIS:

Manfred/Manfryds and Byrons in ASOIAF, by order of first appearance and publication:

Ser Manfred Swann (ASOS, Jaime VIII)

Ser Manfred Dondarrion (The Hedge Knight)

Manfred Lothston (The Sworn Sword)

Manfryd o' the Black Hood (AFFC, Brienne I)

Manfryd Yew (AFFC, Jaime V)

Ser Byron the Beautiful (AFFC, Alayne II, TWOW, Alayne I)

Ser Byron Swann (ADWD, Tyrion III)

Manfryd Merlyn of Kite (ADWD, Victarion I)

Manfryd Mooton, Lord of Maidenpool (The Princess and the Queen, TWOIAF)

Manfred Hightower, Lord of the Hightower (TWOIAF)

Manfred Hightower, Lord of the Hightower (Fire and Blood)

Like... what the hell, George?

I find this very interesting, very interesting indeed! *cough* intentional, very intentional *cough* And I have to thank @agentrouka-blog for reminding me of the existence of these Manfreds/Manfryds, and thus pointing me in this particular direction. This evidence is, for me, my smoking gun, it's why I feel justified in exploring this specific work. In my opinion, it really strongly confirms that GRRM is aware of Manfred, he is aware of its author — as a literary name, it is pretty much exclusively connected to Byron, it's like Hamlet to Shakespeare, or Heathcliff to Emily Brontë. In fact, GRRM likes it enough to use this name several times in fact, its frequency of use aided by a slight variation on its spelling.

So, as we can see, there are a striking number of Manfred/Manfryds (9!!) featured in the ASOIAF universe, whereas Byron (2) is used a bit more sparingly — perhaps because the latter, if more liberally used, would become far more recognisable as an overt literary reference? Interestingly, though, we can see a direct link between the two names as both bear the surname Swann: Ser Manfred Swann and Ser Byron Swann (note the exact spelling of Manfred here, as opposed to Manfryd). Ser Byron was alive during the Dance of Dragons and died trying to kill the dragon Syrax, whereas Ser Manfred was alive during Aegon V's reign and had a young Ser Barristan as his squire. So, in terms of ancestry, Byron came before Manfred, which makes sense since Lord Byron created the character of Manfred; he is his authorial/literary progenitor, if you will.

But why Swann, though? Is there any significance to that surname? Well, I did a little bit of digging and turned up something very interesting, at least in my opinion. In Percy Bysshe Shelley's poem Lines written among the Euganean Hills (1818), in its sixth stanza, the poet addresses the city of Venice... the “tempest-cleaving Swan” in the eighth line is clearly meant to be his friend and contemporary, Lord Byron, that city’s most famous expatriate:

That a tempest-cleaving Swan Of the songs of Albion, Driven from his ancestral streams By the might of evil dreams, Found a nest in thee;

(st. 6, l. 8-12)

Ah ha! But let's not forget that the Swanns are also a house from the stormlands — stormlander Swanns vs. "tempest-cleaving Swan." It seems a nice little homage, doesn't it? You could also argue that the battling swans of House Swann's sigil are a possible reference to Byron's fondness for boxing (he apparently received "pugilistic tuition" at a club in Bond Street, London). But to make the references to Byron too overt would ruin the subtly, so it isn't necessary, in my opinion, for the Swanns to be completely steeped in Byronisms.

All in all, it would be very neat of GRRM if the reasoning behind Byron and Manfred Swann is because of this reference to Lord Byron by Shelley. How these names and the characters that bear them might further reference Byron and Manfred is a possible discussion for another day! It's all just very interesting, very noteworthy, and highlights how careful GRRM is at choosing the names of his characters, even very minor, seemingly insignificant ones.

(Illustration of Villa Diodati from Finden's Illustrations of the Life and Works of Lord Byron, Edward Finden, 1833)

Now onto the actual poem, and the ways in which Jon Snow could being referencing/paralleling Manfred. First things first, a bit of biographical context. Take my hand, and let's travel back in time, way back when, to 1816, the year in which Lord Byron left England forever, his reputation in tatters due to the collapse of his marriage and the rumours of an affair with his half-sister, Augusta Leigh (plus he was hugely in debt). No doubt, most of us are familiar with the story, but in 1816 Byron travelled to Switzerland, to a villa on Lake Geneva, where he met the Shelleys and suggested that they all pass the time by writing ghost stories.

The most famous story produced by them was, of course, Mary Shelley's Frankenstein (1818) — which may have served as the partial inspiration behind Qyburn and Robert Strong! Byron himself did begin a story but soon gave it up (yesss, we love an unproductive king); it was completed, however, by his personal physician, John William Polidori, and eventually published, under Byron's name, as The Vampyre (1819). But Byron didn't completely abandon the ghost story project, as later that summer, after a visit by the Gothic novelist M. G. Lewis, he wrote his "supernatural" tragedy, Manfred (1817).*

*I've seen it dated as 1816-17, but the crucial thing to rememeber, in terms of Byron's own biography, is that unlike The Bride of Abydos, he wrote it after his departure from England... this theme of exile will come up later.

Manfred is what is called a "closet drama", so is structured much like a play, with acts and scenes, though it wouldn't have actually been intended to be performed on stage. Indeed, Lord Byron first described Manfred to his publisher as "a kind of poem in dialogue... but of a very wild—metaphysical—and inexplicable kind": "Almost all the persons—but two or three—are Spirits... the hero [is] a kind of magician who is tormented by a species of remorse—the cause of which is left half unexplained—he wanders about invoking these spirits—which appear to him—& are of no use—he at last goes to the very abode of the Evil principle in propria persona [i.e. in person]—to evocate a ghost—which appears—& gives him an ambiguous & disagreeable answer..."*

*As in Part 1, more academic references will be listed in a bibliography at the end of this post.

To sum up the narrative for you, Manfred is a nobleman living in the Bernese Alps, "tormented by a species of remorse", which is never fully explained, but is clearly connected to the death of his beloved Astarte. Through his mastery of poetic language and spell-casting, he is able to summon seven "spirits", from whom he seeks the gift of forgetfulness, but this plea cannot be granted — he cannot escape from his past. He is also prevented from escaping his mysterious guilt by taking his own life, but in the end, Manfred does die, thus defying religious temptations of redemption from sin. He therefore stands outside of societal expectations, a Romantic rebel who succeeds in challenging all of the authoritative powers he faces, ultimately choosing death over submission to the powerful spirits.

According to Lara Assaad, the character of Manfred is the "Byronic hero par excellence", as he shares its typical characteristics found in Byron's other work (as discussed in Part 1), "yet pushed to the extreme." As noted above, there is a defiance to Manfred's character, which is arguable also found in Jon. Certainly though, in all of Byron's works, the Byronic Hero appears as "a negative Romantic protagonist" to a certain extent, a being who is "filled with guilt, despair, and cosmic and social alienation," observes James B. Twitchell. I'll come back to those characteristics presently.

