#I'm not very far at all and have no idea how big the map is really

[ghcstcd]

You wanted to talk...

What's something you really like talking about but you don't get a chance to talk about often? Something that makes you excited? Doesn't matter what it is, I just like hearing people talk about the things that make them happy :)

do you ever wonder if the ocean picks its victims based upon what desire lingered in their hearts? Maybe that's a treasure of their own, and the ocean is a greedy beast below.

[a-kind-of-merry-war]

will you please give us examples of resources to look at if we want to learn more about the concept of gender and maybe even transness in Medieval Europe? thanks!

whooooo boy right, there's a lot! I wanna start this by saying that I am very much not an expert, and I only have access to stuff I can find for free and the handful of books I can afford to buy second hand. Most of my research has been around gender as it relates to transness and GNC people. I am absolutely missing stuff, or have forgotten stuff, or simply lack the know-how to find stuff.

There's a few bits I've got on a TBR but haven't read yet - some I've included and some I haven't, depending on the source and how established it is.

Also: this is medieval Europe. The way pronouns are used to describe people don't really align with modern views of sex and gender. Also be aware of old-fashioned language use (for example, some texts talk about "hermaphrodites"). Remember that the way we talk about gender and trans identities is far different to how we even spoke about it 20 years ago.

So with that out of the way... I am chucking this under a read more, because it's long:

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GENDER

Medieval ideas around gender were different to how we now think about it. The Hippocratic view of gender saw gender as a sort of wet/dry, cold/hot spectrum upon which men were at one end and women the other (and in the middle were intersex people). The male body was seen as hot and dry, and the female as cold and wet. The cold, wetness is what made women try to seek out heat from guys. A lot comes down to humors rather than genitals - if you're hot and dry, that innately means you grow a penis, because the heat sorta forces it out. So the marker is that penis = man, but you only have that penis in the first place because of your hot, dry humor.

Some people believed the vagina was an inverted penis - as in, the penis turned outside in. Some schools of thought believed that both men and women produced "seed", and that both were needed for conception. These thoughts and ideas shifted around a lot.

The Hippocratic view shifted towards Aristotelian ideas around the 12th Century, where the male/female divide was a lot stronger. There were also surgeons throughout all these periods who sought to "correct" intersex genitalia with surgery (how little things change).

This podcast (I've linked to a transcript, because I have more time to read than listen to things) with Dr Eleanor Janega is super interesting. In fact, I'd recommend reading her whole blog, which is fascinating. She also has a book out (but I've not read it so I can't give a yay or nay on that one)

The Meanings of Sex Difference in the Middle Ages by Joan Cadden seems to be a good source on this, but I've not read it so I can't vouch for it 100%.

I've listed below some real people who could fit into our modern interpretation of transness, and the fact that all of these people were only "outed" when arrested or at their death makes me think that there were probably a lot more people at the time who would also fit into this category. It does feel (to me, a layman) that you could rock up in a new town and go "hello I'm Jeff the Man" and people would just accept that.

It's also important to note that the majority of sources I've found are about people we could define as trans men (FTM). I've only found one person who could be described as a trans woman. If anyone out there has more sources for trans women, I'd love to hear them - specifically in medieval Europe/England.

There's also a big discussion to be had around the idea of women dressing as men to achieve a goal. People love getting into arguments about it. My general rule is that if someone lived as X gender, and was forcibly outed against their will or at death, then I feel we can more safely assume that their experience maps more closely onto a trans narrative than it does one of a woman taking on the "disguise" of a man.

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TRANS & GNC ACADEMIA

Here's some of the sources I've been using that examine medievalism through a trans or trans-adjacent lens.

Trans and Genderqueer Subjects in Medieval Hagiography, Alicia Spencer-Hall & Blake Gutt - a deep dive/collection of essays about medieval religious figures/saints through a trans lens, specifically about cross-dressing figures. Really fascinating, and available on open access.

How to be a Man, Though Female: Changing Sex in Medieval Romance, Angela Jane Weisl - goes into detail about medieval texts in which characters change their sex.

Transgender Genealogy in Tristan de Nanteuil, Blake Gutt - trans theory in the story Tristan de Nanteuil.

Trans Historical: Gender Plurality before the Modern, edited by Greta LaFleur, Masha Raskolnikov & Anna Kłosowska - A great big examination into trans history/gender. I desperately want this book.

Clothes Make the Man, Female Cross Dressing in Medieval Europe, Valerie R. Hotchkiss (book, no online source available) - Another look into women dressing as men and gender inversion.

The Shape of Sex, Leah DeVun (book) - A history of nonbinary sex, 200 - 1400BC. Not read this one yet but it's on my TBR.

In fact, I'd recommend all of Leah DeVun's work, which I'm currently making my way through. I'm currently reading Mapping the Borders of Sex.

The Third Gender and Aelfric's Lives of Saints, Rhonda L. McDaniel - An examination into the idea of a "third gender" in monastic life based around chastity and spiritualism

Erecting Sex: Hermaphrodites and the Medieval Science of Surgery, Leah DeVun - an essay about "corrective" surgery on intersex individuals in the 13th/14th centuries. (I've not fully read this one yet but the topic is relevant)

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TRANS FIGURES

Joseph/Hildegund (died 1188) - A monk who, upon his death, was discovered to have a vagina/breasts.

Eleanor Rykener (1394) - A (likely) trans sex worker arrested in 1394 (and another source that isn't wiki)

Katherina Hetzeldorfer (killed 1477) - An early record of a "woman" being executed for female sodomy. Katherina dressed and presented as a man, and some scholars read them as a trans man.

Marinos/Marina the Monk (5th Cent) - A monk who was born a woman and lived as a man in a monastery. Marinos was accused of getting a local innkeeper's daughter pregnant. Their "true sex" was discovered upon their death.

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ROMANCES* & GENDER

If you're interested in the idea of gender presentation and trans-adjacent stories, I very much recommend taking a look at some contemporary sources. I've tried to take a sort of neutral approach to pronouns for these descriptions, but it's hard to marry the medieval and modern ideas of sex and gender! The titles are all links.

*Romances here means Chivalric Romances: prose/verse narratives about chivalry, often with fantastic elements. Not, like, falling in love Romances.

Le Roman de Silence (13th Cent) - in order to ensure inheritance, a couple raise their daughter as a boy. The baby is called Silence/Silentius/Silentia. The poem features the forces of Nature and Nurture, who argue about Silence's "true" gender - Nature claims they're a girl, and Nurture claims they're a boy. Silence has a variety of adventures, largely referred to in the text as a man with he/him pronouns, and at the end their "true gender" is discovered and, as a woman, they marry the king.

Yde et Olive (15th Cent) - to avoid being married to their own father, Yde, a woman, disguises themselves as a man and becomes a knight. They end up in Rome, where the king marries them to their daughter, Olive. After a couple of weeks, Yde tells Olive about their "true gender", but the conversation is overheard. The King demands Yde bathe with him to prove they are a man. An angel intervenes and transforms Yde's body into that of a man.

Iphis and Ianthe (Greek/Roman myth, but also in Ovid's Metamorphois, which first came to England in the 15th Cent) - Telethusa is due to give birth, but her husband tells her that if the baby is a girl he'll have it killed. When she gives birth to a girl, she disguises the baby as a boy. Eventually, Iphis is engaged to Ianthe. (Incidentally, this is also a really early example of same-sex romance, as Iphis struggles with their love for Ianthe "as a woman"). Before the wedding, Iphis and Telethusa pray at the temple of Isis, who transforms Iphis into a man.

Tristan de Nanteuil (11th/12th Cent) - from the Chanson de geste, after his alleged death, Tristan's wife, Blanchandin/e, disguises themselves as a Knight. Clarinde, a sultan's daughter, falls in love with them. Blanchandin manages to hide their "true sex", but when Clarinde demands they bathe with her to prove they are a man they flee into the woods. There, they meet an angel who asks if they want to be transformed into a man. Blanchandin accepts and he is turned into a man for the rest of the poem. (Incidentally the angel gives him a giant cock. Yes, the text specifies this).

Le Livre de la mutation de fortune (1403) - written in the first person by Christine de Pizan, the poem describes how the narrator is transformed by Fortune into a man after the death of their husband during a storm at sea. They maintain that 13 years after the event, they are still living as a man. (They also mention Tiresias, a Greek mythological figure who was a man transformed into a woman for seven years).

Okay, for now - that's about all I can think of. Happy reading!

[elbiotipo]

your post about potatoes in fantasy worlds made me base my primary fantasy continent off sudamérica so i could use fantasy versions of andean and amazonian fauna/flora. I'm still trying to figure out how to change the geography enough to have the big desert i want in the right area(andes get an offshoot that encircles a rain shadow desert in the central north is the best idea i have) but actually being forced to consider how native wildlife works and needing to create trade routes if i wanted imported crops was fun. i was also trying to figure out why the southern hemisphere has more hot climates than the north and something said it's because the south on earth has less landmass so i think having the northern hemisphere above it be mostly tropical works if I have mostly archipelagos? also every time i see a european based fantasy have potatoes or tomatoes i shake my head and scowl.

The reason why the Southern Hemisphere seems to have more hot climates is indeed simply because the continental parts don't spread that far South to actually cold southern latitudes. The only place that really sticks that far south to have a truly cold climate is the Patagonia. And of course, Antarctica, which by coinicidence, basically surrounds the South Pole.

Here is a map of "temperate" latitudes, or rather, latitudes between the tropics and the polar circles (as someone who lives here, or indeed an Australian can tell you, many places there are not "temperate" at all but more on that below). What is important here is that the southern hemisphere has less places closer to the pole, except, again, Antarctica, while the northern hemisphere has lots of land near the poles. This is why we don't have our equivalents of say, Siberia, for example. The closest thing is again, Patagonia. Honestly an underused place for worldbuilding, with the steppe, the glaciers, the temperate rainforests, and the recently extinct megafauna, but I digress.

You could in fact have a tropical "north" if you keep most of the northern hemisphere's landmasses near the equator (here I'm picturing some kind of big Indonesia or Caribbean, an area where tectonic plates collide and there's lots of volcanic islands and lands), and you could place a big continent in the South to make it a cold South. Interesting reversal on the cold North/warm South of most settings.

This would bring some interesting effects, though. Placing a big landmass on any pole (not a small one like Antarctica) would lead to glaciation, as land is "colder" or rather less moderated by ocean (more on that later) and glaciers grow, and glaciers and arid land have greater albedo, reflectivity, that is, and so they reflect more sunlight, thus those place become colder, and the glaciers keep growing, and so on, until there is an ice-age. I don't have the link where I read it with me, but I recall that continents shifting to polar latitudes might have triggered ice-ages in Earth's past.

Deserts are very tricky to place. The standard worldbuilding recommendation is that the interior of the continents are drier as you get away from the sea, and that mountain chains and high terrain serves as rainshadows that stop rain from the sea. However, there is a lot more to it. A LOT more.

You can find deserts even next to oceans, in the so-called "horse latitudes", the meeting points of the Hadley Cells that circulate air from the Equator to the subtropics and beyond. The details are a bit technical, but what this means basically is that they create jet streams of circulating air at 30° South and North, keeping the climate sunny, warm and dry. This is indeed where many of the world's coastal deserts are: Atacama, Kalahari, and of course, Australia.

Meanwhile, in the equatorial zone, the "trade winds" (because they have regular wind patterns that have historical formed major sea trade routes, worldbuilding hint!) converge in the Equator, forming rainy areas... but not quite that simple.

The Intertropical Convergence Zone, where these winds meet, ocsilates during the year, creating monsoons, but as always, there are lots of factors involved. In particular, given our real life scenario of rapid climate change and global warming, a warmer temperature means more intense ocsilations. This makes monsoon events sharper (more droughts and floods in those regions) and more strong La Niña/El Niño events, which are their own thing, influenced by the Pacific which is a huge factor in global climate.

And this brings me to ocean currents. Usually, being close to the ocean moderates the climate, making it more rainy and warm, or at least stable. However, if the surrounding sea is cool, it means less evaporation and less rainfall, especially if it's influenced by cool polar currents (this is the case of eastern Patagonia, for example, with the cold Malvinas Current). The opposite is the case in, for example, Europe, where the warm gulf stream moderates climate, making it warmer and rainer compared to the same latitudes in the US and Canada. I'll admit I'm not very well informed on how ocean currents work, but the depth and salinity of the ocean have much to do with it. What basically happens is that dense salty water sinks and and this works as a "conveyor belt" for warm less dense surface water to flow over it and over great distances. These currents are slow, but since the ocean is so massive, they move extensive amounts of heat across the world. I will admit defeat here and just say I don't wholly understand how it works, but I can tell you this; if your world has a less salty ocean, your currents will be less strong, which means that the differences of temperature between the poles and the tropics will be sharper as there are no strong currents to overall moderate temperature. If this is all too complex for you as it is to me, the quick cheat is just looking at this map: warm water flows from the equator, and cold water flows from the poles, and they create "gyres" around the oceans and the Equator, and cold currents contribute to colder and drier climates (note the Canary, Benguela and Peru currents, the Malvinas current is not shown for some reason...)

Did I forget something? Oh, yes. A colder climate of course, means less rainfall, because there is less evaporation and there is much water "trapped" in glaciers and snow. Which seems to be the case during the last ice ages. Rainforests and forests in general retreated as deserts expanded. In fact, the few forests that remained served as refugiums for species that only expanded again once the ice age was over. Some especulate that this might meant a 'weakening' of megafauna, as they were trapped in those refuges with lots of interbreeding and weakened populations when humans arrived on the scene. Here is a very interesting map:

Now, there are some contradictions here and there, some researchers have said that the climate wasn't that dry and while I'm not an expert I tend to agree, many parts that are "extreme desert" there might be scrubland instead. But overall, it seems that colder times bring drier times too.

I'm still not done, but I'm almost done! According to the Biotic Pump theory, forests might also influence the climate and rainfall in a big way, basically, evapotranspiration (plants sweat, a lot, 90% of water through a plant evaporates to the atmosphere) in forests might actually create by itself the rainy environment where forests thrive, so for example, the Amazon is a rainforest BECAUSE of the forest there. I think with the increasing droughts here in South America we're seeing that theory proven in practice, as deforestation of the Mata Atlantica, the Chaco and the Amazon is causing less rainfall in the centre of the continent. Forests and plants also have a cooling effect, since they fix carbon dioxide, and also a bit of a warming effect, since they have darker albedo and so absorb more sunlight. I'm going to be very lazy and instead of reading a thousand papers say that they overall have a "moderating" effect.

Well, I could go on and on but I think I've already written way too much, so I'll leave you this to munch on a bit. It might seem like a lot, but when in doubt, you can always "eyeball" it by comparing real regions of Earth, and it will help you to create more interesting world than the omnipresent "spring-summer-fall-winter" temperate standard in so many settings.

If you have any questions, feel free to ask! Oh, and also, if you found this helpful or interesting, I would appreciate a tip to my ko-fi!

[octuscle]

Road Trip to a new life

Bloody hell, Chuck thought to himself! They can't just forget me here! His football team was on its way home from an away game. A very successful away game. And they all had their star quarterback to thank for that. And that was him, that was Chuck. And now they had all just taken a pee break. At a rest stop in the middle of nowhere. And hey, Chuck had been flirting with the cute waitress at the diner. And yes, he had fucked her in the broom closet. Hehehe, he thought to himself for a brief moment. A map of the state, showing the broom closets where he'd fucked basement girls, cheerleaders, or even teachers from schools he'd usually flunked out of shortly afterward. That would be a cool idea! His grin didn't last long. Shit, the team bus had left. Without him. And now he was standing here in the rain with no idea how he was going to get home.

A truck came to a halt next to him. A horn sounded very loudly. Chuck didn't react yet. The passenger door opened and a bearded guy looked out. "Son, you look lost. Can I give you a ride?" Chuck hesitated for a moment. He was still far too confused, far too angry to think clearly. "Sure, that would be cool," he replied. And climbed into the cab of the monstrous truck. It smelled of cigar smoke and sweat. Chuck looked at the driver. A short, slightly overweight guy. Unkempt. The dirty T-shirt ended just above the large belt buckle and showed a roll of flab. A greasy mullet peeked out from under the trucker's cap. Shit, Chuck thought to himself. Maybe that hadn't been such a good idea. The trucker lit a half-smoked cigar. "My name is Pete. If you want one too, there's one in the compartment right in front of you. Chuck shook his head, tensed his biceps and said, "Chuck! Thanks for the ride. And I don't smoke. I'm an athlete." Pete stretched out his right arm and felt Chuck's biceps. "Hm, feels good. It'd be a shame if you stopped working out." He blew a puff of smoke in Chuck's direction. And his hand moved towards Chuck's chest. "Wait, wait," Chuck moved to the right in a sit. "No homo, dude. I only fuck pussy." The driver just glanced briefly in Chuck's direction and smiled. His teeth were nicotine yellow. "I don't care what YOU fuck." He blew another puff of smoke in Chuck's direction, pulled his hand back and began kneading the bulge in his crotch. "Thanks for the ride, I think I'd better get off now." Another puff of smoke. Chuck went dizzy. "Comrade, the next stop isn't for another six hours. We have a schedule to meet." Chuck tried to keep a clear head. But the smoke was making him tired. His head felt like it was full of absorbent cotton. "All right, Pete," he mumbled. And fell asleep.