As noted by Assaad, "Byron scholars seem to agree on this definition of the Byronic Hero, however they focus mainly, if not exclusively, on the dynamics of guilt and remorse." Indeed, it is only in more recent years that the incest motif, as well as the influence of Byron's own biography, have been more widely discussed. But perhaps the most compelling aspect of the Byronic Hero is his complex psychology. Although trauma theory only really started to flourish during the 1990s, thus providing deeper insight into the symptoms that follow a traumatic experience, it nevertheless seems, at least to Assaad, that "Byron was familiar with it well before it was first discussed by professionals and diagnosed." As we know, GRRM began writing his series, A Song of Ice and Fire, during the 1990s, and character trauma and its effects feature heavily in his work, most notably in the case of Theon Greyjoy, but also in the memory editing of Sansa Stark in terms of the infamous "Unkiss".*

*The editing, or supressing, of memories is not exclusive to Sansa, however. E.g @agentrouka-blog has theorised a possible memory edit with regards to Tyrion and his first wife Tysha.

But if we return back to that original quote, in which GRRM makes the comparison between Jon and the Byronic Hero, his following statement is also very interesting:

The character I’m probably most like in real life is Samwell Tarly. Good old Sam. And the character I’d want to be? Well who wouldn’t want to be Jon Snow — the brooding, Byronic, romantic hero whom all the girls love. Theon [Greyjoy] is the one I’d fear becoming. Theon wants to be Jon Snow, but he can’t do it. He keeps making the wrong decisions. He keeps giving into his own selfish, worst impulses. [source]

As noted by @princess-in-a-tower, there is a close correspondence between Jon and Theon, with each acting as the other's foil in many respects. In fact, Theon does sort of tick off a few of the Byronic qualities I discussed last time, most notably standing apart from society, that "society" being the Starks in Winterfell, due to him essentially being a hostage. Later on, we see him develop a sense of deep misery as well due to his horrific treatment at the hands of Ramsey Snow. Like Theon, his narrative foil, Jon is also a character deeply informed by trauma (being raised a bastard), but the way they ultimately process and express that specific displacement trauma differs profoundly — Theon expresses it outwardly through his sacking of Winterfell, whereas Jon turns his trauma notably inwards.*

*Obviously, I'm not a medical professional — I'm more looking at this from a literary angle, but the articles I've read for this post do include reference to real medical definitions etc.

Previously, I observed how being "deeply jaded" and having "misery in his heart" were key characteristics of the Byronic Hero, as well as Jon Snow — this trauma theory is a continuation of that. Indeed, to bring it back to Manfred, Assaad goes as far as stating that the poem's titular hero "suffers from what is now widely recognised as post-traumatic stress disorder (PTSD)." I am purposely holding off on discussing what the origin of that trauma is, in relation to Manfred specifically, because, well... it needs a bit of forewarning before I get into it fully. Instead, let's look at the emotions it exacerabates or gives rise to, as detailed by Twitchell, and how they might be evident in Jon and his feelings regarding his bastard status.

(Jonny Lee Miller as Byron in the two part BBC series Byron, 2003)

Guilt

Does Jon suffer guilt due to him being a bastard and secretly wanting to "steal" his siblings' birthright? I'd say a strong yes:

When Jon had been Bran's age, he had dreamed of doing great deeds, as boys always did. The details of his feats changed with every dreaming, but quite often he imagined saving his father's life. Afterward Lord Eddard would declare that Jon had proved himself a true Stark, and place Ice in his hand. Even then he had known it was only a child's folly; no bastard could ever hope to wield a father's sword. Even the memory shamed him. What kind of man stole his own brother's birthright? I have no right to this, he thought, no more than to Ice. – AGOT, Jon VIII He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. – ASOS, Jon XII

But I think Jon's sense of guilt also extends to the high expectations he sets for himself, his "moral superiority" in the face of his bastard status, as discussed in Part 1. He feels guilt pulling him in two different directions, in regards to Ygritte: guilt for loving her, for breaking his vows, and potentially risking a bastard, but also guilt for leaving her, for abandoning her, and potentially leaving her unprotected:

His guilt came back afterward, but weaker than before. If this is so wrong, he wondered, why did the gods make it feel so good? – ASOS, Jon III Ygritte was much in his thoughts as well. He remembered the smell of her hair, the warmth of her body... and the look on her face as she slit the old man's throat. You were wrong to love her, a voice whispered. You were wrong to leave her, a different voice insisted. He wondered if his father had been torn the same way, when he'd left Jon's mother to return to Lady Catelyn. He was pledged to Lady Stark, and I am pledged to the Night's Watch. – ASOS, Jon VI "I broke my vows with her. I never meant to, but..." It was wrong. Wrong to love her, wrong to leave her..."I wasn't strong enough. The Halfhand commanded me, ride with them, watch, I must not balk, I..." His head felt as if it were packed with wet wool. – ASOS, Jon VI

This guilt surrounding leaving the women/girls he cares about unprotected also extends to Arya. Yet it was his need to prove himself as something more than just a bastard, by joining the Watch, which initially prevents him from acting, and which also makes him feel guilt for being a hyprocrite:

Jon felt as stiff as a man of sixty years. Dark dreams, he thought, and guilt. His thoughts kept returning to Arya. There is no way I can help her. I put all kin aside when I said my words. If one of my men told me his sister was in peril, I would tell him that was no concern of his. Once a man had said the words his blood was black. Black as a bastard's heart. – ADWD, Jon VI

I think there is a lack of reconciliation between Jon and his bastard status, between what being a bastard implies in their society: lustful, deceitful, treacherous, more "worldly" etc. Deep down, subconsciously, Jon really rebels against it. You can see that rebellion more clearly in his memories as a younger child, less inhibited:

Every morning they had trained together, since they were big enough to walk; Snow and Stark, spinning and slashing about the wards of Winterfell, shouting and laughing, sometimes crying when there was no one else to see. They were not little boys when they fought, but knights and mighty heroes. "I'm Prince Aemon the Dragonknight," Jon would call out, and Robb would shout back, "Well, I'm Florian the Fool." Or Robb would say, "I'm the Young Dragon," and Jon would reply, "I'm Ser Ryam Redwyne." That morning he called it first. "I'm Lord of Winterfell!" he cried, as he had a hundred times before. Only this time, this time, Robb had answered, "You can't be Lord of Winterfell, you're bastard-born. My lady mother says you can't ever be the Lord of Winterfell." I thought I had forgotten that. Jon could taste blood in his mouth, from the blow he'd taken. – ASOS, Jon XII

But Jon knows this truth about himself, he knows that he has "always wanted it", and that causes him so much guilt because he can't allow himself to be selfish in that regard, because to do so would confirm for him his worst fears... that he truly is a bastard in nature as well as birth — treacherous, covetous, dishonourable.

Despair

As he grows up, learning to curb his emotional outbursts from AGOT, Jon appears more and more stoic upon the surface. But beneath that, buried in his subconscious in the form of dreams, you have this undyling feeling of despair, this trauma connected to his bastard status, his partially unknown heritage:

Not my mother, Jon thought stubbornly. He knew nothing of his mother; Eddard Stark would not talk of her. Yet he dreamed of her at times, so often that he could almost see her face. In his dreams, she was beautiful, and highborn, and her eyes were kind. – AGOT, Jon III

These recurring dreams, sometimes explicitly involving his unknown mother, sometimes not, represent a clear gap, a gaping blank in Jon's personal history and his perception of his identity:

"Sometimes I dream about it," he said. "I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening doors, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle." [...]

"Do you ever find anyone in your dream?" Sam asked.

Jon shook his head. "No one. The castle is always empty." He had never told anyone of the dream, and he did not understand why he was telling Sam now, yet somehow it felt good to talk of it. "Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That's when I always wake." His skin cold and clammy, shivering in the darkness of his cell. Ghost would leap up beside him, his warmth as comforting as daybreak. He would go back to sleep with his face pressed into the direwolf's shaggy white fur. – AGOT, Jon IV

"That always scares me", he says quite tellingly. From this key passage, in particular, we can see that Jon feels a deep rooted despair at essentially being unclaimed, unwanted... being without a solid (Stark) identity around which to draw strength and mould himself. He's afraid of being a lone wolf, because as we all know, "the lone wolf dies, but the pack survives," (AGOT, Arya II).

This dream points him in the direction of the crypts — "somehow I know I have to go down there, but I don't want to" — which actually does have the answers he seeks because that is where Lyanna Stark is buried. Yet Jon is "afraid of what might be waiting for [him]", and wants to "scream" with dispair because of the darkness. So, this need for a confirmed identity is a double edged sword, which will no doubt be further complicated when his true parentage is revealed.

Elsewhere, Jon's dreams continue to have this despairing quality to them, often involving Winterfell, the Starks, and especially Ned, which is very interesting on a psychological level:

The grey walls of Winterfell might still haunt his dreams, but Castle Black was his life now, and his brothers were Sam and Grenn and Halder and Pyp and the other cast-outs who wore the black of the Night's Watch. – AGOT, Jon IV

Last night he had dreamt the Winterfell dream again. He was wandering the empty castle, searching for his father, descending into the crypts. Only this time the dream had gone further than before. In the dark he'd heard the scrape of stone on stone. When he turned he saw that the vaults were opening, one after the other. As the dead kings came stumbling from their cold black graves, Jon had woken in pitch-dark, his heart hammering. Even when Ghost leapt up on the bed to nuzzle at his face, he could not shake his deep sense of terror. He dared not go back to sleep. Instead he had climbed the Wall and walked, restless, until he saw the light of the dawn off to the east. It was only a dream. I am a brother of the Night's Watch now, not a frightened boy. – AGOT, Jon VII

But it is never "only a dream", is it?

And when at last he did sleep, he dreamt, and that was even worse. In the dream, the corpse he fought had blue eyes, black hands, and his father's face, but he dared not tell Mormont that. – AGOT, Jon VIII

Even Jon's conscious daydreams in AGOT revolve around his dispairing search for a solid identity:

When Jon had been Bran's age, he had dreamed of doing great deeds, as boys always did. The details of his feats changed with every dreaming, but quite often he imagined saving his father's life. Afterward Lord Eddard would declare that Jon had proved himself a true Stark, and place Ice in his hand. Even then he had known it was only a child's folly; no bastard could ever hope to wield a father's sword. Even the memory shamed him. What kind of man stole his own brother's birthright? I have no right to this, he thought, no more than to Ice. – AGOT, Jon VIII

A lot of these early dreams occur in A Game of Thrones, probably in response to his removal from Winterfell... his self exile. But later on in the series Jon continues to have dreams that tie him to the Starks and to Winterfell, ominous and sometimes despairing too. There's honestly too many instances to list, but if you want to understand the root of Jon's existential despair... it's in his dreams.

Cosmic Alienation

Cosmic alienation, now that's an interesting one in regards to Jon, since he definitely hasn't reached this state... yet. Life and his belief in the divine (the old gods) still hold meaning for him, but then he gets murdered by his black brothers. In the show, the writers hint at some cosmic alienation through Jon stating that he saw "nothing" whilst dead, but then they take it no further and generally do a piss poor job of post-res Jon. This characteristic of Manfred coming to the fore in Jon depends on what happens in The Winds of Winter, but I don't think it is at all that far fetched to assume that Jon will return to his body with a darker, altered perception of things.

Social Alienation

In Part 1, I discussed how Jon, like Byron's heroes, could be read as a "a rebel who stands apart from society and societal expectations." On a more psychological level, we can see how this Otherness, stemming from his bastard status, deeply affects Jon and his perception of himself and the world:

Benjen Stark gave Jon a long look. "Don't you usually eat at table with your brothers?"

"Most times," Jon answered in a flat voice. "But tonight Lady Stark thought it might give insult to the royal family to seat a bastard among them." – AGOT, Jon I

In his very first chapter, we see him quite literally alienated from the rest of his siblings, made to sit apart from them, an apparent necessity he seems fairly resigned to. Also in Part 1, I gave examples of instances in which Jon is mockingly called "Lord Snow," as well as a "rebel", "turncloak", "half-wildling", all of which serve to alienate him from the rest of the brothers of the Night's Watch.

Stannis gave a curt nod. "Your father was a man of honor. He was no friend to me, but I saw his worth. Your brother was a rebel and a traitor who meant to steal half my kingdom, but no man can question his courage. What of you?" – ASOS, Jon XI

The above interaction may seem on the surface to be about one thing — whether or not Jon will be of help to Stannis, offer him loyalty etc. — but tagged onto the end we have quite a poignant question: "what of you?" What are you, essentially. Who are you? The truth of his parentage may, in part, solve these questions... but it may also serve to alienate Jon from his perception of himself further. Ultimately, who exactly he is — what he believes in, who and what he fights for, etc. — will be solely his decision to make going forward.

So, the Byronic Hero, certainly in Manfred's case, but also in later iterations, is arguably traumatised by his own past. But regardless as to whether his trauma is related to a mysterious past, a secret sin, an unnamed crime, or incest, aka "secret knowledge", what is clear in Assaad's interpretation, is that the Byronic Hero is "living with the traumatic consequences of his own past and so suffers from PTSD." But why is Manfred traumatised, what is the specific cause of this trauma, or how might it reveal something deeper about Jon's own trauma? Now, here we come to the unavoidable... I'm going to start talking about Byronic incest and the pre-canon crush/kiss theory, and how it potentially parallels certain aspects of Manfred.

I should preface this by stating that I don't think Jon is suppressing trauma because he committed intentional incest with Sansa, but I do think (or at least somewhat theorise that) Byronic incest does come into play regarding his intense feelings of guilt and existential despair.

But still, stop reading now if are opposed to discussions of the pre-canon crush/kiss theory and the literary incest motif as a whole!