It was dark outside when Pete shook him by the shoulder. "Get up, sleepyhead. We'll take a break in fifteen minutes and then change drivers. Chuck yawned and stretched. Driver change? What was Pete talking about? And more important now was his latte. South of his big belt buckle, Chuck made a big tent in his pants. Of course Pete had noticed it long ago. He had long since taken his puny boner out of his pants and was wanking it. As a passenger, you had your duties. And it was still a quarter of an hour's drive. It wasn't the first time Chuck had blown someone in a driver's cab. Driver's cabs, filthy toilets in truck stops, broom closets in cheap diners. He could manage anywhere. How long had he been driving aimlessly on the highways now? Two years? Got there. You had to take what you could get. And Pete was actually out of his league. But he took him a good part of the way. Gratitude was a must.

Chuck walked a little wide-legged towards the restrooms at the service station. Pete must have cum. Chuck hadn't yet. They wouldn't be driving on for another hour at the earliest. It was going to be hell if he didn't find someone to fuck by then. In the light of a lantern, he leaned against the wall, his erection still clearly visible. He took a cigar from his leather vest, lit it and waited. Almost five minutes. Then a greasy business traveler in a cheap suit walked past him. A look that lasted a little too long. A grab in the crotch. A mumbled "20 without a rubber?". And everything was clear. It had been a few days since Chuck had showered, but the guy was still greedily going down on Chuck's greasy, cheesy cock. Premium beef. Yes, that described his cock very well. And this premium beef had just been sucked clean for 20 dollars. And then Chuck sank it into the guy's ass.

Chuck couldn't understand guys like Pete. When you were out on the street, you had to take care of your body. Okay, Chuck more than others, his body was his asset after all. But while Chuck shoveled in lots of chips and a big burger and drank three pitchers of beer, Chuck ate his steak and salad, drank water and used the last few minutes before leaving to do a few pull-ups and push-ups at the fitness station behind the toilets. A few other long-distance drivers loitered around him. If they hadn't had to drive on, Chuck could certainly have earned a few more dollars. But as it was, he climbed into the driver's seat. If he hadn't had to drive, he would certainly have had a few beers. As it was, another cigar would have to do. Pete snored in the back of his bunk. Chuck turned the radio up a little louder to stay awake. And he steered the truck south through the night.

At the next break and before the driver change, Chuck was able to earn a few more dollars. There were many truck stops where he was known as a colorful dog. When you heard his heavy footsteps and the creaking of the leather, it was like a bell on a Pavlovian dog. Chuck had been traveling the country for many years. A mixture of hustler, temporary trucker and casual laborer. He had flunked out of college at some point. Stupid thing to do. He'd had a thing with a woman once. And she'd claimed he'd raped her. That taught him a lesson, since then he only fucked men. They appreciated his mouth, his ass and his cock. And paid well.

Somewhere in New Mexico, Pete threw Chuck out of the truck. He had to be out of the cab before the finish line. Pete would be in big trouble if it came out that he had let someone else drive the truck. He thanked Chuck with a masterful blowjob and a box of Cuban cigars. They would probably never see each other again. The country was big… Chuck rarely got in the same truck twice.

Chuck loved the feeling of the sun on his body. He was able to use the stop for an extensive open-air workout, a good meal, two lucrative fucks and even a shower. Now let's see where he was going. He stood by the road. It wasn't five minutes before a car stopped and the driver asked him if he could give him a lift. Chuck only asked if he could smoke in the car. Only if he didn't just put the cigar in his mouth, was the answer. Chuck got in the car. On the road again!

Pics by @ki-kink

[shuttershocky]

what do you think of shu, new sui kid on the block? i like her design. the colors are very tasty looking :)

Shu's design is my favorite among the Sui siblings so far, very impressive given how much Ling was made to appeal to my personal tastes.

It's the Roberta in her eyes (same artist). Can't help but be charmed.

I also love that her whole theme is agriculture. All the Sui embody an artform. Nian does metalwork, Dusk does painting, Ling does poetry, and Chongyue does martial arts, but Shu's art is agriculture. Not to embody an Asian stereotype here but I love the respect towards rice farmers.

Now as for her skillset, Shu is a Guardian Defender, a bold choice when Saria has so thoroughly dominated the Guardian class (or just ground support units in general) that the last 6 star Guardian, Blemishine, steered clear of Saria and played a funky DPS/Sleep/Defensive Recovery support role just to be able to see play.

Shu on the other hand, returns to focusing on heals and support utility, meaning she'll actually be encroaching on Saria's turf. Let's look at her skillset.

So from her first talent, we see that Shu goes all in on utility, compared to Saria talent 1 bulking herself up with +ATK and +DEF stacks, or Maria's talent 1 letting her attack sleeping enemies. The "rice fields" give HP regen instead of heals (which means it heals unhealable units like Musha or Juggernauts) which greatly extends her versatility, and granting shelter to allies hiding in her sowed times is a nice bonus, but what I really value about the talent is that she sows the 4 tiles around a healed ally as well, meaning you can get great coverage on a map.

Her Talent 2 is kind of a meme. The Max HP and ASPD effects are really easy to get which is great, but the SP and ATK buff applied when four of Shu, Nian, Chongyue, Dusk, and Ling are all in the team is kind of a meme imo. That's 4/12 slots taken for a meh attack buff and a 0.25 SP/s increase, which is lower than the +0.3/s provided by Ptilopsis (although Shu's appears to work on all SP recovery types which is nice). The Sui siblings don't really have all that much synergy with each other (in fact Ling would rather fly solo to have as many deployment slots for her summons as possible) so trying to force the Sui buff by having 4 deployed seems to me like you will just be griefing yourself half the time on harder stages.

Now for her skills

S1 looks to be the exact same thing as Saria's and default Nearl's. I think Saria's S1 will remain the most valuable version of this since Saria stacks both ATK and DEF on herself over time and this S1 is mostly used to make a Guardian act as a tank. Shu's regen and shelter from ricefield tiles would have to be crazy high for me to consider her S1 when I already got both Saria and Nearl on S1M3.

Shu's S2 is interesting, it's basically an upgraded version of regular Nearl's S2 (which no one uses). I need to see the numbers on the boost to Talent 1 to properly judge this skill, but for now this could potentially open up new strategic options (due to being a ground unit-based shelter buff). It's manually activated and heals two at a time which can be a pain in the ass vs just using Saria's S2, but I'm looking forward to seeing how much it buffs her sow tiles.

And now for Skill 3.

Welcome to the rice fields motherfucker, you aren't allowed to leave. The bonus ATK and ASPD for allies inside her range is a buff no other Guardian can provide, but the really cool bit is teleporting enemies who have stepped on a Sow tile back into it if they end up walking too far.

I'm going to be honest, I have no idea if that is insanely broken for crowd control or if it's just a big meme, as you need to heal allies to plant sow tiles (so you can't plant ahead of your units to make an unescapable trap without using an Operator to create the Sow tiles). It is weird and creative and a very different take on Saria's S3 also being AOE crowd control and heals though, so I like it and can't wait to experiment with it.

[amerricanartwork]

What's up with 12th Council Pillar, the House of Braids?

Just wanted to share something interesting I noticed in Metropolis while looking at the room names on the interactive map! I doubt I'm not the first person to discover or take interest in this, but nonetheless now that I'm into the worldbuilding for this game, both canon and headcanon, I hope to at least encourage a discussion about what the rooms I found could possibly be for!

*Oh and by the way, spoilers for Artificer campaign, just in case.

Alright, so I was originally looking for how to get to a specific room for an Artificer expedition, but decided to browse around on the map just to refresh my memory on the region overall. Right off the bat I think it's interesting how this region's rooms are denoted mostly with lexical names rather than the more common "Capital letter + 2-digit number" formula. But scrolling to the right is where my interest really got piqued when I saw this name for the room right before that long corridor on the way to the 12th Council Pillar, the House of Braids, labeled "LC_templegate":

And the next room after that, "LC_templeentrance" confirmed my realization that this was a temple of sorts:

Now don't get me wrong, Rain World has always had a fair amount of religious associations, and even just the name "12th Council Pillar, the House of Braids" gave me the impression from the first time traversing it that it was once some high-esteemed, holy location of sorts. But I guess that never really sank in and captured my greater interest until now.

Part of that's because earlier I was focused more on just completing the campaigns from a basic playthrough perspective, not yet as big on uncovering every little lore detail, and another reason I didn't really take it in was that, at the time of my first Artificer playthrough, I wasn't as big on headcanon worldbuilding and trying to uncover/imagine Ancient culture and society outside of very general ideas. But now I think about it, another major part of this lack of realization was because of how the main rooms of this subregion that stuck out in my mind were the low-gravity iterator-esque zones. Many of which are explicitly labeled with "LAB", like this one, and they even have the same neurons, inspectors, and/or those gravity-distorting spheres:

I mean, that cube at the bottom even very strongly resembles an iterator puppet chamber!

But then the questions become: what are these rooms for, why are they so similar to the interior of the iterator they sit atop, and why put them in what seems like it was supposed to be a temple? And by extent, is this something unique to Five Pebbles, or do other iterators have similar temple-labs somewhere in their cities?

I guess the reason these parts stuck out to me more than the actual temple association was because 1.) we don't see this low-gravity mechanic and these features anywhere else in the game besides inside the iterators, so it already gets points for uniqueness, and 2.) they're such a great contrast to everything else within Metropolis; even the "temple" rooms still look very similar to the rest of the region in their general aesthetic.

Seriously, what's up with all this "lab" stuff? It's not that I haven't seen these things before at this point, but why are they here, in a temple, of all places?

However, I do really like this idea so far, as I believe it speaks to a theme of Rain World I really enjoy: the seamless blend of science and spirituality. I enjoy seeing fictional worlds where "magical" things are not only objectively real, but have a scientific in-universe explanation, and/or are employed to create magical technology, yet in a way where these two ideas can exist in harmony rather than seeming like opposites. And the Ancients seem to have been very big on that, not only having a very strong cultural sense of spirituality but also being very technologically advanced, and incorporating those spiritual ideas and even elements of the world into their tech (ex: mass rarefaction tech derived from Void Fluid, an objectively real and "magical" substance with direct connections to their religious beliefs).

I have yet to come up with an explanation for what these iterator-esque lab rooms are (and on that note why they so strongly resemble iterator interiors, to the point they even contain their neurons and inspectors, which are supposed to directly aid in their functions). But as of now, just going mostly of basic gut instincts, my current theories are: A.) they exist in the temple so that whatever scientific endeavors carried out within were blessed with a sense of "holiness" in a similar manner to the holy ash Pebbles talks about, and B.) whatever tasks they were used for was one entrusted to the clergy class of this city, probably because the tasks were seen as something very important and connected to the Ancients' spiritual beliefs.

However, as I said I'm hoping to invite discussion with this post. Figuring out the Ancients' design philosophies and intentions for their creations has been a passion of mine when it comes to my headcanons, so I really do want to see if I can find a more concrete, or at least reasonable answer as to what the overall purpose of the 12th Council Pillar, the House of Braids was. Therefore if anyone has any extra details or theories as to what it was, I'd love to hear them!

And if you made it to the end, thanks for listening to my little spur-of-the-moment ramble!

[why4anne]

Money Power Glory

Pairing: Charles Leclerc x Reader

Category: Mafia! au

Part: 2/?

Word Count: 2.3k

Warnings: Stalking, drugging, kidnapping

Summary: When you accidentally found yourself in the middle of a mafia show down you had no idea that your life was about to change, forever. For better or for worse.

Masterlist

The days that followed the gala were a whirlwind of emotions and contemplation. Charles Leclerc's unexpected presence in your life had left you in a state of curiosity and caution. You couldn't deny the magnetic pull between you, but the dangers and secrets that lurked beneath the surface still weighed heavily on your mind.

You found yourself torn between the intrigue of Charles's world and the desire to lead a simple and safe life. Yet, as each day passed, you couldn't escape the lingering thoughts of that fateful night and the green eyed man who had played a pivotal role in it.

It was on a quiet evening, you were sitting on the couch in your cozy apartment, when your phone buzzed, breaking the stillness of your thoughts. The message was simple, yet it sent a shiver down your spine: "Meet me at Hotel de Paris tomorrow at 8 PM - Charles."

The message was oddly straight forward and cryptic, but it held an air of urgency that you couldn't ignore. It was an invitation that you knew you couldn't decline, not when you had already been drawn into this intricate web of secrets.

The following evening, you arrived at the luxurious restaurant in the hotel, a charming and dimly lit establishment that overlooked the glamorous heart of Monaco. The atmosphere was serene, a stark contrast to the chaos and danger you had encountered in Monaco as of late.

Charles was already there, seated at a secluded table near the window. His gaze lifted as you entered, and a warm smile graced his lips. He stood, kissing your cheek and pulling out a chair for you, a silent gesture that spoke of both respect and courtesy with an underlying tone of flirtatiousness.

"You came," Charles remarked, his green eyes locked onto yours as you took your seat.

You nodded, your curiosity once again piqued. "Your message left me with no other choice, Charles. What's this about?"

Charles leaned in closer, his voice a low murmur. "I wanted to talk to you, away from the prying eyes of the gala. I felt we needed a more private setting."

“We’re literally in one of the most popular restaurants in all of Monaco. I doubt we will be able to speak privately here.” You pointed out the obvious, but as you looked around you, you noticed that all of the other tables are empty.

“Don’t worry about that, love. I bought out the entire restaurant and the staff have all been paid off, they won’t bother us” He said nonchalantly, as if it was no big deal.

“How is that even possible? This place is booked up for weeks in advance” You were flabbergasted at his confession. How could one person just shut down one of the best restaurants in Monaco?

“I know people” He brushed off the entire situation “Now, we have matters to discuss.”

Your heart raced as he spoke, your apprehension growing with each passing second. "What matters, Charles?"

He sighed, his gaze clouded with a mix of emotions. "The world I live in, Y/N, it's not as simple as it may seem. Monaco may be a paradise, but it's also a web of power, secrets, and danger. I need you to understand that what happened on the night we met was not a one-time occurrence and you being there put you on the map for some very dangerous people, myself included."

The weight of his words settled over you, and you couldn't help but feel a sense of foreboding. "What are you involved in, Charles? You're telling me that our paths crossing put me in danger from god knows what?."

Charles hesitated, as if choosing his words carefully. "I come from a family with a long history in... certain aspects of Monaco. The incident that night was a result of longstanding conflicts, and I'm afraid those conflicts are far from over."

The air grew heavy with unspoken truths, and you couldn't help but wonder if you were in over your head. The world Charles inhabited was far from the idyllic paradise you had envisioned when you first arrived in Monaco. You thought that you would be living the dream, attending your dream university located in the most luxurious country in the world. Yet, here you were, somehow caught up in criminal activities.

"Y/N, I won't lie to you. Being associated with me can be dangerous. But I’m also the only one who wants to protect you from that danger. I want you to understand the choices you're making."

You swallowed hard, your mind a whirlwind of conflicting emotions. The allure of Charles's world, mixed with the dangers it presented, left you in a state of uncertainty. "What do you want from me, Charles? Why are you involving me in all of this?"

Charles reached out, his hand gently brushing yours. "I don't want you to be a pawn in a dangerous game, Y/N. I want you to have a choice, a say in how you want to be a part of my life. If you want to walk away, you will be in constant danger. But if you choose to stay, I'll do everything in my power to protect you."

The sincerity in his words was undeniable, and the way he looked at you, his eyes filled with a mixture of longing and vulnerability, tugged at your heartstrings. You couldn't deny the connection between the two of you, a connection that had brought you into the heart of Monaco's secrets.

"I need time, Charles," you finally admitted, your voice tinged with uncertainty. "I need time to process all of this, to understand what I'm getting into."

Charles nodded, a sense of relief in his eyes. "That's all I ask, Y/N. Take all the time you need, and remember that I'm here, waiting for your decision."