(Detail from The Funeral of Shelley, Louis Édouard Fournier, 1889)

Hey there to the depraved! If you aren't already familiar with the theory, here are some previous discussions/metas on the subject:

Full Blown Meta:

A Hidden and Forbidden Love by @princess-in-a-tower

Ask Answers (Long):

Jonsa as a more positive mirror to Jaime and Cersei? by @princess-in-a-tower, with additional comment by @jonsameta

Discussing the theory by @jonsameta

Evidence for pre-canon Jonsa? by @agentrouka-blog

Kissing in the godswood? by @agentrouka-blog

Why don't we read about Jon's reaction to Sansa and Tyrion? by @agentrouka-blog

More on Jon's supposed non-reaction by @agentrouka-blog, with additional comment made by @sherlokiness

A Jonsa "Unkiss"? by @fedonciadale

A hidden memory? by @fedonciadale

Sansa's misremembering by @fedonciadale

Descriptive parallels between A Song for Lya and Jonsa by @butterflies-dragons

Ask Answers (Short) & Briefer Mentions:

Jealous Jon by @princess-in-a-tower

Your new boyfriend looks like a girl by @butterflies-dragons

Like in Part 1, I've tried to cite as much as I could find, but as always, if anyone feels like I've missed someone important or that they should be included in the above list, please just drop me a line!

Now, it's a controversial theory, and not everyone's cup of tea — I think that's worth acknowledging! I myself am not wholly married to it, I'd be fine if it wasn't the case, but that being said, I can't in good faith ignore it when considering Lord Byron and the Byronic Hero. The incest is, unfortunately, very hard to ignore, both in his work and in his personal life. It's pretty hard to ignore in Manfred, for that matter, which is why I've held off talking about it... until now!

All aboard the Manfred incest train *choo choo* !!

First stop, Act II, scene one. Oh, wait, an annoucement from your conductor... apologies everyone, I purposely neglected to mention quite a key detail. Remember "Astarte! [Manfred's] beloved!", (II, iv, 136)? Yeah... it's heavily implied that Astarte is in fact Manfred's half-sister. *shoots finger guns* Classic Byron! *facepalms*

Oh, and that's not all! Let's consider the context surrounding the writing of this work for a moment, shall we? Unlike The Bride of Abydos (1813),* Manfred was written notably after the fallout of his incestuous affair with his half-sister, Augusta Leigh, composed whilst in a self-imposed exile. *spits out drink* Woah, woah there cowboy... what in tarnation?! EXILE?!

*As referenced in Part 1, @rose-of-red-lake has written an excellent meta on the influence of Lord Byron's work (and personal life) on Jonsa, paying special attention to the half-siblings turned cousins in The Bride of Abydos.

Although, as noted by rose-of-red-lake, The Bride of Abydos bears strong parallels to the potential romance of Jon and Sansa, as well as Byron’s own angst regarding his relationship with Augusta Leigh, the context surrounding Manfred seems... dare I say it, even more autobiographical. Because like Byron himself, Manfred wanders around the Bernese Alps, solitary and guilt ridden, in a state of exile heavily evocative of Byron's own — as I mentioned earlier, the beginnings of Manfred occured whilst Byron was staying at a villa on Lake Geneva, in Switzerland... the Bernese Alps are located in western Switzerland. In light of this, I think it's very understandable that some critics consider Manfred to be autobiographical, or even confessional. The unnamed but forbidden nature of Manfred's relationship to Astarte is believed to represent Byron's relationship with his half-sister Augusta. But what has that got to do with Jon?

Look, I don't know how else to put this:

Byron self-exiles in 1816, first to Switzerland, to Lake Geneva, where it is unseasonably cold and stormy — his departure from England is due to the collaspe of his marriage to Annabella Milbanke, unquestionably as a result of the rumours surrounding his incestuous affair with his half-sister.

Displaced nobleman Manfred wanders the Bernese Alps, in a kind of moral exile, where "the wind / Was faint and gusty, and the mountain snows / Began to glitter with the climbing moon" (III, iii, 46-48), traversing "on snows, where never human foot / Of common mortal trod" (II, iii, 4-5), surrounded by a "glassy ocean of the mountain ice" (II, iii, 7). He feels extreme, but unexplained guilt surrounding the death of his "beloved" Astarte, who is heavily implied to also be his half-sister.

In A Game of Thrones, Jon Snow chooses to join the Night's Watch, with the reminder that "once you have taken the black, there is no turning back" (AGOT, Jon VI). By taking the black, Jon arguably exiles himself from the rest of the Starks, from Winterfell, to a place that "looked like nothing more than a handful of toy blocks scattered on the snow, beneath the vast wall of ice" (AGOT, Jon III). But we aren't given any indication that he does this due to incestuous feelings regarding a "radiant" half-sister, akin to Byron/Manfred, are we? And it's not like we have several Manfreds/Manfryds AND Byrons namedropped within the text, is it? Oh wait... we do. *grabs GRRM in a chokehold*

What the hell, George?!

(Lord Byron on His Deathbed, Joseph Denis Odevaere, c. 1826)

But lets get back on track here and take a closer look at that section of Manfred I mentioned at the beginning — Act II, scene one, aka the part where all the incest and supressed trauma really JUMPS out.

So, early in Act II, in the chamois hunter's abode (a chamois is a type of goat?), according Assaad's analysis, Manfred is "hyper-aroused by a cup of wine." The wine is offered in an attempt to calm Manfred; however, to the chamois hunter's great dismay, it instead agitates him and makes him utter words which are "strange" (II, i, 35). Rather than wine, Manfred sees "blood on the brim" (II, i, 25). His sudden agitation and erratic behaviour confound the chamois hunter, who observes that Manfred is losing his mind: "thy senses wander from thee" (II, i, 27). Assaad's analysis of this scene, which she believes "is the most revelatory in the entire play" discloses "a bitter truth: Manfred's traumatic past informs his present life."

We might compare this with Jon, in particular, how his dreams reveal certain bitter truths to do with his past, now subconsciously informing his present. I've already looked a bit at his crypt dream from AGOT, Jon IV, but we see a sort of recurrence of this dream again in ASOS, Jon VIII. The imagery of being in a crypt, somewhere underground, buried, in the dark, a place of ghosts and spirits, is extremely evocative. Indeed, to go back to Byron's own description of Manfred, the setting of a crypt is extremely suggestive of certain bitter truths "left half unexplained", of secrets buried... and we know that's true because the secret of Jon's parentage is hidden down there, in the form of Lyanna Stark.