Five days later you were yet to notice the black car with the Leclerc monogram parked near your apartment complex. Or the amount of men dressed in black that were present in every place you went. After all, they were trained for this, to stay in the shadows, lurking, never getting caught. 

You had no idea that Charles saying that you have any choice in this matter whatsoever was a big fat lie. He was giving you the illusion of choice and you were about to make the wrong one. 

You liked your life as it were, you were studying in the country of your dreams, at the university you’ve always wanted to attend. You didn’t know what exactly would happen if you agreed to Charles’ terms but you were quite sure that you could kiss goodbye to your current level of freedom. You had made your choice, now it was time to tell Charles. 

‘Can we talk?’ You took up your phone and sent him a message, sitting on the couch as you waited for his response.

‘Tonight, same place and time’ Was all that he sent back. You stared at the screen for longer than you would like to admit. The longer you stare the more you wanted to change your mind, but you knew you had to turn him down. You were not about to live in a sheltered box for the rest of your life, not when you were so close to fulfilling your dreams.

8 PM rolled around faster than you would’ve liked and you felt your pulse starting to pick up the moment you stepped into the lavish restaurant once more. There he sat, in his black suit, his hair perfectly styled and his intense green gaze following your every move. 

“Good evening Y/N” He said as you got close enough, getting up in order to pull out the chair for you. “What is your decision?” He asked once you got seated and had ordered a glass of wine, the expensive kind, per his request. 

“Charles, you’ve been very generous with me and I want to thank you for the offer but I have to decline.” You started, and before he could answer you continued. “I understand that there is a… risk, but I don’t want to live in a bubble. I am living my dream right now and I can’t lose that.” You explained, looking into his green eyes. Yet, you missed how his gaze turned cold, calculating. This was not the answer he wanted and he always gets what he wants.

“I see…” He finally said, his voice soft as honey, expertly masking his true feelings and intentions. “I understand and respect your choice, I’ll let you live your life on your terms.”  He was lying straight through his teeth, he was not about to let you go that easily. You were his from the moment you stayed with him after he got shot, you just didn’t know it yet.

“Thank you for understanding, Charles” You smiled and placed your hand over the back of his.

“Of course” He nodded and turned his hand upwards, caressing his thumb along yours. “Well, let’s not waste this night on the boring stuff. What do you want to order?” He changed the subject and motioned for one of the waiters to come over with a menu. You happily took the menu and after a while you decided on their famous pasta.

“Good choice” Charles pointed out. “I’ll have the same dish” He told the waiter.

The night went on, the two of you making small talk and getting to know each other. Which seemed unnecessary, seeing as you probably won't see him again after tonight, but still, it was nice. You missed the way his jaw clenched and the geers turned in his head, forming a plan on how to make you agree to let him protect you.

“It was nice meeting you” Charles said as he walked you back to your cab.

“It was nice meeting you too” You smiled and got into the car. “Thank you for the dinner and good luck with everything” 

“The same to you Y/N. If you ever need me, just ask” He reassured you.

“I will” You answered before he closed the door and all you could do was look back at him as the cab drove off into the night. Your eyes meeting for what you assumed would be the last time. Oh, how wrong you were, if he will have it his way, which he always does, you will be in his arms sooner rather than later.

Four months go by and Charles and his world was but a distant memory in the back of your mind. Only resurfacing when you walk by the restaurants where you would meet up. You moved on with your life, going to class, spending time around Monaco, but Charles did not. All he had done since that night four months ago was figuring out a way to make you his. To have you at his side and now he had finally come up with a plan to do just that. 

The sun was setting as you walked along the streets of Monaco on your way back to your apartment. The bag on your shoulder was heavy with coursebooks and notepads but it was nothing you weren’t used to. You would like to say that you’re kicking ass at university but reality was that university was kicking your ass. After barely getting a passing grade on your last exam you’d decided to pull an allnighter in order to catch up. 

The sound of your shoes hitting the asphalt beneath you was the only thing that could be heard in the young night. The sky was painted in a beautiful shade of pink and you smiled to yourself as you decided to put your airpods in and listen to some music in order to romanticize your life a little. You happily strolled along the sidewalk as the music tuned out the outside world and felt a smile spreading on your lips. You didn’t even notice as two masked men appeared from the shadows of an alleyway, too far gone in your own thoughts to pay attention as the two looming figures got closer and closer. 

You didn’t even have time to scream before a hand wrapped itself around your mouth, cutting any and all sound off before anyone could hear your cry for help. Not that anyone would’ve either way, the street was completely dead, not a soul in sight, no one around to save you. 

You thrashed and fought in a trivial attempt to free yourself from the man’s grasp. Your heart was in your throat and the adrenaline was pumping through your veins but he was just too strong for you. 

You fought even harder when you saw the other man pull out a napkin from his pocket, drenching it in some form of liquid.

‘Oh fuck, they’re going to drug me’ You thought in panic as he slowly put it against your mouth and nose. You tried to hold your breath but it only lasted for so long. You took a breath, trying to keep it shallow but you could feel the effects of whatever you’d just breathed in. 

Your vision started to blur around the edges as you fought to remain conscious. Your attempts were for nothing and you could feel yourself slipping into darkness. 

“The target is secure” The man that wasn’t holding you said into an intercom. You felt yourself being picked up and carried away before you fully succumbed to sleep.

‘What the actual fuck just happened?’ Was the last thing you thought before blacking out.

[syyskirjat]

Sueños de piedra (ch1)

Okay, I promised (to myself) to check out whatever media won the ultimate obscure blorbo tournament ( @who-do-i-know-this-man (I wasn't sure whether to tag you or not but in the end I figured I might as well, hope you don't mind I guess))

Turns out that it's a guy from a 2015 Spanish YA fantasy book

And turns out there's a free sample available! Which is lucky for me because I'm currently very broke

Sueños de piedra by Iria G. Parente and Selene M. Pascual

I don't speak Spanish so I'm gonna rely on the translator quite a lot lmao (well I understand some Spanish actually, but definitely not enough to read a whole book)

The title translates to something like "Dreams of Stone" I think?

Once upon a time in a kingdom far, far away, a prince rewarded a wizard for helping rescue a young girl in trouble. Charming. Too bad none of this is true. In reality, the prince dreams of glory and revenge; the magician, with her spells not always being a disaster and the young woman in trouble, with fleeing from a past that torments her... and from the memory of the man she has killed. Once upon a time...

(Yes this is just Google Translate, sorry)

Okay so, prince, magician and a damsel in distress? Prince wants revenge for something, who knows what, magician is having trouble doing the magic, and the damsel is in fact a killer? Ok ok

The dedication goes as follows:

To all those who embark on a direct journey towards their dreams every day. May you always reach your destination.

Okay so Marabilia is a place? That's apparently also the name of this book series. Is this like the kingdom then? So it consists of three islands, two small ones and one big? Or is it supposed to be a continent? It definitely seems too small to be a continent

I know the blorbo is called Arthmael de Silfos so I'm guessing he's from the Silfos area in the north of the big island then. I can see what's probably a city called Duan and a forest called "Merlon Forest". We also have different towers around the big island, one of which seems to be called the Tower of Black Magic. (I didn't even need to use the translator for those yay xD)

Okay the first chapter is called Arthmael so I guess we're meeting our blorbo already, which is nice

— Let me make it clear: are you going to give my crown to a bastard?

Okay..... the very first line and I already think Arthmael might be a bit of a spoiled brat (I assume he's in fact the prince)

Apparently Arthmael just found out that he has an illegitimate older brother but I guess this brother's mother is noble anyway so it's legit? I dunno yet. Arthmael thinks this guy is blackmailing his father somehow and is already considering poison as a solution

And anyway, what kind of a name is Jacques for a king?

lmao, so much shade to all the kings called Jacques

Okay so Jacques's family is very powerful and loved by the people of Silfos and the king fears a civil war if he disrespects his claim to the throne. Alright. Kinda weird since based on Arthmael's thoughts, this society has a similar attitude to bastards as in European history, but okay then. I wonder if Jacques is even actually the king's son or is this some kind of a ruse?

Arthmael is very cheeky and even references his dad's love life directly to his face, his dad is not very happy

The king tells him to just be a good boy and hopefully they'll find him some crown princess to marry so he'll get a kingdom that way

I guess these different areas on the map are kingdoms then, that makes sense. They look like very small kingdoms but this is a small place in general.

Arthmael doesn't seem to mind this idea except that there's only one possible princess like that in Marabilia and that's Ivy de Dione. Not sure what's wrong with her.

Well, who knows? Maybe, if I wait a few moons, some other bastard, in Verves or Idyll, will come out from under a rock and come offer me her hand.

Somebody's very snarky, that's cute

Arthmael is very haughty about how the people have always known him as the crown prince and accepted him as such, Jacques laughs and asks what has he even done for the people. He's like well he hasn't really done much yet because he was planning to do things once he became king, but he's been supporting the local business (taverns) and employing servants (lmao). Also apparently there are some girls he's seeing...

Apparently Jacques's family are big traders and business people (despite being noblemen) and create lots of jobs, and also big on charity, so everybody loves them

Arthmael is jealous of how proud his dad looks when Jacques says this, and how he's never looked at him like that

Well, I guess you're kind of a little shit so it makes sense, Arthmael

— If the smartest thing is to become the idol of a few starving people in order to be king, I can do it too.

Oh my god, this little brat

He declares that he's going to be a hero, to overshadow the charity of Jacques' family, because heroes are remembered by history while philanthropist aren't

So he plans to become a storybook Prince Charming, saving damsels in distress etc.

Jacques finds this understandably hilarious, the king is not amused

Once Jacques leaves, the king again offers to arrange a marriage to Arthmael, specifically with the princess of Dione

I'm almost tempted. I have never been to Dione, but they say that their ships are the lightest and fastest, and that sailors come to their shores from the other side of the sea, speaking strange languages that only they understand. Who come from lands where women wear short dresses, if they wear anything at all. Places where war is so normal that, as soon as a child is strong enough to pick up a sword, they push him to the front lines.

Alright then, I see what he fixates on

Was there anything wrong with the princess then or?

Barbarians. I remove the thought from my mind.

Oh okay. What a charming young man /s

Dione is like right next to Silfos according to the map btw, is this like one of those neighbourly feuds?

Okay he says it's because he doesn't want a foreign kingdom, he wants to keep his home, which is fair I guess

The king is like what do you want me to do, kill Jacques and his pregnant wife? And Arthmael is just like yeah great idea, because he's a dumbass. The king is like wtf

Apparently Jacques' family is from that Duan city that I noted earlier, and his mother died a few days ago and apparently "her loss is greatly felt"

The king regrets spoiling Arthmael too much, and talks about how Arthmael doesn't understand anything about suffering or anything and only cares about girls

Arthmael is already considering faking his death to make them all feel sorry, because of course he is, he's exactly that kind of guy

He says he doesn't want to go try to charm the princess, he'd rather just go off on his own (also there's a whole bit about how only a man can rule Dione or something and the king of Dione won't accept his daughter to become a ruler)

His dad tells him no, just stay here and be a good boy, don't make everybody gossip about drama in the royal family

Arthmael is like hey you managed to hide your bastard son for years, you can hide my disappearance

They fight a bit more but then Arthmael just storms out, grabs a few things from his room and leaves

a change of clothes, a bag of coins, my sword, and my favourite cloak. I do not need anything else.

Okay then, good luck I guess

To be a hero you only need a brave heart. Or so they say.

I feel like you also need to not be a selfish prick but maybe that's optional

Okay end of first chapter!

Our blorbo seems like a real brat!

But I guess the point is probably that he needs to learn some lessons along the way, or something like that, idk. I'm sure there's a reason for why whoever entered him into the tournament likes him so much

I'm guessing the damsel in distress is not the princess? Probably? She wasn't called a princess anyway. TBH she's the character I'm currently the most curious about. The next chapter is from the point of view of someone called Lynne and I hope that's her. Could be the magician too though I guess? No wait, I think the magician is a guy. Altho idk maybe Lynne could be a guy's name, I don't fucking know.

I'm guessing that Arthmael will try to rescue the damsel so he can be a hero, because that's what heroes are supposed to do, but then it'll go wrong somehow? And then the magician will get involved somehow, I have no clue.

That's all my predictions I suppose. Altho I'm guessing that Jacques might turn out to be a villain somehow, I didn't get the vibe that he was particularly great either, just not as much of a brat as Arthmael, and it would then be something for Arthmael to do when he gets back home. Then again maybe the book will surprise me, who knows. To be honest, it would feel a bit like a cop out if it turns out that the guy he hates actually is evil, but it could be handled well, and it's not like I like Jacques either so far. He seems extremely sus too

No guesses as to what the title refers to yet, it could be anything

Idk, like I said, the damsel's storyline is the one that interests me the most rn, it might actually get me to read further (good job, blurb, you got me)

I still have a surprisingly good amount of the free sample left, there's actually nine chapters here, so idk, maybe I'll keep going? We'll see

I'm pretty happy with how much I was able to follow the text even on my own, altho I definitely had to rely on the translator. I would not have had the patience to try to translate all of this myself. But I definitely understood multiple full sentences! Yaaay xD

Apologies to fans of this book series, I hope I didn't seem too rude

[leohttbriar]

For the Reverse Unpopular Opinion meme: would love to give you the excuse to talk about voyager. (or if that's too easy, something you like about your least favorite star trek series??)

i love voyager. so so much. i tried to think if i love another star trek series i've seen any less than voyager, but i can't honestly say that i do? i love ds9, tos, discovery, and, yes, even snw. i am in the embarrassing position of admitting that i really just love star trek, in a mostly uncomplicated way.

of the things i love about voyager, the premise is probably the biggest one. i have rambled about this a lot already but: i think it confronts for the first time in star trek the inherent sadness associated with us studying the stars--and therefore the sadness that science-fiction writers mostly imagine their way out of, often as a way to speculate a time when this reality may be less real: the fact that space is big. it is too big. the fastest human beings have ever traveled, with their own bodies along for the ride, still isn't fast enough to get us to the moon in less than three days. light--the speed limit of the universe--needs a full eight minutes to get from the sun to us--a relatively close planet. space is enormous. we measure things that are "close" in light-years. everything is so spread out and that's just from the perspective of being inside a galaxy, which is actually crowded when compared to intergalactic space. everything is so far away and so long away and it feels impossible to think of getting anywhere in a time meaningful to us and our lifespans. which is in its own way heartbreaking.

and while in voyager they are clearly not alone in the way we feel we could be (and in practice are until we get the smallest sign that even non-intelligent life exists off our very own special rock) with all the aliens they meet and the fact that they are on a ship that can go faster than light, they are stranded and they are on their way back home and it will still take them a life-time. that's the reality of the story: that they will spend the rest of their lives trying to get back. and though i know they do get back much quicker than that, where i'm at in the beginning of season 3 that is still the reality of it. and this makes literally everything that happens in the show so fascinating--even if it's a plot or an idea that not only happened in another series but was done technically better in that series. every plot in voyager is colored by the tension between what the star trek ethos is as a whole--exploration and diversity and learning and humanity--all in an optimistic light--and what voyager is about--getting back home. it makes me think of the tension in the actual "voyagers," somewhere now in interstellar space, and the golden record with a map of earth's position etched onto it: spacecraft meant to never be returned but contained on them is a deep, deep hope that in some way they will be. this tension, to me, affects everything on the show.

but that's maybe too big an idea without specific examples from the series--i might ramble about that at another point lol

in the spirit of your question, i will say there is one star trek property that i don't particularly care for on the whole and that's the 2009 movie (and sequels). but i will also say what that movie did right and what i do love about it even if i don't love the movie as a whole is how it portrayed the high-tech poetics of star trek in a much more immediately understandable way than even the 90s shows could for a 21st century audience. the "apple-store" aesthetic is really an argument about how this is the future and it's sleek and stylish and humans have advanced in their engineering and scientific abilities. and among this high-tech argument is uhura front and center: she's very loudly and explicitly a linguist and she fits in this silicon-valley look despite the fact that nowadays things like linguistics are considered "soft sciences" in a general way and treated like that very specifically by the tech-industry now (the attitude being "there's an app for that"). but uhura makes a central discovery in one of her labs at the beginning of the movie which gives her and kirk a leg up on understanding the Movie Threat. the 2009 movie significantly raised her importance as a character, to the point that the "main trio" in those movies is, arguably, more kirk/spock/uhura than it is kirk/spock/mccoy---especially if you're going by the movie posters.

also they gave her this line:

UHURA: And did I not, on multiple occasions, demonstrate an exceptional aural sensitivity, and I quote, "an unparalleled ability to identify sonic anomalies in subspace transmissions tests?"

which is excellent world-building about communications-officers, if you care for that sort of thing. and it provides a starting point for an argument about how listening to a universe (famed quiet due to the lack of material through which sound can travel) is essential to understanding it---an idea that can be further extrapolated via sci-fi regarding things like: listening to gravitational waves if we record them right; or working on the idea that all matter is but a vibration in a quantum field; or, from a more cultural concern, the implication that it is absurd to think you can travel to an alien world and not bring someone with an "exceptional aural sensitivity" who can facilitate an exchange of language and, thereby, meaning.

[greenerteacups]

Hi! Just wanted to say the latest chapter is lovely & amazing & sweet & had me smiling the whole time! I absolutely love your characterisation of everyone, especially Draco, so it was so so lovely to return to this world & to his thoughts!! with his best friend and crush at malfoy manor no less! All the yearning is already off to a great start hehe I am so excited for the rest of book 5!

Wanted to ask you how has it been for you to write this new book and volume? Has your writing process changed since when you’d first begun taking on a long form project like this?

& also are there any moments or surprises in this book that you’re especially excited about?

sending so much love & gratitude for you and your incredible works 💓

Thank you so much! This is really encouraging, I so appreciate it.

Inasmuch as I can use this metaphor without having kids myself, I sort of see each of the books as a different child. The first one flew out in basically a few weeks of very intensive writing, and it was a total dream — plot, pacing, symbolism, major beats, all fell into place basically without effort. The character stuff was the hardest, as I've written about before, but even then, the glorious part of writing beginnings is it's the most energy you'll ever have for a project, so the lows were pretty soft lows. Book 2, in contrast, I had to drag kicking and screaming by its ankle from under the bottommost mattress of my brain. It's one of my least favorite books (tone problem; COS has killer plot/setting/ingredients for a YA novel, but it's stuck in the doldrums of Harry Potter's well-documented Early-Installment Weirdness, before Cedric Diggory slams the gas and upshifts the whole series into its correct age bracket). More specifically, once I'd gone through and picked out everything in the book that happened because of Lucius, I didn't have a plot — hey alexa how do you rewrite Chamber of Secrets when We Got No Fucking Chamber Of Secrets — and oh by the way, even if you want to do a moody tone/political setup book, remember that your protagonists are still twelve, so if you go too dark or too intense, you'll risk torpedoing your readers' suspension of disbelief. Good luck, Charlie.

Book 3 felt the most like its own novel, if that makes sense? It's the last truly feel-good book of the series; it's a great stand-alone mystery novel with relatively low stakes. Plus you get a bunch of the big series icons: patronuses, dementors, werewolves, Hogsmeade, the Marauders' Map, and time turners arithmancy. It just felt like a good old-fashioned motherfucking romp of a mystery/adventure story, before any of the complex character work and major stakes of the late books come in.

Book 4 was the most fun I've had writing anything maybe ever. I don't even know what it was. Maybe the tournament arc, honestly? Love me a tournament arc. But in any case, I opened every new chapter feeling a tingle of excitement for what I was gonna get to do. Oh, and the romance started, finally, Jesus God (if it feels like a slow burn reading, just imagine what it felt like writing it, when everything takes ten times as long, and you have to figure out how to word the fucker.)

Book 5, in contrast, has felt much less like that tingle of "here we go!" and more like "oh, man, this is gonna be cool." Because this is the arc of the story that composed the original idea for Lionheart, literally years ago, and to be honest, I didn't think I'd get this far! If you'd asked me "do you know that it's going to take you 500,000 words of backstory before you can start writing that concept you're thinking about, and you're going to do it anyway?" I would have said: "absolutely not, strange mind-reader!" But like... I'm here! Finally! And it's... real now? Like, this isn't just a bunch of clips of scenes in my head anymore! That's rad!

That being said, it's definitely been slower than Book 4, because I kept switching back to my outline document to make sure that certain things were set up properly, and that I hadn't lost any of the plot threads or forgotten a minor beat that was vitally important for the story three chapters later. And I had a minor crisis about three months ago when I ripped out about 8 chapters in the first third of the book — basically everything from September to December — because I'd done a readthrough to check pacing (big mistake! never edit while drafting, that's satan talking) and realized I had a missing storyline. Like, there was a whole layer of the story that was just. Missing. Not there. And the existing text really couldn't fit another thread, so instead of taking weeks to pore through and try to sift out what I could save, I needed to factory reset and start over. And I didn't want to! I vividly remember sitting there with my head in my hands, trying not to weep, because I'd decimated 90,000 words of work in a single edit. But it had to be done. Because the story wasn't going to work. And now (hopefully) it will.

And of course, there's still that sense of excitement and exhilaration from before. Always. But whereas Book 4 felt like a delicious chocolate pudding, Book 5 is a medium-rare steak.

(Book 6, so far, is four shots of espresso and a whiskey chaser. FWIW.)

[whinlatter]

Hello!! First of all I wanted to say I’m obsessed with your writing ❤️ Your hinny feels so real and nuanced, and I really appreciate how well you address their trauma and struggles they might have in their relationship while also showing their deep love for each other. Because of this, I would LOVE to hear any thoughts you have on what Harry and Ginny would be like as parents, such as what their biggest challenges would be/how they'd get through it, etc (and if you have hcs about the kids that would be the icing on the cake 😁)

you are a true angel for this! although i do (of course, always) have takes on harry and ginny as parents, i'm going to save them for another day while i still have other writing bits to do. BUT what i do have is a WIP fragment of a dad!harry and james scene that i originally wrote for the orchards sequel and that i'll probably never do anything with but that i sort of like anyway, because james is my favourite potter child for no reason other than i love the idea of harry potter and ginny weasley having accidentally given birth to someone easygoing/ronald weasley 2.0. i really hope you enjoy!

In the kitchen, four o’clock, sunny day, warm. He takes the potatoes out of the oven, gives them a good shake in the tray.

‘It’s nice, our house.’ 

When he looks up, James is at the kitchen island, going to town on an enormous bag of crisps. It’s a source of professional anxiety how easy it is for his children to sneak up on him. ‘Glad you think so,’ he says to James, as he puts the potatoes back in the oven. ‘You’ve only lived in it your whole life.’

‘Yeah, but I never really thought about it before.’ Big bite, raspy crunch. When he turns back, James is looking out of the kitchen window, peering into the garden, like it's his first time seeing it. ‘When you’re little, you just think it’s your house, don’t you. You don’t think, hey, this house is nice. You just think, this is our house.’ 

‘I suppose not. Don't fill up on crisps, you'll not want dinner.'

His son scoffs at that - as well he might, the appetite on him these days. Gin says it's a Weasley birthright. With another munch, James starts examining the ceiling beams. 'I like it,' he says decisively. ‘It’s a good house. Big, loads of light. Homely. Good garden, plenty of bedrooms. Gets sunshine from all sides. Not far from Granny and Grandpa Weasley’s. Near the sea.’ 

‘Is this you telling me you’re considering a career as an estate agent?’

‘Nope. Just saying.’ James considers his next crisp clutched between his forefinger and thumb. ‘Reckon I’ll raise my kids here, too. Leave it to me in the will, won’t you?’

‘Not sure about that one. What about Al and Lil?’

Dismissive wave of a hand. ‘Easy. I’ll pay them off. There’ve got to be some perks to being the eldest son. First-come, first-served, that’s the rule.’

'And Teddy?'

'Easier still. He still owes me for running over my foot in that driving lesson. I've been limping whenever I see him, laying the groundwork.'

He looks at James, black birdnest of hair, bright brown eyes, scrum of freckles. He’s got quaffle blisters on the base of his palms. 

‘You’re doing it again.’

‘What thing?’

‘What thing, he says. Staring at me. That sentimental thing you do.'

‘I don’t do a sentimental thing.’

‘Yeah, you do. Al and I take bets on how many times you'll do it at family events. Your eyes get that spaced-out look. You’re about to tell me you love me, aren’t you?’

‘I do love you.’

'Yeah, yeah.' Eye-roll from James, though he's grinning. Tosses the crisp packet in the bin with a Chaser's precision. They take love in their stride, his children: receiving it, giving it out in spades. 'Listen,' he says, 'about those roast potatoes - very important - '

‘Crispy. I’m on it.’ 

'Good man,' says his son, and heads for the door. 'Back in a bit. I'm going to go map out where I'm going to put my swimming pool.'

[eerna]

Oh that ask you answered about how you would rewrite Callum and rayla's relationship in the show without changing major major details was really interesting and you liked of hooked me with the idea of trying to keep your rewrite within canon realm.

So I wanna ask what would your rewrite be for tdp in general outside of canon realm and do you ever plan on making a fic on it?

Ayy I'm glad, thanks~ I am totally up for some outside-of-canon idea throwing, sounds fun! However, keep in mind I am not saying my vision is what the show should have been like. I am not a professional writer. I can only give some ideas for how to fix the stuff I didn’t like and what would make the story engaging for me personally. And no, I would never write a fanfic based on this. I already have an unpublished 40k+ word TDP fanfic I can't complete because I lost my passion for the series, so going on an epic fantasy writing bender is definitely not in the cards for me. If any of my ideas sparkle anyone's fix-it wires, I give them my blessing to go forth and write it instead of me :) 

You asked for outside canon, but we gotta establish some rules first, because if I turned TDP into a story I PERSONALLY wanna tell, it wouldn’t resemble it at all, so we gotta keep it at least a little canon-consistent. In addition to that, this series’ refusal to disclose important worldbuilding info within the main storyline means my knowledge of its lore has enormous gaps shaped like tabletop guides and video game dialogue screens. I will rely on the wiki for this to the best of my abilities and if most of the lore is totally dropped, don’t blame me. In this rewrite I will establish THEMES, WORLDBUILDING, and CHARACTERS, and then even a bit of the PLOT. I will do my best to adhere to the existing themes and the worldbuilding. I’ll only use the characters already created for the show (while giving them a few new characteristics) and the plot will be only hinted at because dear lord I can’t map out 7 seasons of a TV show in a tumblr post. I am also gonna stay in the Y7 rating range because eff you people who think kids can’t handle interesting stories. There’s gonna be lots of ATLA comparisons because this show insists on trying to be ATLA and I can’t ignore that. Continuing under read more because this got LONG (I had to stop myself almost 8k words in. Someone save me). 

THEMES

TDP is trying to do way too much when it comes to themes - it wants to be complex and nuanced, but it doesn’t walk the walk. ATLA did it best, they kept it simple, but added a hint of complexity. We will do the opposite: we are concentrating on ONE big, nuanced concept that we will be writing around, and peppering in the other stuff as character garnish. The one big theme we will be concentrating on is THERE IS NO TRULY GOOD GUYS IN A WAR. We will be sacrificing the “How do we forgive and forget after the war?” theme because it would require starting the show after the war is officially done, as it is far too large of a concept to be used as a second-act theme (also, I was born first generation after a war, and my answer to that question is not the correct tone for an epic fantasy quest). Instead, we will make it a smaller scale character garnish of “how does this character put aside their hurt and work with the people who have hurt them?”. 

Secondary themes will be: You have to keep your mind open and learn from everyone you meet. Our planet deserves to be treated with respect. Everyone has a place in this world. Love can make people do vile things. Nature VS nurture. Divine right VS meritocracy. Plus other Truths that will be discussed in the following sections.

WORLDBUILDING

Again, ATLA made a very simple system of four (or three) different countries and then went ham with it. We can’t do that because I am not redoing the entire universe, but let’s try making it less overcomplicated while keeping the map sort of the same. The two nations at war are Xadia (as seen in the show) and the Neolandian Empire (includes all the human kingdoms). The areas are generally the same as they are in the currently available lore of the series, unless stated otherwise.

Magic

First, we gotta establish the magic system. The whole arcanum setup can stay the same. The world is made up of six primal sources: the Sun, the Moon, the Stars, the Earth, the Sky, and the Ocean. A deep connection to one of the primal sources is called the arcanum, and an arcanum means you understand what this primal source brings to the world, and the Ultimate Truth behind it. Once you understand this Truth, you can use the spells (in draconic language) connected to it to manipulate the world around you acting in accordance to this Truth, and this makes you a mage of primal magic. So it isn’t just controlling the elements, the Truths are applicable to a wide range of situations (for example, if you break a plate, you can put it back together by connecting to the Earth arcanum which understands that all things that are now broken used to be of one body and spell it back together). Creatures born to one of the primal sources understand this truth perfectly from the get-go, but they still have to learn the draconic incantations to effectively use spells, which is why not every primal source creature is also a mage. The more difficult the spell, the deeper your understanding must be - the most powerful mages live solely according to their arcanum’s Truth. But since the Truths can be contradictory or uncomfortable to tie to each other, the deeper you are connected to your Truth, the less chances you have of understanding other Truths. Creatures born to one of the primal sources don’t have the ability to fully commit to any other primal source - they can get it in theory, but can’t tap into its magic naturally. They all live in harmony with one another, balancing the world and its inhabitants. But there is one creature in the world born without a connection to any one primal source, but with the cognitive abilities to learn to understand them. That’s right, ALL humans have the potential to understand multiple arcanums, and are only limited by their philosophical abilities. This means our magic system is based on philosophical thought. Magical creatures are naturally predisposed to it, but it limits them, and are the equivalent to people who limit their worldview only to their personal lived experiences. Humans have the potential to gain limitless knowledge, but the difficulty of that path and the disadvantage with which they start out often discourages them from even trying. Magical creatures tend to view humans as inferior because they perceive them as incapable of living the same blessed balance as they do. They see their potential to learn multiple types of magic as a transgression against the ways of the world, and have outlawed any magic done by humans. This means humans were completely dependent on magical creatures for things such as shelter, physical defense, food, et cetera. And if you repeat to someone enough times that they are a parasite on the world and have no right to live in harmony with it, they are going to try and live as separate as possible in their own way.

And here we reach the dark magic. Dark magic can perform the same spells as primal magic - and yes, every single dark magic spell has its primal equivalent. They are simply different means of getting to the same end. However, dark magic skips the “needs a connection to the arcanum” part, and instead consumes the amount of primal magic energy proportional to whatever you need to do. To fix a broken plate with dark magic you need to say the spell, and provide the appropriate amount of primal Earth magic, through a plant or a creature connected to the Earth arcanum. Primal magic is lots of spellbooks, conversations and philosophy. Dark magic is necromancy, recipes, potions, way more scienc-y, as it requires a lot of experimentation and trial and error to determine how much magic needs to get used in spells to achieve the desired effect. Primal magic is borrowing, manipulating, and returning the magic around you to reach the desired effect. Dark magic is taking the magic and consuming it to reach the desired effect. Once you spend all the magic in one area, it takes centuries for it to get replenished again. The only effect it has on the user’s physical appearance is the black eyes for the duration of the spell, but none of that “gray white corpse” look (it looks cool but is way too on the nose). Dark magic use is strictly regulated and its secret closely guarded to ensure it is used only “in service of the Empire”. The humans use magical items in their everyday lives, which the show should showcase - we need to understand how much these people rely on the magic. I am trying to format it as the equivalent of plastic in our world, if you can’t tell - something helpful that’s not bad in small doses, but once you base your system on it, it totally ruins everything. 

History and geography

Xadia was once one land where humans and magical creatures lived together. The archdragons were never rulers - they were revered as gods by Xadians, seen as the embodiment of the primal sources on earth, but they stayed in their heavenly abodes, perfectly in-tune with their arcanums, above all squabbles of mortals. There were no countries, the nations organized in settlements according to their arcanum, but that doesn’t mean there were no conflicts. The primal tribes understood they had to live in harmony to keep the world balanced, but their opposing beliefs kept them at each other’s throats if they got too close to each other, so they all preferred to stay separated into societies that functioned according to the Truth of their primal source. Humans had no tool to deal with the dangers of survival in the dangerous magical wilds, so they too lived in these societies, protected by the primal magicians, but also seen as lesser beings in a magic-oriented world. Deviation from the laws and beliefs of society, including humans doing magic, was seen as a danger to the balance of the world, and some humans preferred to leave and start their own settlements. The settlements were small and fell quickly, but the largest of these was Eboreus, all the way to the inhospitable desert in the northwest of the continent, where dark magic was discovered. Empowered by this new power source, it grew into a kingdom named Neolandia, a safe haven where the humans despised by the magical creatures could find refuge. The dark magic ensured humans held resources for their own survival for the first time, and as their numbers grew, they needed more and more access to magical resources once they spent the ones already in their possession. At first expansion was easy, since the area was all wilderness, and Neolandia grew in strength. By the time they spread to the first Xadian settlement, they were powerful enough to take it on in battle once negotiations fell through, and thus the big war started. The territory ruled by humans split into kingdoms to make it easier to govern. The expansion was stalled over the past 500 years because their numbers stopped increasing, and also because the forces reached the Breach, the mountain range separating the continent in half, which is almost completely devoid of magical properties (aside from the Xadians guarding it). Conquering it would take a long time and a lot of resources that couldn’t be replenished until it is completely passed, so the Empire has to change its war tactics. Katolis, the youngest of the kingdoms, partially resides in the Breach and marks the frontier of the war. Katolians are soldiers, their culture devoted to defending and expanding the Empire. A year ago the king of Katolis and his High Mage did the unthinkable - they snuck into Xadia and slayed Avizandum, the sky archdragon who resided in the Breach. This sent the continent into an uproar, Neolandians empowered as god killers, Xadians angered at the defilement of their most sacred beliefs. Both await what magnificent magic will be unleashed upon the world now that Katolis has such a powerful resource in its hands.