He dreamt he was back in Winterfell, limping past the stone kings on their thrones. Their grey granite eyes turned to follow him as he passed, and their grey granite fingers tightened on the hilts of the rusted swords upon their laps. You are no Stark, he could hear them mutter, in heavy granite voices. There is no place for you here. Go away. He walked deeper into the darkness. "Father?" he called. "Bran? Rickon?" No one answered. A chill wind was blowing on his neck. "Uncle?" he called. "Uncle Benjen? Father? Please, Father, help me." Up above he heard drums. They are feasting in the Great Hall, but I am not welcome there. I am no Stark, and this is not my place. His crutch slipped and he fell to his knees. The crypts were growing darker. A light has gone out somewhere. "Ygritte?" he whispered. "Forgive me. Please." But it was only a direwolf, grey and ghastly, spotted with blood, his golden eyes shining sadly through the dark... – ASOS, Jon VIII

I don't think it's outlandish to state that, unquestionably, Jon's bastard identity is a source of ongoing pain for him. I talked about the theme of despair in Jon's characterisation and it is very evident in the above, and it stems from this "bitter truth" of not being a trueborn Stark, of not being "welcome", or having a true place. The emotions/mindset this trauma, concerning his birth and identity, evokes in Jon is arguably what brings him, on first glance, so closely in line with the Byronic Hero:

Their grey granite eyes turned to follow him as he passed / The crypts were growing darker = A mysterious past / secret sin(s)

You are no Stark / I am no Stark = Deeply jaded

There is no place for you here / I am not welcome there / This is not my place = standing apart from society and societal expectations / social alienation

He dreamt he was back in Winterfell / He walked deeper into the darkness = Moody / misery in his heart

He fell to his knees / Forgive me = Guilt

He walked deeper into the darkness / Please, Father, help me / He fell to his knees = Despair

These aren't all the Byronic characteristics I've addressed in relation to Jon, but it is a substantial percentage of them, all encapsulated, in one way or another, within this singular dream passage. As far as what is fairly explicit in the text, being a bastard is Jon's "bitter truth", it is the "traumatic past inform[ing] his present life." But what is Manfred's "bitter truth", what past trauma is informing his present? And can it reveal a bit more about another layer to Jon's trauma? Because there is a key distinction — Manfred's trauma, his PTSD, stems from a specific event, notably triggered by the (imagined) "blood on the brim" of his wine, whereas for Jon, we have no singular event, we have no momentus experience, we just have this "truth."

As mentioned previously, Assaad has recognised the character of Manfred as displaying symptoms of post-traumatic stress disorder (PTSD). In Assaad's article, she remarks that "an experience is denoted as traumatic if it completely overwhelms the individual, rendering him or her helpless," and this is quite evident in the interaction between Manfred and the chamois hunter. Sharon Stanley, an educator and clinical psychotherapist, writes that "the word trauma has been used to describe a variety of aversive, overwhelming experiences with long-term, destructive effects on individuals and communities."

So, if trauma is related to an experience, or experiences, is it still accurate to say that Jon experiences trauma, connected to being a bastard? Because there is seemingly no singular or defining root experience, or event that it stems from, it just is… it is a compellation of several moments, revealed to the reader through Jon’s memories and/or dreams. What is being "left half unexplained” here?

Assaad makes reference to the American Psychiatric Association's definition of PTSD, in which it observes that for an individual to be diagnosed with PTSD, they have to suffer from one or more intrustion symptoms, one or more avoidance symptoms, two or more negative alterations, and two or more hyperarousal symptoms. The dreams Jon has certainly suggest something, but it seems like a stretch to say that, like Manfred, he is suffering from PTSD, right? We and Jon are very much aware that he is "no Stark", at least not in the sense that he is Ned's trueborn son, this isn’t something Jon is actively suppressing. By comparison, it is incontrovertible that Manfred committed something in the past, which he deeply wishes to forget and disassociate from:

Man. I say ’tis blood—my blood! the pure warm stream Which ran in the veins of my fathers, and in ours When we were in our youth, and had one heart, And loved each other as we should not love, And this was shed: but still it rises up, Colouring the clouds, that shut me out from heaven, Where thou art not—and I shall never be. C. Hun. Man of strange words, and some half—maddening sin

(II, i, 28-35)

However, we cannot be sure what this traumatic point of origin is, though we know that it is related to something he has done to his beloved Astarte, which subsequently led to her death. Many critics have suggested that his sin is that of incest, and as I noted earlier, that Manfred as a whole is more than just a bit autobiographical and/or confessional in nature. Manfred's incestuous sin therefore re-enacts Byron's incest with his half-sister Augusta. But regardless of the true cause, Manfred is traumatised by his past and cannot overcome it. Is there something in Jon’s past, that may have subconsciously, or consciously, influenced his departure to the Wall — his self exile — which he cannot overcome, and which is closely tied to the issue of and pain he feels due to being a bastard, not just the illegitimacy, but also the negative characteristics it assigns? Is there an event, or experience, we can pinpoint as the origin of Jon’s trauma and potential PTSD?

To circle back to Jonsa, there is some, not unfounded, debate amongst us concerning the validity of the pre-canon crush/kiss theory. I've always found it an interesting theory, but until now, I haven't really given it too much thought. In light of the Byron connection, however, as well as the textual analysis I have for Part 3, I think this scenario, as detailed by agentrouka-blog, seems more and more likely. And I don't say that lightly, I really don't. It is a somewhat uncomfortable speculation to make, even if the interaction was more innocent rather than explicit (this is the side I firmly fall down on), however, it’s ambiguity does potentially parallel Byron’s Manfred and Astarte. This post would be even longer if I included my side-by-side text comparisons, so you may have to trust me for the moment that there are some very striking similarities between Act II, scene I of Manfred, and Jon's milk of the poppy induced dream in ASOS, Jon VI, as well as the actual buildup to that vision.

But, that sounds frankly terrible doesn't it? And it doesn't bode well for his future relationship with Sansa, does it? And what does it mean if Jon is suffering from PTSD due to an incestuous encounter with Sansa? What does that mean for Sansa, Sansa who is doggedly abused and mistreated by men within the present narrative? This is awful, why would GRRM root their romance in something traumatic? Oh I hear you, and these are questions I needed to ask myself whilst compiling this. But you see... now bear with me here... it isn't the actual encounter itself that was traumatic, for either Jon or Sansa, and that is reflected in both their POVs, because, though they think about each other sparingly (explicitly at least), it is never done so negatively. No, the potential PTSD Jon suffers from this experience isn't connected to Sansa, to whatever occured between them. Rather, I believe, it's connected to either the fear, or the reality, that Ned, his assumed father, saw and/or caught him (either Sansa had left at this point, or didn't fully grasp the issue), and this fear, this guilt, this sense of despair, is made evident in this passage:

When the dreams took him, he found himself back home once more, splashing in the hot pools beneath a huge white weirwood that had his father’s face. Ygritte was with him, laughing at him, shedding her skins till she was naked as her name day, trying to kiss him, but he couldn’t, not with his father watching. He was the blood of Winterfell, a man of the Night’s Watch. I will not father a bastard, he told her. I will not. I will not. “You know nothing, Jon Snow,” she whispered, her skin dissolving in the hot water, the flesh beneath sloughing off her bones until only skull and skeleton remained, and the pool bubbled thick and red. – ASOS, Jon VI

That's the traumatic experience, I believe, not the kiss — yep, I strongly suspect there was a kiss. Moreover, Jon's recurring assertion, throughout the series, that he "will not father a bastard" is tied to this in some way, it’s tied to Ned, it’s tied to some sense of guilt and shame. It’s not tied to Sansa. But we'll look at this passage, what it means, what it parallels, and what directly precedes it, in comparison to Manfred, a lot more closely next time.