MAIN CHARACTERS

Callum. The fourteen-year-old adopted son of Harrow, the king of Katolis, he doesn’t fit his country’s warrior ideals and feels rejected by both the society and his family. His mother, a Katolian general who famously perished in service of the Empire, married the king when Callum was very young. He is no good at fighting and is scared of war, so he prefers to spend his days hidden alone in some nook, reading poetry and drawing. He has an interest in magic from a lore standpoint, he doesn’t want to try it himself because it’s not something you just dabble in: if you decide to become a dark mage, you stay a dark mage until death. He is kind-hearted and emotionally mature, his mind open to any and all ideas, but this also makes him anxious and insecure - if anything is possible, the world feels unstable. Callum is going to be our protagonist, who we accompany as he learns lessons about the world and himself.

Ezran. We are rewriting the heck outta this little dude. He was supposed to begin his education as the crown prince of Katolis this spring, as he has just turned 10, but for some reason his father delayed it. Ez is very glad for this, as he quite enjoys being a carefree little kid with no responsibilities. He is everything Callum isn’t - social, silly, optimistic, and energetic. He loves the entire world and tells stories of the most basic things with the wonder of a fairy tale. This means that when he tells people he can talk to animals, they smile at him indulgently and marvel at the prince’s creativity. Ezran as a character is supposed to embody a child’s lack of awareness when it comes to differences between people - he sees everyone as his friend, and believes everyone is the same. The Earth arcanum follows the same principle, and here is where his ability to speak to animals stems from, even if he is totally unaware that he is doing magic. He is the kid in the zombie apocalypse - you don’t want him to be corrupted because he symbolizes the potential of future generations. However, at no point are we making him a monologuing mouthpiece or the best king who ever lived, since his story is in his potential to grow, and not his perfection as he is. I am writing Bait out because I honestly hate his role as an useless damsel in distress, and the role of the animal companion is already filled by the title character, and it’s not like I can write HIM out.

Harrow. The king of Katolis is meant to be Ezran 30 years into the future, an optimist who forgot how to believe in a better world because he was pressured to grow into the role expected of him. His wife, general Sarai, and his High Mage, Viren, supported (read: pressured lovingly) him and made him into the brave, fierce king he is today. A year ago he led a bold invasion into Xadia which was meant to turn the tides of the war - the plan was to kill Avizandum and harvest his body for magic for years to come, even subduing the Breach along the way. However, once the archdragon was slain, his body dissolved before it could be transported back to Katolis. Viren predicted the reason - archdragons were manifestation of primal sources on earth, so when all that magical energy was released from its physical form, it must have reformed somewhere. The answer awaited them in Avizandum’s nest, the Stormspire (now located within the Breach) - an egg of a newly reincarnated sky archdragon. Harrow and Viren took the egg and hid it from the world, buying time until Viren figures out what to do next. However, this close encounter with a god left Harrow’s faith in his life’s path shaken. Who is he to meddle in affairs he can’t even comprehend, such as the laws of the universe? Could it be that the survival of his people doesn’t have to be achieved by destroying the existing world? Did he choose wrong all those years ago? Looking at his small son, he can’t force himself to force the same choice upon him, not yet, so now Harrow is stuck in a limbo of his own feelings and re-examining his entire life with no one to confide in. 

Viren. I am totally stealing from The Kyoshi duology for his villain type, and I am not sorry. Viren is the High Mage of Katolis, the king’s closest advisor. He and Harrow have been the closest of friends since their youth, despite their wildly different origins. He was the son of an Evenere farmer family, and he got sent to a Katolian military academy, where he met young Harrow who had just begun his own education. The boys became fast friends, but soon Viren was recognized for his intelligence, work ethic, and high potential for dark magic. Dark magic is usually taught generationally within selected families which makes the study very elitist, but his drive and ambition led him to excel, so that by the time they finished education, Harrow took him back to his castle where he could become the High Mage’s apprentice. From the very beginning the drive behind Viren’s ambition was the knowledge that he is all that’s standing between those he loves and utter ruin - first it was the financial difficulties his family faced that were mitigated by his high paying position, and now it is the responsibilities of one of the most important men in the country. As mentioned before, Harrow faced many difficulties adjusting to the role expected from him as a king, and Viren saw himself as his compass, the one making the hard decisions that save the world until the king becomes strong enough to make them himself. And for a while, it seemed it worked and Harrow became the ruler that could defend humanity from Xadia, but ever since their return home Harrow has been growing more and more distant from Viren. For the past year Viren has been trying to figure out how best to harvest the archdragon egg. He knows he only has one chance to use its energy, because if he kills it, it will just respawn back at the Stormspire, and since Xadian forces have now been alerted and concentrated in that area, he won’t be able to get it back again. Dark magic relies on experiments, and he doesn’t have the right to experimentation. The dragon was supposed to power the Empire with magic for years, but now it turns out they get one single spell out of him. He knows that if word gets out, all of Xadia will descend upon Katolis, so he doesn’t even dare share his discovery with other High Mages. He’s been slowly breaking under the pressure, and the only other person who knows about the situation, Harrow, is of no help. Lately, he has even started saying their way of life is wrong, and they should have never stolen the egg. His strength is faltering. Viren is used to doing whatever is needed to save those he loves, but what happens when those loved ones are the ones preventing him from saving them? Harrow is a possible Ezran future, and Viren is a possible Callum future, a man who had to carve a place in the world for himself, who felt powerless until he discovered something that made him more powerful than anyone else, whose sense of right and wrong is so strong it might even overpower his love for his brother. 

Claudia and Soren. Soren is the himbo disappointment son, he inherited none of Viren’s intelligence, or magical talent. He is ambitious and a fantastic swordsman, a true Katolian, so he recently managed to score the position of the captain of the king’s guard at only 18 years old (his dad’s only comment was “Excellent, now you can report all of the king’s everyday life to me”). Claudia, on the other hand, is a magical prodigy - at only 16 years old she has almost reached the same level of skill as her father, which is something Viren is immensely proud of. However, Claudia is very chaotic and doesn’t take this entire “We’re the only thing standing between the Empire and total ruin” thing seriously, and likes to spend her days doing normal teen girl things such as inventing new potions and befriending the princes. Soren desperately wants his dad’s approval and is doing his best to get it at any price, making him a parallel to Harrow. Claudia doesn’t worry about what her dad or anyone else thinks, but she fully believes in “no price is too high to save someone you love”, making her a parallel to Viren. The siblings grew up with the princes, but Soren stays away from them (out of envy) while Claudia is friends with them. She taught little Ez the spell for speaking to animals when they were both kids, but she doesn’t know he still uses it on a daily basis in a totally non-dark way. She is the reason Callum knows as much as he does about magic, since she sees him as a cute little friend she can infodump to (as long as she doesn’t lay out the details of the ingredients needed for the spells, it doesn’t count as revealing big secrets of the dark arts. After all, what could a human boy do with draconic words??). He is of course massively crushing on her and remembering every word she’d ever uttered. 

Rayla. Our sole elven main character. The murder of Avizandum prompted Xadians to band together in a more organized manner than has ever been seen in history and retaliate against Neolandia with united forces. After a year of preparation, the first wave of attack is ready. The Moonshadow Assassins will send a pair of lethal killers to each of the five kingdoms, one to kill the ruler, the other to kill the heir, causing civil unrest and sowing fear. Rayla, the youngest of the band at 15, was sent to Katolis with the leader of the group and her adopted father, Runaan. She is everything that is expected of a Moonshadow Elf: a ruthless, fearless fighter bound by honor to serve her tribe. There is nothing more sacred to her than fulfilling the mission given to her by her elders. Any doubt or weakness is to be stamped out quickly and without a single thought. This mission marks the end of her initiation into her tribe - once she kills crown prince Ezran she will be considered a fully fledged member of the Moonshadow Assassins. Her character role is to serve as an opposite weight to every other child character, where she has already chosen her path and created a much more mature space for herself as a kid should have. She needs to learn that vulnerability is needed to live a fulfilling life, and showcase the effects of the golden child syndrome. In this, she is the foil to Callum.

Aaravos

He is gonna be the ultimate Big Bad, the god our characters deal with in the final decisive battle after all the smaller villains are done. The star arcanum doesn’t have much in canon lore as it’s meant to be a mystery, so I am about to invent a whole lot of crap. In this story it deals with the Truth of eternity, the existence of the universe as something so vast and limitless no mortal mind could ever comprehend it, and thus a “startouched mage” is an oxymoron. It also differs from other arcanums in that it’s not one single whole, but many separated ones that make up one bigger whole. Each star is a world upon itself. As mentioned, it is incomprehensible to everyone in Xadia - it is a rare thing to see a creature who comprehends even the basics of the star arcanum (which would be “I know I am less worthy than a speck of dust when compared to the infinity of the universe” - I don’t think many useful spells exist in that vein), and no elves exist of this race that are born to the knowledge. In that vein, instead of having only one archdragon, the star arcanum has as many as there are stars in the universe, and Aaravos is one of them. As opposed to the other archdragons, his interpretation of his arcanum makes him interested in mortal affairs. Sadly, this twisted interpretation also means he has interest in world domination, as he sees himself as the only creature capable of comprehending the ways of the universe, and thus that makes him the most logical choice for the emperor of the planet. As a character his role is to represent overstepping boundaries, the sin of pride, what happens when one has no limits - so the same flaw present in a lot of rulers, explorers, and desperate people, and it just so happens our main cast is filled with those. He is limited by not having a physical manifestation that can walk the earth, though, so he has to build one for himself. He infects mortal minds through star arcanum. There are no mages who are dedicated solely to star magic - the world is already filled with more secrets than one could fit in a lifetime, so why waste time searching the stars to an even more futile effect? Still, those who manage to figure out at least a little bit of the arcanum leave their minds open and vulnerable to Aaravos’ influence. He is NOT some puppetmaster who is to blame for every single bad thing that ever happened in history, though. In most cases his hosts are driven insane because they can’t comprehend the spells he is trying to teach them, so he has been searching for a suitable host for a long, long time. As there are no elves tied to this arcanum, this leaves humans as the only ones who can interact with it, be it through primal magic… or dark magic. Let me remind you, in this rewrite every primal spell has a dark equivalent, but where primal spells are fueled by mind’s ability to comprehend philosophical concepts, dark magic needs only a source of magic connected to the primal source tied to the spell. This is Aaravos’ connection to dark magic - he sees it as a possibility he’d never had before, a medium through which his hosts will no longer be driven insane before managing to build him a body. 

THE PLOT

I think the seven season, three-act structure first presented by the writers (before it went off the rails) was good, so I will stick to it! Each season will be dedicated to one of the types of magic (so 6 primal sources + dark) that teach the characters relevant lessons, be it positive or negative. However, I am switching it from a fully overarching single story to the ATLA-like episodic that builds up to a big story, simply because that is a much better format for TV in my opinion. I am gonna lay out only the basics here. You know the drill, they travel around the world and do side quests and help lots of nice people who help them in return. The fact that they are carrying around a god makes Xadians more willing to trust them, and the fact that they are missing Katolian princes makes humans feel the same. Also I am not calling the seasons “books” because this isn’t ATLA.

ARC 1 - lasts ~3 months

Season 1: Dark

Starting off with dark magic because this would be the kind most of our characters have lived their life knowing. The thesis of dark magic is “by any means necessary”. 

GENERAL OVERVIEW: The king of Katolis is assassinated by the Moonshadow Assassins in retaliation for the killing of Avizandum, the sky archdragon. The two Katolian princes and one of the assassins discover that the archdragon had been reborn as an egg, which the High Mage aims to kill once and for all. Knowing that the assassination is only the opening act of a horrifying war that could end both their countries, they steal the egg and escape the kingdom, planning on returning it to Xadians as proof that the damage Katolis has done isn’t irreversible. They reach the Stormspire, but the guardians there are unwilling to credit humans for the return of the egg, so the trio decides to keep going and find someone who shares their views.

CALLUM: He starts the season out unsure of his position within his family and his country, feeling like a reject from both. His father tells him “I used to think I would do anything to protect my kingdom, but I am not so sure that would be the right thing anymore”, which prompts Callum to think about his own position on the subject. He discovers he possesses the ability to perform dark magic. By the end of the season he concludes his little brother is what is most precious to him, and realizes that his country and empire were wrong in their approach to the Xadian issue. He swears not to do dark magic again.

RAYLA: She starts out as cold, focused and effective as possible, but the discovery of the egg and Ezran turning out to be a smart, optimistic little boy who feels no hatred towards her and could grow into a decent king makes her change her mind on the topic of bringing absolute war to the world. This enrages Runaan, who attempts to kill her for betraying her tribe. She manages to escape badly shaken by the experience, but she rationalizes it as “I am doing this for them, they will understand one day and be thankful for what I’ve done”. Her left hand is bound by a magic ribbon as a symbol of her oath, and every day that Ezran lives, the ribbon gets tighter until her hand will be severed. This too is, to her, proof of the sacrifice she is making for her people.

EZRAN: He is the only one capable of communicating with the infant dragon inside the egg, thanks to his ability to speak with any and all creatures in the world. This makes him feel responsible for something for the first time, as Callum and Rayla would have no other way to figure out if the dragon is doing ok. Other than that, his role is to be cute and optimistic while the teens are being emo.

VIREN: Viren could have saved Harrow’s life when Runaan got to him, but chose not to as the past year made him fear Harrow could no longer be a good ruler. He is well respected throughout the Neolandian Empire and has many resources, but he can’t trust them because the egg might be discovered and he might be declared a traitor. And so he sends Soren and Claudia after the princes, but gives them different jobs: he confides about the egg’s existence to Claudia, knowing he can trust her curiosity regarding magic and informs her to bring it back at any cost, while he tells Soren to kill the princes, banking on Soren’s obedience and the ability to do what is needed. In the meantime, he himself starts organizing defense against Xadia and buying time for the siblings to return. That’s his plot for the entirety of arc 1, he travels around the human kingdoms hanging out with people who respect him and grows more and more paranoid.

Season 2: Moon

The theme of the season is “Reality isn’t the only truth; you can only truly know the appearance itself, and you can never touch the so-called reality that lies beyond the reach of your own perception”.

GENERAL OVERVIEW: The first stop for the trio is the only crossing into Xadia, currently occupied by General Amaya, the boys’ aunt. The boys try to recruit her to help them, but she is unwilling to let her nephews risk their lives so they have to escape her too. The finale happens in Rayla’s home village, the assassin’s hideout Silvergrove, where she discovers she has been excommunicated and won’t get any help. They tell her it doesn’t matter that the dragon has been reincarnated, this battle has been a long time coming and there’s nothing that can stop it now.

CALLUM: After the disappointment of giving up on dark magic and being unable to trust even his own family, the discovery of his connection to the arcanum gives him a new sense of purpose. I feel like this arcanum is the best intro into mastering the rest because it involves keeping your mind open to possibilities and the knowledge that you do not yet know all there is to know, so that is his arc to learn this season. Rayla helps him understand it through her own arc, and he manages his first Moon arcanum spell in the season finale. 

RAYLA: She bonds with Callum because he is open and keeps trying to get her to open up. She still has her binding on when she meets Ethari, and he sees it as a mark of shame instead of what she has been convincing herself it is. She learns that Silverglove will never accept her back or understand why she has betrayed her mission, but that she has to stay true to her convictions. 

EZRAN: Having seen his aunt turn against him and the way Xadians fear Katolis, little boy needs to deal with the knowledge that his dad was a good dad, but a bad king. Just because he knew him as a gentle, happy man, it doesn’t mean that was the full truth of it. He resolves to be a good king one day in his stead.

CLAUDIA AND SOREN: Let them meet Terry here. Terry is an Earthbood elf who has done the unthinkable - he severed himself from his own arcanum, and has left his tribe behind. He offers to help the siblings after they save his life. 

Season 3: Sun

Theme of the season: “A thing can be warm and nurturing, but given the right situations, also destructive and cruel”.

GENERAL OVERVIEW: Next major stop for the trio is a community in the Sun territory where humans and elves secretly live together, and the humans practice primal magic. This is the season Soren and Claudia catch up to the trio, and this is where they find them. The season finale is Soren and Claudia’s troops VS the trio and the human/elf community. The trio wins and the siblings retreat. The egg is damaged in the process and has to be hatched. Welcome to the world baby Zym!

CALLUM: The only thing better than discovering he can do primal Moon magic is discovering he could also potentially do other types of magic as well. In his thriving era, slightly interrupted when Rayla confesses to him that she likes him and makes things awkward for an episode or so. They deal with it with care and love. Then Claudia and Soren show up and he has to defeat his friend to protect his mission, and this is what leads him to understand the Sun arcanum. All the good things he’d admired about Claudia are also destructive because she doesn’t know when to stop.

RAYLA: She has to learn how to deal with being untethered and unlimited by the rigid expectations of her society for the first time in her life. The rules of her upbringing, which once made her feel accomplished and safe, also left her scared to make her own decisions in fear of making the wrong choice. She needs to forgive her destructive, cruel side and find the warm, nurturing one, and no longer base her self worth on her family’s expectations.

CLAUDIA AND SOREN: Claudia refuses to learn the theme of the season and instead goes the other direction: “nothing done out of love can be wrong”. From her POV, the human mages of Xadia are delusional and sitting ducks, and would be better off joining Neolandia. She is heartbroken when Callum chooses them over her and his home, and declares him a traitor. She leads a small-scale attack against the village hiding the trio in one last attempt to get the princes and the egg.  I love the canon s2 plotline with her and Soren, so I wanna fit it in her, Soren gets very hurt in this battle, Claudia has to retreat to heal him, and the siblings switch places. Now Soren is the one no longer willing to follow orders, while Claudia finally develops the drive needed of a High Mage. 

VIREN: The guilt and fear of discovery (over letting Harrow die, but also the egg scheme they kept from the rest of Neolandia) drive his actions to become more and more erratic. The confident guy we’ve known since s1 is now running on fumes. At some point he IS discovered, but manages to defeat the person who knows it before word gets out. In his prideful desperation, he manages to establish connection with Aaravos for the first time.

ARC 2 - lasts ~3 months

Season 4: Sky

The theme of the season is “You are one with the world, air is all around you, but also inside you”. 

Timeskip so Claudia and Soren can make their way back to Katolis, the community ravaged in s3 can get rebuilt, and the trio can recuperate. Maybe 2-ish months? It’s been almost half a year since phase 1 of the Xadian counter-offensive has been released, and it’s time for phase 2.  

GENERAL OVERVIEW: The trio decide their best bet to prevent phase 2 of the Xadian counter-offensive, the full-scale attack on Duren (where the Empire gets most of its food reserves) would be to go tour the north showing off baby Zym and his connection to Ez, the next king of Katolis. The queen of Duren, Aanya, is a young girl only a couple of years older than Ez with a reputation for sympathizing with Xadians, and might be more willing to listen to them than the Katolians. Now that little baby god Zym is out of the egg and they can prove he likes and trusts them, Xadians should be more willing to listen, too. The point of the season is developing the trio’s will to fix the world. Meanwhile, Claudia and Soren (plus Terry) rejoin their dad and have their arc of “Soren wants out, Claudia is digging her feet deeper and deeper into the ground”. Terry knows about the second wave of attack for some reason and they all decide to go to Duren. 

Season 5: Earth

The theme of the season is free real estate because the wiki says there is no arcanum data for Earth yet. I am giving them the “already dead” thing. See, the mountains and the earth are stalwart and unchanging, the same as they ever were. Why worry about paths well established, your life is the same as another’s, it begins and ends the same way. This can also be interpreted as stubbornness, but mainly it is the arcanum used for mending and healing, as it deals with returning to true form. “To know yourself is to be unshakeable, we are all made of one.” 

GENERAL OVERVIEW: The “hits the fan” season. Rayllum gets together. Aaravos is invested in helping the Empire succeed because he needs his dark magic worker bees. Soren betrays his family’s secrets and helps the heroes before he dies, sending Viren and Claudia into hiding. At some point Callum used dark magic again out of desperation, and it was a star adjacent spell. However, Duren still falls, and it’s both side’s fault. Turns out that the kids really can’t do anything unless they have some kind of a power, and they are now willing to take it. With Aanya’s support Rayla and Callum decide to return to Katolis, which has taken the opportunity to sever itself from the Empire now that there are no easy ways to access it by land, and try to bring some order to the country and prepare it for Ez’ rule. Ez and Zym escape into hiding in Xadia with Terry’s help (he realizes that maybe seeing the world burn would NOT help him feel better), as it is obviously far too dangerous to keep them in the public eye right now, since that was the reason Duren fell in the end. Aaravos’ existence is now known to everyone. Sad sad sad. 

ARC 3

Season 6: Ocean

2 year timeskip. The theme of the season is “One is not in control, there are parts of yourself that you cannot understand, there are things that cannot be controlled, you cannot control everything, no matter how hard you try.” 

GENERAL OVERVIEW: The war has stalled for the moment, as the spectacular failure at Duren rearranged the map and introduced Aaravos’ existence into the world, so the game has changed now that both sides share an opponent and it is a god. Ez and Zym feat. Terry are on a quest to figure out wtf is an Aaravos from the Xadian side of the border, as they are probably the only incorruptible team in the game. Callum, now the High Mage of Katolis, is still guilt-ridden over how Duren slipped from him, and how easy it was to return back to dark magic. Rayla is dealing with trying to help a country that obviously doesn’t look too kindly to her existence. Viren finally reaches Harrow’s s1 arc and realizes this whole thing has gone too far, but Claudia keeps marching on, and he is determined not to lose his second child as well, so he stays by her side. The season is dedicated to Callum and Claudia both dealing with similar vulnerability to Aaravos and the story could really go either way, but ultimately, Callum learns to deal with it by letting go of control, while Viren kicks the bucket and sends Claudia straight into Aaravos’ waiting arms. He has a physical body and is ready to party.

Season 7: Stars

The theme of the season is once again free real estate, this time because the characters don’t have the ability to comprehend the arcanum of the season and have to make up their own, and it’s “You are insignificant in the grand scheme of things, and that is okay. Better to focus on doing your best regarding your own life and be happy than to perish in delusions of grandeur”.

GENERAL OVERVIEW: The Final Season. It’s Neolandia and Xadia being forced to unite against the same foe. No one side will ever get to claim to have won the war that was going on for thousands of years, and that’s great. The ban against human mages has to be lifted, the ban on dark magic has to be established. Those who couldn’t put their pride aside perished in Big Pride’s AKA Aaaravos’ party zone. I am intentionally avoiding writing character arc endings because I am trying not to reach 8k words on this thing, but you know enough by now to be able to tell what happens next. The divine right of kings is bullshit, we are all just regular people, and the divine is too smart to worry about our little lives.

And they all lived happily ever after~

[raven-at-the-writing-desk]

Hi I recently put an ask but I forgot to add a few things sorry 😭

In book 4, when Jamil overblot, I remeber this scene where he whooped Yuu and the gang to the end of the desert and Jade said something like "I believe we're at the edge of the dimension that contains Scarabia Dorm." I don't really know much about this but does that mean the dorms are all just pocket dimensions they shove in the dark mirror? Idk if this has any significance but I'm just shocked considering how op it is. Also, idk how big Scarabia's "dimension" is but I also remember Kalim somehow managing to make a flood with his UM that went from the edge of the dimension up to the dorm where they live and stuff. And that really made me think how powerful his UM actually is considering the fact that he only needed little magic to make an actual flood. It also made me think how much stamina Floyd and Jade has since they swam through all that.

Yes, each of the seven dorms are contained in their own pocket dimension though it’s implied rather than outright stated. Considering all the crazy things magic can do, it’s not that far out of the realm of possibility if done by a particularly powerful mage. (We’ve seen Malleus pull off time stopping, right? 😂)

Just a quick correction, the dorms are not traveled to via the Mirror of Darkness. Each dorm has its separate mirror as pictured below in the Hall of Mirrors. Heartslabyul’s portal is shown here as an example:

The Mirror of Darkness is kept in its own location (the Mirror Chamber, which is NOT the same as the Hall of Mirrors despite the similar name). It is NOT used for travel to the dorm dimensions, but rather for travel to different locations across Twisted Wonderland. For example, the Mirror of Darkness is used for traveling to various hometown locations in those events.

To give you a rough idea of the distance between the Hall of Mirrors (dorm travel) and the Mirror Chamber (world travel), here is where both are situated on a map of Night Raven College.

In green is the Mirror Chamber (world travel) and in red is the Hall of Mirrors (dorm travel):

Regarding Kalim! Yes, his UM, Oasis Maker, allows him to produce a large amount of water for a smidgen of magical power. He didn’t flood the desert though, he just produced enough water to form a river the twins could swim all the way back to the Scarabia dorm building. It seems that Kalim doesn’t recognize the true potential of his UM; he says it’s pretty useless since his home country, the Scalding Sands, already has the infrastructure for potable water and waterways.

The twins having a lot of stamina doesn’t surprise me at all. They’re part moray eel, which is a predator animal. Their merforms are also very long and lithe, which is ideal for darting around in open waters.

[elbiotipo]

Worldbuilding: Galactic Empires

My only complaint about the Prequels is that they needed MORE politics

If you've watched Dune recently, you must have noticed the whole Emperor and space noble families thing. And yes, it's likely you heard that in WH40k too… and I HOPE you know that's where the God Emperor came from, since WH40k took "inspiration" from everywhere from Dune to Star Wars. Which also has a Galactic Empire. Like so many other science fiction franchises.

In fact, if you're a science fiction fan, it's very likely that you're familiar with space or galactic empires, they seem to be common as dragons in fantasy. Despite the fact that an empire doesn't sound very futuristic, does it?

Where did all these Galactic Empires come from? Are they just a narrative tool or are they an actual possibility? How would states and societies work in space? Let's find out, and maybe I can give you some ideas on how to write fun galactic "empires" from both a narrative and plausibility perspective.

This is going be a long post. Perhaps my longest yet. But I hope you have as much fun reading it as I did writing it. Click down to continue.

First of all, where did these space emperors come from? In another post, I've talked about the influence of the idea of the rise and fall of the Roman Empire in English-language fiction. However, in science fiction, I would say the influence is more direct. The Foundation trilogy of Isaac Asimov, one of the foundational (lol) works of science fiction, was intended by the author, very explicitly, as a retelling of The History of the Decline and Fall of the Roman Empire by Edward Gibbon in a science fiction setting. He probably wasn't the first to think about a space empire, I'm very sure the term is older, but he certainly popularized it as a staple of science fiction. Now, if your contact with science fiction comes from movies, when you hear Galactic Empire you're of course thinking about Star Wars. But yes, Star Wars is also the same retelling, because Lucas was inspired in both Asimov AND Gibbon, even though I think we should appreciate Lucas' ability to bring it to life in the screen. Certainly, Isaac Asimov wasn't the first or the last to take inspiration in history to tell stories about the future.

The most influential science fiction work of all time.

At this point you're probably telling me (or not, I don't know you) about all other sorts of science fiction works that DON'T have galactic empires, or better yet, those that don't just transpose historical societies into the far future and imagine something entirely new (my personal recommendations on this area are Banks and LeGuin). And you'd be right. But the concept of a space empire seems popular and long-lived, much like feudalism in the fantasy genre, everyone has a picture of a sorts when a videogame or a book talks about a "galactic empire" or "galactic republic" or a "federation", an "empire" much like a shorthand name for "a country In Space", regardless of the presence of an actual Emperor or not. And so, it's worth exploring how this trope could, or not, work, so we can see the possible alternatives or more fun ways to approach it.

Besides, that's the title of the post. Galactic Empires.

So, let's approach this from the perspectives of Space, Time (or to keep with the theme, Spacetime) and Technology, and lastly, the most fun part, we'll explore some fun variations on this idea of galactic empires and societies.

Space:

Space is big, and I won't quote the Hitchiker's Guide to the Galaxy here, it would be groanworthy at this point. Let's do a quick exercise instead. Let's image a "modest" space empire, not even galactic, 2000 light-years across. Sounds quite big, it encompasses most of the visible stars we can see from Earth… however, if you project it into a galactic map, it's actually a very small piece of sky, actually 2% of the entire galaxy which is about 100.000 ly across. Now, according to the Atlas of the Universe, there are 600 million stars in a 5000 ly radius from the Sun. Jesus Christ. This is actually hard to estimate accurately as the true number of red dwarfs and brown dwarfs, the dimmest stars, are hard to count, but we already know those have planetary systems as complex as our own Solar System, even planets that could bear life. Let's scale back to our 2000 ly across space empire, again, just a small cozy corner of the Milky Way Galaxy, something that would look like a small, even tiny, nation in any setting of a galactic scale. This gives us 240 million stars (from the estimated 200 billion stars of the galaxy) in this space, which is still completely insane but let's work with that.

From Atlas of the Universe, so you can compare and contrast, the stars 2000 ly from the sun (ONLY the brightest ones), and the entire Milky Way. Notice how small 2000 light years truly are at that scale.

Even if I just told you that all of those systems might be as complex and rich as the Solar System, let's rather arbitrarily say only 5% of those 240 million are worth of note. Not necessarily having life (no way I'm getting into that yet), just worth visiting or living in for the resources or the views or the cantinas… whatever. That's 12 million star systems. Okay, let's refine this further. Let's say of those 12 million, most of them are the equivalent of gas stations or farmsteads, a couple thousand people at most. The REAL places where the action happens are the systems or worlds where millions of people live, and those are few and far between (this makes both common and narrative sense, as people tend to cluster in population centers where trade, resources, etc. are). Let's say, and let's refine this further so I don't get outrageous numbers, the average population of those systems is 100 million (about the size of Mexico, Vietnam or Japan. Many sci-fi works throw worlds of billions like Earth like nothing). And those systems are… uh, like 2% of THOSE 5% 'systems of note' (a flimsly concept already but play along). That's 2% of 12 million. We got 240.000 systems or worlds the population size of entire countries, with all that implies (economy, culture, politics). Of course, 240.000 multiplied 100 million gives this speculative fictional empire a total population of… (Jesus Christ, not the scientific notations), 2.4e+13, or TWENTY FOUR TRILLION PEOPLE.

Let's wind back and remember I tried my best to make a "small" empire for a galactic-sized setting, 2000 light-years across, that's just from here to Orion's Nebula for Gagarin's sake! A trillion people is just outside the realm of my imagination, or pretty much anyone's. Can you imagine any kind of goverment system that would be enough to provide any kind of meaningful governance to 24 trillion people? In the case of a space empire, can you imagine a single space emperor, a single person, deciding over them? Keep in mind that emperors don't rule on their own (we'll talk about that), they need bureacrats to make their will done, and vassals to govern their territories in their stead. This would apply even in democratic systems, you need representatives and civil servants and more.

Let's scale back a bit before I go insane. Instead of assuming territory, let's go with population. Assume a spherical cow space empire of… 40 billion people, that's reasonable right? You can picture that in your head? Five times the population of current Earth, no biggie, we can work with that, it's all cool. Now, how big would a goverment for such a population would have to be? We actually have reasonable answers. China has about 10 million civil servants for a population of 1.4 billion people, but that's only the administrators, not including all the teachers, healthcare workers, security forces, laborers, etc. employed by the state. India has 6.4 million for about the same population. Okay, so easy math, let's say that this space empire has 6 million bureacrats for 1 billion people, for our empire of 40 billion people, that gives us a total of 240 million… just bureacrats, nothing else. Yes, you could reduce that with technology by say, half. It still means an entire Mexico-sized country of bureacrats. Imagine.

Entire worlds of this.