I'll leave you with a slight teaser though — the parallel that made me really sit up and take notice:

C. Hun. Well, sir, pardon me the question, And be of better cheer. Come, taste my wine; 'Tis of an ancient vintage; many a day 'T has thaw’d my veins among our glaciers, now Let it do thus for thine. Come, pledge me fairly. Man. Away, away! there’s blood upon the brim! Will it then never—never sink in the earth?

(II, i, 21-26)

Note this imagery!!!

Maester Aemon poured it full. "Drink this."

Jon had bitten his lip in his struggles. He could taste blood mingled with the thick, chalky potion. It was all he could do not to retch it back up. – ASOS, Jon VI

In both instances, a drink is offered, with "blood upon the brim", and "blood mingled". In Manfred's case, this is an explicit trigger for him, whereas for Jon? Well, it bit more hidden, a bit more buried, but this moment is, to my mind, the catalyst, because its imagery strongly evokes the colours of the weirwood tree — "blood" red and "chalky" white — you know, the "huge white weirwood" he later on envisions.

*spits out drink*

Maybe the magnitude of this parallel isn't completely evident as of yet, but it will be... or at least I hope it will be, so stay tuned for Part 3!

(Starting to run out of Byron pics so... I dunno, here's Rupert Everret, from The Scandalous Adventures of Lord Byron, 2009)

In Conclusion

To summarise, why is the Manfred connection so monumental to me? Why do I find the pre-canon kiss theory, specifically the scenario detailed by agentrouka-blog, now very hard to dismiss? Because:

The nine (!) Manfreds/Manfryds included within the text, as well as the two Byrons, one of which, the first mentioned in fact, first appears in Sansa's POV. But crucicially the direct link made by GRRM between Byron Swann and Manfred Swann.

The strength of the similarities that can be observed between Jon and the Byronic Hero, but also notably to Byron's Manfred, the "Byronic hero par excellence", according to Assaad. Especially the recurring emotions of guilt and despair, the latter exemplified perhaps most clearly in Jon's dreams.

The prominent theme of self-exile to escape something, something that perhaps cannot be openly stated, present in Manfred, Byron's own life, and Jon's narrative.

Those pesky half-sisters: Augusta, Astarte, and Sansa.

The PTSD symptoms clearly present in Manfred, but left "half unexplained", and seemingly not explained at all in Jon's POV — I'll dig more into this in Part 3.

The "blood upon the brim", and "blood mingled" — more on that in Part 3, I hope you guys like in depth imagery analysis!

Obviously, this is all still just speculation on my part, and it's speculation in connection to a theory that is understandably controversial. I'd be happy to dismiss it... if it weren't for the above. So, I suppose I'm in two minds about it. On the one hand, however you look at it, it's more trauma in an already traumatic series... which is *sighs* not what you want for the characters you care strongly about. But on the other hand, that literary connection to Manfred (and by extension to actual Lord Byron), the way it's lining up, plus that comparison GRRM himself made between Jon and the Byronic Hero... that's all very compelling and interesting to me as a reader, as a former English literature student. So, I don't want it to be true because... incest hell. But then, I also want it to be true because then it makes me feel smart for guessing correctly.

But anyway, we're going to be descending into incest hell in Part 3, so... we'll just have to grapple with that when we come to it. I hope, if you stuck with it till the incesty end, that you enjoyed this post!

Stay tuned ;)

Bibliography of Academic Sources:

American Psychiatric Association, Diagnostic and Statistical Manual of Mental Disorders, 5th edn (Arlington, VA: American Psychiatric Publishing, 2013); online edition at www.dsm5.org

Assaad, Lara, "'My slumbers—if I slumber—are not sleep': The Byronic Hero’s Post-Traumatic Stress Disorder", The Byron Journal 47, no. 2 (2019): 153–163.

Byron, George Gordon Noel, Byron’s Letters and Journals. Ed. Leslie A. Marchand. 12 vols. London: Murray, 1973–82.

Holland, Tom, "Undead Byron", in Byromania: Portraits of the Artist in Nineteenth- and Twentieth- Century Culture, ed. by Frances Wilson (Basingstoke: Palgrave, 2000).

MacDonald, D. L. "Narcissism and Demonality in Byron’s 'Manfred'", Mosaic: An Interdisciplinary Critical Journal 25, no. 2 (1992): 25–38.

Stanley, Sharon, Relational and Body-Centered Practices for Healing Trauma: Lifting the Burdens of the Past (London: Routledge, 2016)

Twitchell, James B., The Living Dead: A Study of the Vampire in Romantic Literature (Durham, NC: Duke University Press, 1981).

[writer-extraordinaire]

Okay, so I posted earlier about having OCs for the Encanto movie! And some people were really interested and now that I have the time to talk about them and what I have thought up for them currently, I'mma get into it!

So, the little family unit that I've envisioned are called the Hierro family. None of the Hierros are related by blood and are more of a found/chosen family. The unit is made up of a patriarchal figure, an oldest "son" and two "daughters" with each member having a different member having a different sort of ethnical demographic background (I know there are better ways to out that, but my brain is not grasping that terminology at the current moment, lol) with "father" being from a heavily indigenous familial background, son of heavy African descent, daughter 1 being from a family that has a heavy mix of indigenous and Spaniard ancestry, and daughter 2 being from Afro-Latino ancestry much like Pepa, Félix and their children.

Now, going into the OCs, what I'm going to explain for them currently would be during the setting of the movie.

Rodrigo Hierro is the father figure to three orphans. The man is 47 years old. He also grew up as an orphan and, when he made it to what he perceived as adulthood without being adopted, Rodrigo left the orphanage and started getting odd jobs for himself. From the between the ages of 18 to 27, he was a very popular back street fighter within the port town he had grown up in; some of his winnings went back to the orphanage that he grew up in. The end of his career came from the progressive loss of his hearing; after that, Rodrigo started work as a woodcarver. Once he was 30, he had returned to the orphanage and that's when he found Alejandro, who was 4 at the time. Five years later, Asunción (5 years old) was brought into the house. And then another 6 years done the road, the final addition of Jesusa was added to their little melting pot of a family.

Alejandro is a 21 year old young man who was born with a physical disability... His left leg was deformed at birth, leaving him unable to walk. After living with Rodrigo, Alejandro was given a crutch and able to socialize in town now easily as he grew older. By the time that Asunción was brought into the house, Alejandro was already well on his way to becoming highly skilled with carving figurines and such; the boy also learned embroidery from an elderly neighbor that Rodrigo was able to have babysit him when he had to be gone from the house. As he aged, Alejandro's skill increases exponentially to the point that he had his own little at home business started.