NOW I WILL STOP THROWING NUMBERS AT YOU, and let's just think about what this means. If we assume a space empire like the ones common in science fiction, or just any kind of… goverment at all, we're talking about, at the lowest estimates, entire countries worth of state employees, if not whole EARTHS of bureacrats. You can guess how things can get really weird fast. Current goverments as we know them just won't work at all it even if technology gets more powerful. Leaving aside, for now, things like god-like AI adminstration (yeah, have you seen what they are like now?)… to exhert ANY kind of control, FTL or not (more on that below) you would need a very, very autonomous empire, to the point it might as well not exist at all. Why take orders from A Guy who is not only far away but also has no hope at all of actually enforcing them in any meaningful sense? Why call yourself part of his "empire" that not only cannot enforce anything upon you, but also cannot benefit you in any way? Big question, of course, the benefit of a galactic or even smaller empire, but we'll discuss that later.

What could work, however, is that instead of a centralized state like we concieve it today, or even a loose confederation, even loose alliances, even pretty much anything… 'empires' (as in 'countries') In Space could be "united" by common ideas and culture instead of any institution. Perhaps not even a written delcration or constitution, but shared ideas: a culture, a religion, an ideology. Lots of different strong mini-states (that might mean billions of people…) that all claim to be part of the same "civilization", but share no goverment at all at all, just the same 'idea', in a looser way that even the most decentralized goverments you can think of. You can say "well all countries are made up" but these would barely qualify as even that. Not even the Holy Roman Empire was this fake.

Perhaps even a single person as a symbolic focus point of unity? Which would be actually a score for the proponents of galactic empires in the most literal sense. But at the same time, such an Emperor would be completely powerless to interact with the entire galaxy. His plans for, I don't fucking know, education reform or tax breaks, would have to be filtered by literal millions of bureaucrats and vassals that at that point might do whatever the hell on his name. Military-wise, his armies would count as nations of their own. However, the overall guidance of a single person (or constitution…) as a symbol might make otherwise disparate worlds to collaborate on the same causes, being part of the same greater whole no matter the distance. So maybe, instead of a Galactic Emperor, a Space Pope?

OH MY GOD-EMPEROR WAS THE IMPERIUM REALISTIC ALL ALONG? Probably not, but also yes, let's keep talking.

By the way, I'm sure you're tired of big numbers now, but I did one possible calculation for the whole galaxy, a true Galactic Empire. Asuming just 0.2% (400 million) of the 200 billion stars are populated, with an average population of one million, the size of the smallest countries that aren't micronations. The total galactic population would be 40 trillion, or 40,000,000,000,000. Five thousand Earth populations.

Time:

Or rather, space-time. We'll talk about both, because what concern us is the speed of information and trade, and that also limits the size of our empires.

I'm sure you know by now faster-than-light travel is impossible. Most of space based science fiction has it, of course, for narrative purposes. We don't want Our Heroes to spend two thousand years to get to the lair of the Evil Space Tyrant, I don't either, and I'll discuss FTL soon. But let's start with no-FTL here, just like in real life, and a smaller "empire", much, much smaller than my previous examples. A mere 250 light years across. Let's not even calculate population now.

This, quite logically, means that the fastest your communications would flow is at light speed. So if your emperor issues orders to a nearby world, say, 5 ly away, you will get an answer 5 years later. For a more reasonable distance of 60 ly, you would know the results 60 years from the descendants of those who recieved the order (now, assume however they keep in constant conversation, just with a 60 year delay), and by then, things there would have changed 60 years from the capital. You get the idea, Einstein sucks, don't need to elaborate more. At first glance, this might be another point for old-style feudal star empires, though. What better way to guarantee your empire is working well over centuries than by having an hereditary class of nobles loyal to you, no matter how much time passes (results may vary). Of course, how would you even enforce that? Rebels might overthrow them and you'll learn about it a century later, and you'll have to send ships to quash the rebellion… or would you?

Is there a point to send ships to conquer other worlds in such a situation? What kind of resources (ah, the lifeblood of empires) could you control with such an empire where transport takes decades and industry is so developed you could, theoretically, make manufactured goods yourself? I'm assuming you can, because you can build spaceships to get there in the first place (not unreasonable), but what would justify creating an interstellar goverment controlling people, trade, resources, over light-decades? Normally, it's at this point where sci-fi authors make up Something (what Atomic Rockets calls "McGuffinite") to justify interstellar trade. In Dune, for example, it's Spice, which is kind of like, to steal a joke, petroleum mixed with cocaine. But otherwise, in a no-FTL setting (so, real life as far as we know) there isn't really the incentive to conquer or even form a goverment of any but the looser kind with other worlds. Trade, maybe, but those are long-term investments, it's difficult to think what kind of good or service would be so in demand would justify it. Especially when you consider that light-speed is your upper limit, and ships might be actually way slower than that. And I'm not even gonna begin to touch relativistic effects.

I was going to make a joke about blowing a quarter of your GDP in Star Destroyers, but have you heard of the South American Dreadnought Race? One of our dumbest moments down here, surely.

Add FTL, and things change, of course. Even very slow ships, that would take months to transverse a dozen light years, would be able to justify trade in luxury goods and passengers, for instance. This is not too far from real-life either, after all, European colonial empires had travel times in the months, and they had to install local administrations such as viceroys because of this, yet rhose places they were considered part of the same empire (most European empires could be rather considered a collection of "countries" and colonies, look at all the divisions of the Spanish Empire for instance). Faster and cheaper ships would of course, mean even more trade (here, I'm using 'trade' as 'communication between worlds', not necessarily implying capitalism, it could be mercantilism or even a command economy) between worlds, even perhaps the classic trope of agrarian and mining worlds feeding the rich core worlds. The Open Veins of Latin America In Space. Fun.

The speed of your ships and communications not only determines trade, but the power projection of your state (we can discuss 'stateless' societies too, there's plenty of fun to be had). If, again, your Galactic Emperor makes a Galactic Proclamation from the Galactic Palace near the Galactic Core (let's roll with that) and he has no FTL communications of any kind, it means that his commanding voice would reach the outer edges of the galaxy 100.000 years after, that is, almost ten times the history of agriculture on Earth. If he, however, has access to ships that can cross the galaxy in say, months, yes, perhaps he can have a series of vassals all over the stars (perhaps, we'll see…), and the faster things are, the closer they resemble our current fast-paced society, but not quite, given the available resources and space in… SPACE and the possible population, as we discussed above. As you can see, the speed of your FTL or lack of it determines everything.

There is another, more *realistic* option. Instead of individual FTL ships, you could have wormhole portals connecting worlds. This is more realistic in the sense that it's theoretically possible (though we have no idea on how to make one), but it also has some interesting implications. First of all, there is an implication that such a wormhole network would be expensive to build and maintain, requiring highly complex technology, material (I'm not sure what the hell exotic matter really is) and production methods, well, more high than what you'd expect from the usual. Second, it would be something preferably fixed, with hubs, planned routes and regular transit (and for writers, it easily allows you to map your universe). Such networks would be vital pieces of infrastructure, built and maintained by central authorities, drawing routes and transport hubs in space. Yes, indeed, almost like… space railroads.

OH MY ASTRAL EXPRESS WAS HONKAI STAR RAIL REALISTIC ALL ALONG? (last joke I promise)

There is also a very strange effect about wormhole networks. Time is relative, as you know, and this is not a metaphor, it literally "flows" differently on how fast you're moving. The "universal" "speed" of "time" "seems" to be the speed at which matter moves in an expanding universe (red-shift and blue shift) as I understand it, but as you approach light-speed, time flows differently in your frame of reference. Wormholes are strange in the sense that they connect space AND time, the observable time in both sides of a wormhole would be the same, and as such, places connected by a wormhole network will "be" at the same "time". This has been talked about by some authors who have considered about wormholes in the context of space civilizations, and it's called (STOP!) Empire Time. So a space empire might not only imply a state ruling over a population and a territory, but also over a time. I have no idea how this works and it frankly makes my head hurt, but here is an analysis of transversable wormholes if you want to indulge or hit your head against a wall.

Technology:

As an extension from the previous section: Of course there is no working FTL method known in real life, as far as we know, light-speed is the upper limit for everything. Instead of constraining you as a writer, this can be one of your biggest assets.

Because if you're doing a space setting, the existence of faster-than-light travel and its speed is the most important decision you can take about it.

Got that? Did I emphasize that enough? You don't need to actually explain HOW your FTL system works, you can do some research and invent something, but you need to be clear, in your head, what it can DO: How far and how fast it can take you. A FTL system that takes months to go from star to star will be very different to one that takes hours to span the Galaxy like the hyperdrive of the Millenium Falcon. A FTL system that is cheap and can be installed in any tiny ship like in the Elite videogame would be different from the ones in Dune where interstellar travel requires enormous motherships and lots of drugs, or a wormhole network that needs massive infrastructure maintainment and probably a railway starway worker's union, or the case of no FTL at all. This is, again, the most important decision you could make for your setting, bar none. Got that? Let's continue.

FTL is perhaps the only place in science fiction where I don't care about how it works, only about how fast it goes

Now, technology. Space empires, are of course, not possible without space travel being cheap enough (not talking about FTL, just regular space travel): shipping stuff to space should be about the same as shipping stuff by airliner or, well, ships. This is not unreasonable. Efforts are being made right now to lower the cost to access space, and while space agencies like NASA might look expensive, they are not NEARLY as expensive as the money wasted in say, stealth jet fighters or fucking advertising (people who say 'why spend so much money in space when we could fix our problems on Earth' seem to forget about that all the time. But I digress.). A technologically advanced, wealthy (as in production, not literal dollars) society could easily afford as much space exploration as they wish with no real effect at all in their quality of life, indeed, it would improve it. Space isn't as expensive as it seems. At its very, very core, a spaceship is just steel and propellant.

And steel and propellant are very, very easy (once you got the technical research to do it) to get in space. Asteroids are MADE of iron and metals, a single asteroid is richer than all of Earth's mines combined. Hydrogen is literally the most abundant element in the universe, and water is on plentiful supply (no need to steal planets for water) on comets and icy asteroids and moons. Carbon is apparently widely available in carbonaceous asteroids, and in our own Solar System, Titan, the moon of Saturn, is basically covered in hydrocarbons (yes, OIL IN SPACE). All those resources could be very much in demand for manufacturing on a planet like for example, a future Earth that has taken its industry up to space. What's more, it's only bringing stuff up from Earth/an Earth-like or more massive planet (fun sci-fi term for you: "down the gravity well") that's really expensive. Once you get there, you can get anywhere with enough acceleration and propellant. Once there is space infrastructure and industry (and I get a feeling that it might get up fast, given that space technology would need to be very autonomous and reliable), it can sustain itself without a mother planet. In fact, if there's something I imagine would be considered a luxury in spacer life, it would be truly organic things; plants, wood, meat, wool, and so much more.

i am average astronaut man i work 15 hours in the asteroid mines to buy one burger

Which brings us to the big question; what kind of life would be out there? After all, I gave you numbers of millions and millions of worlds, it's hard to imagine at least a few of those don't have alien life. This is the biggest outstanding question in astrobiology currently and so I won't pretend to even try to answer it (my personal opinion, if you must, is that complex Earth life is extremely rare, but by sheer number of planets, it might exist by hundreds of thousands in our galaxy alone). Instead, let's try to see how science fiction looks at it.

Heinlein, another of the foundational writers of science fiction as a genre, saw alien worlds as just another frontier to be settled. Rich alien fruit, fertile arable lands, and huntable or tameable creatures just waiting to be exploited, and alien species to trade exotic goods with (or conquer). While Heinlein was not the only and probably not the first to write this subgenre, he certainly got it popular, and lots of works on his same vein follow this "frontier spirit" kind of writing, where space is seen as the last frontier to be tamed by hardy colonists in a very yeehaw cowboy western setting, and you can actually see this replicated in many modern science fiction like Firefly and the more cowboy-ish parts of Star Wars. And yes, this is balantly an expression of the 'manifest destiny' Usamerican imperialist worldview.

lots of Politics all over this Science Fiction Adventure

And yes, this idea of 'habitable' planets ready to be colonized like in a 4X videogame is also not very realistic either. We haven't found any alien ecosystems yet, but as a biologist I can tell you they would be very different from us in ways you probably won't expect. We can discuss how convergent evolution could be, a world with oceans would probably have equivalents of 'fish', 'algae' and 'worms' (I can GUARANTEE there will be A LOT of worms), we could even find very, very similar life to our own down to the body plan. However, we most probably could not eat them at all (which might sound silly at first glance but is needed to have you know. agriculture.), or perhaps even live in the same planet as them. We live in a society planet where most of the plants and animals which evolved with us can't be eaten, and many of them are toxic. It's possible, entirely likely, that the alien equivalents of carbohydrates (ever heard of L- and D-Glucose?), proteins and other substances would be indigestible to us, allergenics, or outright toxic, probably in ways we can't even think off. It's likely we won't catch alien diseases, but that's because our cells (if they even have cells) are completely incompatible with their diseases, just look at how different animal, plant and fungi cells are, now imagine whatever the fuck might evolve in a completely different biochemistry from us. There would be no farmsteads and cowboys like Heinlein wrote, living in Mars would probably be more pleasant that living in a world where everything might be toxic, not because life evolved to be toxic, just because it didn't evolve with you. If anything, these' habitable' worlds would be treated like giant nature preserves instead, you can look but don't touch.

(In one of my own settings, I sidestep this by proposing panspermia, that is, the idea that life spreads across the universe by means such as comets (or aliens) and thus shares similaritites and can eat the same stuff. A bit of a cop-out, but it does allow one to get with similar kinds of life.)

NOOO ANAKIN DON'T EAT THAT PEAR IT EVOLVED HIGHLY TOXIC ALKALOIDS IN A DIFFERENT EVOLUTIONARY CONTEXT NOOOO

But humans, if the biophilia hypothesis is right, will need nature in their lives. This is where orbital habitats come in. You know, like the ones in Gundam? Orbitals such as O'Neill Cylinders, Standford Torii (yeah, that's the plural for Torus) as well as bigger and more complex thingmajings I will write their own post about someday, have been proposed since the 1970s with technology available then, and there is no reason why a civilization with an advanced space infrastructure wouldn't try building them and even be better at it. What's very nifty about orbitals is that you can really make them your own personal custom miniworlds. Designs like the O'Neill cylinder are big, able to house hundreds of thousands, even millions of people if build to the top, but why do that? Mess with the lightining, the rotation, or the interior to make them a winter wonderland or a tropical paradise. I expect that they would be built to feed space communities at first with food that isn't imported from Earth or grown in hydroponics, and later as places to live and customize however you wish; perhaps a community would pool resources together and say, hey, we want to make an habitat that looks like a Colombian cloud forest, or the Okinawan Islands. Once they get cheap enough, and given how abundant resources are in space they might be not even as expensive as most engineering projects here on Earth, I expect actually many, many people would want to live in them, and it could be probably be very affordable, and just natural for the people who are born and raised and live and die in them. Another thing about habitats is that they are mobile. Like I said, as long as you got enough propellant and propulsion, you can move anything anywhere in space. Even whole habitats could move and cluster together depending on the local politics. Perhaps, much like city-states were the basic building block for countries in antiquity, in the future, the basic organization bloc would be the Orbital. You could have alliances of orbitals forming complex political intrigue inside a single solar system (yes, like in Gundam).

OH MY PLASTIC MODELS WAS GUNDAM REALISTIC ALL ALONG? (I lied)

This all might make space empires pretty much an unnecessary anachronism. Habitats can grow their own food and resources are plentiful once you have the right technology. They can also be mobile, so they could act like migrating cities at will, choosing to stay with like-minded "constellations" or strike out on their own without the dictates of a central state. It almost looks like an ideal anarchist society.

Or does it?

There is something very important to keep in mind about life in space. The technology, that is, habitats needed for life in space will require lots of maintainance and resource management, which implies there must be strong coordinating bodies with very, very strict rules so that shit doesn't blow up and you lose all your air into space, or the resources of an habitat are mismanaged and you end up with a food or water or even oxygen crisis. There is a reason why space exploration is done by state agencies or corporations with huge state backing. Another of Heinleins's favorite tropes, Libertarians in Space, would be impossible in such a situation. Actually, in ANY space situation, and this is why this section is in technology. Living in space requires you to be able to maintain complex technology and manage resources. None of this can be done ad-hoc or be left to individualism, you have to have Rules and follow them to the letter. And also, the effect of living in your 'own little world' would probably mean people have a strong indentity sense towards their home habitat. This will mean a more communitarian attitude. But before you think I'm waxing poetic about utopian habitat cultures, keep in mind that this also can mean an authoritarian mindset. After all, cults and authoritarian regimes do have "strong communities" too. An habitat could be everything from a well-managed place with responsible citizens who look for the welfare of all, to a closed society where everybody does as they're told as long as the tech works. On the other hand, I doubt habitats in a single star system would stay isolated. They'll probably trade and communicate with other habitats, forming constellations and power groups, that would prevent this 'closed system'. However, I doubt they would be too amenable to interstellar authority. Who the hell do those people from another freaking star think they are to tell us what to do in our habitat?