Asunción is 17, and copes with selective mutism that stems from childhood trauma. When Rodrigo had found her, she was being sold by her guardian and Rodrigo had outbid anyone else while he panicked over the child's safety. Being brought into a healthy and loving family unit helped her exponentially, though even in her teenage years there are still very few moments in which she will actually talk. Mostly around her family while in the evening and in their home, Asunción will quietly recount her day, though more often than not, the girl communicates with distinctive whistles and a shirt of homemade sign language. At her current age, she acts as Alejandro's runner for his little business, whether that means delivering orders or getting supplies for what he needs as he continues working truly just depends on the day.

Jesusa was brought in after the Hierros relocated to Encanto, looking for greener pastures and a more secure home. They had found her as an infant on the doorstep of the same orphanage that Rodrigo and Alejandro hailed from in their own youths. Rodrigo couldn't leave a helpless child that had yet to be taken in and took her with them to their new home. At 6 years old, she's a bright child with uncanny compassion and patience, and she loves her family wholeheartedly even when learning that they're not a conventional family.

Rodrigo, Alejandro, and Asunción were all familiar with Encanto before the move as word of Alejandro's business had made it to the magical little village, leaving the family to make trips regularly for trade and economic reasons. During that time, and given that they would often rent a small home for their stays when possible, the Hierros became acquainted with the Madrigals.... Specifically Rodrigo and Bruno. They had gotten close when Bruno had issued a bad fortune to them concerning a business turn for Alejandro (which the family heeded) and thanked him for the warning. Bruno was able to be comfortable around them as even bad news was something they could roll with since they'd been doing so for most of their lives. By the time Bruno disappeared, the Hierros were heartbroken and confused, but they hoped he was happier wherever he'd left to.

Now, none of the kids call Rodrigo any variation of father... He's not padre, not papá, not is he papí. No, the kids all call him Ruy or by his given name, and the man doesn't mind at all because he knows at the end of the day that they know within his home they are protected and cared for. With the children, they also have their own nicknames which are Ale, Asún, and Chus.

The only real issue I'm having with the Hierros so far is that I don't know who all I should mainly focus a ship on.... Daydreaming of Ruy and Bruno having a relationship is so sweet since I feel like both men would lean towards the ace spectrum, but I also like envisioning Asún and Camilo because it would be a slow burn for them. Ale would likely be close with Luisa given a chance and Chus and Antonio would have the sweetest friendship!!

If there are anymore questions about them, please let me know!

[guesst]

some of the best fantasy au fics for bnha that i've read

i decided to make a fic rec list of one of my favourite aus/fusions. mostly midoriya-centric, there are some crossovers (with hp), and a lot of different ways in which the authors have taken them - so it could be Quirks, ghosts, outright fantasy aus, spirits, witches etc etc. there isn't a specific order and there aren't a tonne (these are the ones i could find buried in my bookmarks lol), but the ones on the list are all really well written i love them.

i've tried adding relevant information, the summary (shortened if it's pretty long) and just. adding some random tags that may be important. not all of them though. obviously this is not a complete list and there will most definitely be more fics out there, if there are some really good fics that you know that aren't on this list, feel free to tell me, i'd love to read them!!!

i hope someone enjoys these!

Faith Becomes You by SugaSuga

oneshot | gen dfo, quirkless midoriya summary 'There's a tiny shrine in Musutafu that's overgrown with kudzu vines between Izuku's apartment and his middle-school. There may very well still be a god inside it. There may be nothing but the myth of a man from when Quirks were first emerging. Izuku hides in its walls for a while and ends up tending to the forgotten shrine. All good deeds have their impact, don't they?'

Of Mythos and Men by Oceanbreeze7

oneshot | gen spirit animal au, kinda summary (shortened) 'When he was young, Midoriya always wondered what his mythos would be. The matching half to his quirk, the ancestry of its power. Mythos were strange things, not linked genetically like quirks seemed to be. [...] Midoriya hadn't met his mythos. Even in UA. (In his dreams, something called to him, 'Chase me!')'

what a lion cannot manage by LadyLiterature

multichapter | ongoing | f/m, m/m kitsune au, female izuku, future bakudeku summary (shortened) 'She wants to be a hero. Wants to save everyone she meets and even the people she hasn’t. [...] A smart fox avoids fights. A smart fox does not seek them out. A smart fox does not fight for everyone. A smart fox, when they absolutely must, only fights for themselves and what is theirs and nothing else. Izumi, for all that she tries to be, is not a good fox.'

My Magic Academia by Kiterou

series | oneshots and multichapter | ongoing | gen HP crossover, wizard midoriya, platonic bkdk, some ocs summary (shortened) ' [...] In which Midoriya Inko is a witch and Izuku a wizard and even after 150 years of quirks taking over the world, Izuku still couldn't tell Kacchan that he isn't worthless and that he still could become a hero all on his own.'

A Lonely Windchime Makes No Sound by Musecookie

multichapter | ongoing | multi reader/shinso, total fantasy au, very wholesome summary (shortened) ' [...] You enjoy visiting your slightly creepy local library. When you accidentally befriend the elusive owner's familiar, he begins to appear more and more when you visit. You don't really mind, and he doesn't seem to hate you, even when the two of you become tied up in each other's fate as you pursue the secret to reviving a magical species of flower. Soft Strangers to Friends to Lovers type beat with lots of fluff and naps! Sleepy cuddles included.'

The grapes of friendship by Gentrychild

oneshot | gen crack, dfo, vampire izuku summary 'Izuku, a dhampir hiding his real identity as he goes to UA, the best wizard school in the country, spends the day with his friends. None of them are aware of it.'

Yesterday Upon the Stair by PitViperofDoom

multichapter | complete | gen less supernatural, izu's quirk lets him see ghosts, he still has ofa summary (shortened) 'Midoriya Izuku has always been written off as weird. As if it's not bad enough to be the quirkless weakling, he has to be the weird quirkless weakling on top of it. But truthfully, the "weird" part is the only part that's accurate. He's determined not to be a weakling, and in spite of what it says on paper, he's not actually quirkless [...] Not that anyone would believe it if he told them.'

sum of all (and by them driven) by Elemental

series | multichapter | ongoing | gen dadzawa, spirits give quirks, izu sees these spirits series summary 'Quirks aren't what you think they are.' first part summary (shortened) 'Midoriya Izuku is medically quirkless, not technically homeless, perpetually exhausted and doing his damned best despite it all. He also sees spirits, which might be cool if not for the fact that a) no one else does, b) they really don't like him very much, and c) he's pretty sure the heroes now think he's a villain working for the League [...]'

The Struggles of a Modern-Day Vampire by miraculousemily47

oneshot | gen crack, 1-a shenanigans, vampire midoriya summary 'After Midoriya Izuku is turned into a vampire towards the end of his first year at U.A., he decides he wants to tell his classmates about his condition. The only problem is that he can't physically say the words, and his classmates are fucking idiots.'

Lights in the Dark by FrostKitten

series | oneshots | ongoing | gen supernatural au, izuku can see demons etc, quirkless/magic au summary (of first part) 'Midoriya Izuku, like most young kids, knows there are monsters. They live in closets, under beds, and occasionally in the park. As he grows older, his friends stop seeing them...but he still does.'

Hand in Unlovable Hand by jumbletea

series | oneshots | ongoing | gen vampire midoriya (and aizawa), dadzawa, toga n dabi n mido being siblings summary 'A collection of stories surrounding a not-quite-human Izuku and everyone he meets along the way.'

Simply Superstitious by CryCaladrius

multichapter | ongoing | gen lots of folklore and yokai and stuff, 'quirkless' magic user izuku, decent dad hisashi too summary (shortened) 'Izuku Midoriya’s father is a Hou-ou — a Japanese phoenix. For some reason, this means yokai have a standing invitation to pester Izuku with their existence. Birds assemble choirs for his birthday. If there’s no cedar leaf under the welcome mat, the amazake babaa that lives two apartments over will be knocking on their door by evening. His yokai-purifying excursions get mistaken for vigilantism far too often. [...]'

Cuckoo Bird (anonymous author)

multichapter | ongoing/maybe discontinued | gen it may be discontinued but theres lots of fae folklore, deku is a changeling, deals etc, plus some platonic shindeku building up?? summary 'There's something off about Midoriya Izuku. (change·ling /ˈCHānjliNG/ noun a child believed to have been secretly substituted by fairies for the parents' real child in infancy.)'

tread softly as you go by IceEckos12

oneshot | gen if you read any fae au please let it be this! has faeries but mido is not one summary 'Humans used to be good at the old ways. They used to know how to bait the trap, to spin a web of words and lies that would ensnare even the most wily. Humans used to be able to twist deceptions around knots of iron and turn them into weapons of power. They forgot a long, long time ago. A boy unwittingly makes a deal with one of the fae, severing his ties to humanity. However, he finds that the fae world is far more strange and complex than he ever could have imagined.'

Hell is just a shoujo manga by supercrunch

multichapter | complete | f/m fantasy au, bakudeku, fem!izuku, isekai, dekusquad stuff, also some iidachako summary (shortened) 'Izuku wakes up crushed under a statue, trapped in the body of a princess who doesn't exist. Turns out she's a demon, which is weird. What's even weirder is the déjà vu that surrounds Kamino palace, reminding her of the events of this one manga she used to love. [...] But that's probably just a coincidence. [...] The problem here, obviously, is that Izuku's the demon princess. Ergo, she's a villain. And that means she's going to die at the end of this manga. Again.'

hold your breath as you cross by cassiopeia721

oneshot | gen dadzawa, another 'quirks are from spirits au' (expect more of those actually), mido is sad :( summary 'As the bridge between the world of guardian spirits and the quirk users who are blessed by them, Izuku's duty is to clean up the mess his predecessor left. It's taken what feels like an eternity worth of work, but Izuku's finally finished, and he's ready to rest at last. Unfortunately, the pro heroes who just watched him take down the Scourge of Kamino have no intention of letting him just wander off, and he finds himself stuck in an interrogation room with a bunch of humans who he's sure will never believe a word he says.'

To See with Eyes Unclouded by CrazySatan

series | oneshots | ongoing | gen witch au, witch midoriya, quirkless mido, bkg is not a good friend series summary 'Midoriya Izuku is a witch. A powerful witch. And even though he doesn't have a quirk, and magic doesn't Work Like That, Izuku ends up a hero. Somehow.'

Demons and Darkness by wolfsrainrules

series | oneshots | ongoing | gen dadzawa, shinso and mido and bkg are becoming friends, they can see monsters/spirits/bad things summary of first part 'Izuku has believed in the things that go bump in the night since he was small. That means he can see them, and almost everyone he knows....can't. So he decides he's going to be the shield humanity needs, no matter what. Eventually, he finds others that See too.'

know what i've made by the marks on my hands by simkjrs

multichapter | ongoing/maybe discontinued | gen dadzawa, quirk spirit au (this inspired most of the others on this list), also eri summary (shortened) 'Midoriya Izuku just wants to lead a quiet, peaceful life. This is foiled by the fact that a) he can see spirits, b) his good nature demands that he help anyone he sees in trouble, and c) he, by all rights, should not exist. [...]'

Izuku haunts class 1-A by Artistic-Gamer

series or multichapter whichever floats your boat | incomplete (hiatus) | other there are some triggering themes! such as suicide, blood, body disfigurement! please take care of yourself and avoid reading if this will hurt you! in other news: so much dadzawa, so much friendship, hurt mido summary (of first part) 'Class 1-A is rumored to be haunted, only the residents are aware it’s more than just a rumor..'

U.A's Resident Ghost by BeyondTheClouds777

multichapter | ongoing/maybe discontinued | gen ghost midoriya, dadzawa, friendships!!!! summary 'There is a ghost at U.A. Not haunting U.A. Not even hanging out at U.A. There is a ghost. Enrolled. As a student of U.A. And it's just Shouta's luck that he has everything to do with it.'

and now, the weather by xylophones

oneshot | gen CRACK, paranormal/ghost hunters au, dekusquad stuff summary 'Izuku runs a fictional horror radio show. Because ghosts aren’t real. Right? (“Holy shit, ghosts are real,” Izuku whispers. Then, with the smugness of a sixteen-year-old who just won a decade long bet, “I knew it! Kacchan owes me five hundred yen!” “Midoriya,” Todoroki sighs, “this ghost is trying to kill us.”)'

U.A Unsolved by handcrusher(ameliafromafairytale)

oneshot | gen (it's a fic of a fic, so if you've read yesterday upon the stair then you'll understand better) izuku can see ghosts thats his quirk summary ' "Hey there, ghosts," Midoriya says, "it's me, ya boy." The dorms are haunted. Shenanigans ensue.'

The Haunting of Class 1-A by BritishRobutt

multichapter | ongoing/maybe discontinued | n/a ghost midoriya, vigilante au, crack, the ghost bit is izu's quirk summary 'Everyone always told Izuku he couldn't be a hero, so when he dies and discovers his quirk, he becomes a vigilante out of spite. Whoops. After becoming Spectre, Japan's most wanted vigilante, Izuku realizes he can just fulfill his dreams of going to the top heroic school- after all, who can physically stop him from attending UA when he's a literal ghost?'

Caged by SternStunde

oneshot | gen tododeku, fantasy au (todo is a dragon, mido is a princess), genderbent deku (fem deku) summary 'Then she held up one of the books and smiled. "Want to learn an ancient language with me?" She was kind of a nerd, and she really hoped the dragon was too.'

Magic Runs Deep by draconicschinx

multichapter | ongoing/probably discontinued | gen mido has a quirk and he can see mythical creatures. summary '"Midoriya Izuku has always been good at making friends. Not human ones, really, but they are good friends nonetheless. " Izuku can see and talk to and interact with mythical creatures. It's not exactly the quirk he was hoping for, but he's going to use it to help humans and his non-human friends all the same.'