To be serious for a moment, habitats can be really cool places in science fiction. Especially if you imagine they could host all sorts of enviroments, from the tropical to the polar.

As an addenum… what if you really want to live in a planet? In places such as Mars or the Moon, things would be… pretty similar to orbitals actually. Habitats separated by vast expanses of barren nothingness, only now a planet instead of space (better for maps, at least). But that isn't what you're thinking, right? What if you wanted to feel the open wind and sky instead of a canned world? Well, this is where terraforming comes in. Transforming whole planets is something theoretically possible, but that would require massive investments of resources, more massive than anything we can imagine, and time, centuries at the very, very least. So stupid ideas like "terraform Mars to escape Earth", which as far as I know is only held by dumbasses like Musk, just don't make sense. It doesn't mean that terraforming itself is a worthless idea, it is a very appealing one. No matter how cool you can make your habitat, it won't ever be Earth. It won't ever be a self-sustaining biosphere with its own ecosystem that could last millions of years. For that reason, terraforming is attractive, it's something way more than an artificial "can" orbital, it's a new living world. There is a certain mystique into bringing lifeless worlds to life, but I expect that instead of the dumb Musk "ESCAPE EARTH" idea, the motivation for terraforming would be to recreate Earth, perhaps for conservation reasons (you could have whole planets as natural reserves), perhaps for tourist reasons, perhaps for spiritual reasons or even artistic reasons. On the other hand, the methods you can use to terraform a lifeless planet can also be used to 'terraform' living planets, as we've long seen in our own world… this could be done with hostile purposes. I would expect us to be better than that, but we simply don't know.

To close this section and give this post an conclusion, I think that, since there are no real borders in space, then empires, countries, polities, whatever you wish to call them, will be formed by stacking building blocs in loose alliances or confederations. The most basic would be habitats, then constellations of habitats, then inhabited planets (though I doubt any but the most populated ones would qualify), and then star systems, but little above that, and I expect up to a certain, difficult to calculate limit of population and area (though way, way below even a fraction of a speculated galaxy), things would be just impossible to manage. The effort in bureacracy, infrastructure and state control needed to project power out of a star system and the sheer scale of space probably won't ever justify empires, much less galactic empires, but you could have very interesting variations on the theme.

Fun Stuff!

So, let's play a little with what I've told you. I'm going to write a few short scenarios that might be fun takes on the "Galactic Empire" or "Space Empires" you might be familiar with already:

The Poleis Model

When the Greeks established their colonies around the Mediterranean, they didn't do it with the expectation they would be part of the same state or empire. They founded new poleis, new city-states, based on the constitution of the mother city (hence metropolis) but fully independent. The Phoenicians were much the same, with some of the daughter cities (Carthage means literally "new city") eventually becoming new cultures far from their home cities. Similarily, why should interstellar exploration mean the spread of a united state with a capital and all? Imagine that when interstellar ships depart, they do with the idea that they are going to create a completely new home, a new poleis, not an extension of the nations or organizations that sponsored them but rather more of a 'child' culture light years away from their motherland. As they develop in mostly isolation from each other, they will become new cultures on their own, while retaining ties to the ones most similar to them. This is, in my opinion, the most realistic scenario without FTL. With FTL, however, things get more interesting, as of course, Greek and Phoenician and other poleis didn't remain isolated light-years from each other, they had permanent contact. With FTL they could organize in leagues, perhaps even alliances for the ocassional military campaigns, trade and exchange of ideas, tourism and industry, and of course the Olympics.

The Wormholes Always Run In Time Model

As I've said, wormholes are pretty much like space railroads. Railroads, like other big infrastructure projects, need a centralized authority to be built and maintained. And once you are the central authority that does so, you're already in charge of the biggest arteries of trade and communication. Which makes you basically an empire, officially or not. In fact, this is the closest I imagine a space society would resemble the states we're familiar with here on Earth. If you have control over transport and the hubs of trade and politics, and that transport and communication network allows you to implent your policies, your rule might go very far indeed, and indeed, your main hub might be a great capital, the main station of known space. Now, perhaps you might be imagining a literal space empire with nobles and all that. Why not instead something else? The Socialist Interstellar, connecting the many worlds of the galaxy through a five hundred year plan of railroad wormhole construction in the path to communism... However, this would mean that people outside of the wormhole network might develop in different ways, perhaps the equivalent of nomads to the great settled empires of antiquity. And given what I've briefly touched on Empire Time (*breakdances*), the expression "the portals always run in time" might imply even more than just an aphorism.

The Civilization Cluster Model

I'll admit this is taken from Poul Anderson, as quoted in Atomic Rockets, to which I owe an inmense debt for this post and so much more. The idea is this; space is big, as is well established. Even with FTL to shorten the distances, even if you could cross the galaxy in a few weeks, the sheer number of stars is still insanely massive. Why should any civilization 'colonize' those stars dot by dot, what value is there in invading or colonizing planets with incompatible biochemistries? And how could even begin to think how to administer a thousand different worlds, each one as complex as Earth itself, let alone an entire galaxy? In this case, civilizations, instead of spreading across the galaxy, would mostly remain in their own 'civilization clusters'; even with FTL, there are so many issues closer to home that the idea of projecting power outside is ridiculous. There would be trade, exchange of ideas, and so much more between these clusters, but never constant enough and never with the authority necessary to create a "Galactic Empire"… the worlds are too many, too diverse, too populated and too far away for that. An interstellar traveller could roam the Galaxy for years exploring these clusters spread away from each other, with their own unique idiosyncracies and civilizations inside, and then a vast expanse of mostly nothing outside them. Basically, space is too big. I like to see them as constellations among the dark sky, hence the artwork.

The No Man's Sky Model

To live in space, you need complex technology, but also resilient and durable technology ready for any kind of situation, easy to repair and replace. So eventually, I believe designs would be standarized so much that every astronaut will carry or own a collection of standarized tools (somehow this reminds me of prehistoric tool cultures). Now, even with FTL, there's perhaps little material incentive for people to leave their comfortable homeworld or habitat to live in cold space. But some will, perhaps because of the sheer thrill of it, perhaps very small bands of families or friends. With a standarized tool kit for any ocassion, these small bands would spread across space, much like ancient humans spread across the world. But instead of creating space empires, without a fixed industrial base, they would be nomads. Which doesn't mean they would roam aimlessly, they would be seeking new biospheres, new resources and new cultures, and gathering in temporary or permanent market places, festivals and pilgrimages. Perhaps they could even be the majority of humans in space, while most others stay cozy on Earth.

...

This was a very long post and it took a lot work to make, so I hope you had as much fun reading it as it was for me to write it. If you did, and if you would like to see more, I would be very, very grateful if you donated to my Ko-Fi below. Anything helps a lot especially since my country is not doing great at this time governed by a libertarian idiot (not even the fun space kind), and even a little tip encourages me to post more, I'm always working on your suggestions! You can also contact me by DM or asks if you need any help with your worldbuilding or just want to rant with me a bit! See you next time, and thanks for reading.

[skeletinmoss]

The curse of the dark Phoenix

Chapter 11: To Arms

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Virgil led Roman to what had to be the library. It was a round room with a big ceiling window, the walls lined with a ridiculous amount of books.

No memento’s or trinkets on these shelves.

Virgil had been right that his home would be in a better condition than the tower. There wasn’t any dust to be seen, and the book Virgil had called Dex was busy putting some books back in their spots.

“I was sure we’d find Logan here at the very least,” Virgil mused.

“Well, it looks like he was, at one point,” Roman pointed out.

Virgil considered that for a moment. “Star, search,” he instructed.

Roman expected the wolf to start sniffing, but instead the cosmic wolf turned into an amorphous cluster of stars and darkness, zipping around the room and then through a door. Virgil followed him, and Roman could only rush after the two. They walked through an observatorium, a sitting room, and then they found themselves back in the living room and heading outside. Where they caught them talking.

"... ask him... oh, hi Virgil!" Patton greeted.

"Hey. What are you two up to?" Virgil wondered as Stardust materialized at his side.

"Well, Logan had an idea," Patton offered.

"Yes. I was thinking that I could do to the garden what I did to the path, return it to the state it was in a past point in time. Particularly when your friend was about to break down the door, as we managed to figure out the correct date for that, or a few days later, even. See if we can track your other friend Janus as well," Logan pointed out, indicating a map he'd likely found amongst Virgil's things.

"I am aware most need a somewhat fresh trail to start with. But, if my spell is as thorough as I intend it to be, then there might be one when I'm done. At worst, you will have a lot less work to restore the garden to its former glory," Logan pointed out. Virgil nodded, feeling intrigued.

Logan lit up at getting the high mage’s approval and gestured for them to stand behind him. Roman suspected that was more so he could properly show off and less because he genuinely needed the space.

The Great Wizzard Mage sat down once again to meditate, and before Roman's eyes, weeds vanished, unkempt vegetable plants became lush and neatly organized. He saw a patch of herbs of all kinds next to a flower garden. He realized that he'd seen dried up flowers of the same species spread around the house.

Virgil mentioned that in his childhood home, there'd been the smell of flowers everywhere. So it made sense that he’d filled his house with them to make it feel like home.

"Excellent work," Virgil mused.

"Thank you. But please, save the praise for when I confirm your friends' current location," Logan insisted as he pulled out herbs that Roman could immediately tell were of the sort his friend wouldn't even have considered touching 2 days ago. Something had clearly clicked in place for Logan since inventing that spell.

"By all means," Virgil nodded, indicating Logan should continue.

Logan laid out the map, rubbed the herbs between his fingers, rubbed some on the map itself, and then made a pattern in the air, slow and steady, and pushed at the gathered magic. For a brief moment, Roman could swear he saw two silhouettes on the path towards the front door. They disappeared before he could really make sense of them though and Logan got up, studying the map with a critical frown.

"Not as precise as I had hoped, but at least we know that we are heading the right way for the temple and that your friend Janus isn't too far away," Logan mused as he handed Virgil the map. Roman glanced over Virgil’s shoulder and saw a green and yellow circle. They both covered a lot of ground. But the green one's radius included the lake. So that was a plus. The yellow one had some overlap with the green one and included large stretches of forest and four villages, possibly more depending on how old this map was.

“We know more than we did before,” Virgil agreed before turning to the group.

“I do intend to let you all look around some more and learn what you need, but I would like to provide you three with a change of clothes and some weapons first,” he offered.

“You’d be able to arm the tree of us?” Logan wondered.

Virgil smirked and walked back inside. “Come with me to the armory and we’ll find out,” he stated.

Armory?

The trio of great mages hurried after Virgil, through a door and found themselves in a large room with countless weapons of different types lining the walls.

Roman looked around in awe. His eye getting caught by a beautiful ornate sword with a golden grip and an engraved blade. “I breathe so I dream. With this blade I forge the future from the unknown.”

He knew that phrase. He’d read it in history books. “Is that a founder’s sword!?” Roman gasped in awe.

“It looks pretty, but it wasn’t ever intended for combat. Not this kind anyway,” Virgil said dismissively as he continued to walk past the racks, looking for something.

Logan had come to stand next to Roman and stared at the blade in awe, wanting but not daring to touch it. “This is a national treasure,” he breathed in shock.

Virgil stopped. “… That, makes sense. Sorry. To me it’s just sort of… The first actual sword I ever owned?” he admitted.

Roman didn’t have to check to see if his friends were as shocked as he was.

“Virgil… How old did you say you were again?” Logan wondered. Because right now Virgil’s timeline included the founding of the very kingdom almost five centuries ago.

“28, I’m pretty sure,” Virgil mused. Roman knew that Virgil wasn’t actually misinterpreting Logan’s question. He wasn’t going to answer them though. He was having way too much fun feeling how shocked Roman was every time he turned out to be older than he previously assumed. Maybe Gustav hadn’t been exaggerating that much when he mentioned a millennium in the memory.

“Are there a lot of mages who have been around as long as, or longer than, you?” Logan pressed, also guessing that Virgil wasn’t going to give him a number.

“Well… Not too many. There are two old teachers of mine that should still be around for sure. But… Sometimes high mages decide to give up immortality. For several reasons:

Because they’ve simply lost interest. As an act of defiance against a bad king, as an act of love towards someone they want to grow old and start a family with,” Virgil mused.

“But if all high mages that were around fifty years ago are in a similar situation to me, then I’d say me and my friends are among the top ten percent most experienced,” Virgil allowed.

… Roman was going to let that sink in for a bit, and Logan seemed to think something similar.

That, or he’d simply gotten distracted.

“Is this… This is the staff of the mountain wizard,” he mused as he studied the indeed striking similar design to the sketches he’d seen in his history book. The dark wooden base the tendrils of gold weaving around it and enclosing over a glass orb.

“It is,” Virgil confirmed, still bemused.

“But… Wasn’t he a badguy?” Patton asked confused.

“Exactly why I took his staff. He was abusing my niece,” he huffed. Roman could feel the hostility roll off him. He was still not over that slight. Despite putting the man in his place, Roman assumed. The mountain wizard had gone missing and no one knew what became of him.

“You had a niece?” he asked, deciding he shouldn’t focus on the implied vengeance right now.

“Many. Well. I call all the descendants from my brother and sister my niblings. I check in on them, make sure they are doing well. This particular niece admired me a lot and mister mountain wizard thought that he could easily impress her and then trap her into an abusive relationship. He was wrong,” Virgil explained off handedly.

He didn’t have any curse markings… So he hadn’t used magic… Roman looked around. What had he used though?

“In any case,” Virgil stated, picking up the staff and handing it over to Patton. “would be far better off being wielded by you,” he decided. Patton bit his lip nervously.

“The staff isn’t evil. The wizard who used it was. I think it deserves to feel what it is like to be used to protect,” Virgil stated firmly.

Patton thought for a few more moments, but then nodded and accepted the staff…

And then they all watched on in awe as the orb glowed in Patton’s signature blue with little specks of white light floating around in it, swirling playfully.

“Oh… It… It feels like children laughing…? Does that make sense?” Patton asked, completely baffled.

“It does for you. Now. For the pretty one,” Virgil mused. Roman was so impressed with how Virgil had guessed that Patton favored a staff to fight with rather than anything that could stab, that he almost missed the complement. Almost.

With a bright red face and Logan next to him now definitely aware that there was reciprocated flirting going on, he followed Virgil through the room. To the spears. Roman’s favorite along with swords.

"I think you will get along well with sky cleaver," Virgil decided, picking up a spear entirely made off black steel with engraved golden waves winding around the shaft. Right under the tip, a leather cord was wound, the loos hanging ends adorned with feathers and beads. Roman couldn't place the species of bird or the materials the beads were made off.

Feeling his curiosity, Virgil elaborated.

"My astronomy teacher discovered a shooting star and mapped its path. His calculations revealed that it would one day hit us, and the consequences of that would be unfathomable. So he made me swear to keep an eye on it and to do what was necessary to protect our world from the destruction after he was gone. So I studied and tracked and kept a close ear to the development of prophecy spells. Luckily, for a non-human event, those work a lot better since there are far less unpredictable variables. So when I knew the time was drawing near, I looked into the future to learn where and when it would strike, and I traveled across the ocean to make good on my promise. The local magic users were happy with the heads up and my help taking care of things and crafted this out of some of the remains, made it pretty with gold. The chief of the town I stayed in during this time, added these," he ran his hand past the beads and feathers. "As a symbol of their friendship. I named it Celius sky cleaver. May it strike with purpose," he offered as he held out the spear once again.

Roman very carefully accepted the weapon forged across the ocean from the remains of a shooting star.

"... Did... did you fly across the Ocean?" Logan asked, completely baffled.

"Yes. It was a Long journey and I was pretty much useless for a year after I got home," Virgil confirmed casually. He flew... across the ocean.

"That leaves us with you," Virgil pointed out. Gesturing to Logan and heading to a rack of crossbows.

Logan was immediately distracted from the fact that Virgil had traveled to unknown lands across the ocean. Rather he browsed through the options and picked up an ornately decorated crossbow. “What is this one called? It seems to be off the hand of the great crafter Similion,” Logan observed.

Virgil took the device out of his hands. “It’s called clover. Similion made it as his graduation hobby project so to speak and gifted it to me in exchange for some pointers on how to improve his next project. I had a lot of pointers,” Virgil stated, before reaching for a far smaller device and a brace.

“This, will suit you much better,” he stated.

Logan accepted the set and studied it. “I don’t recognize this sigil,” he admitted.

“That’s because she never made it big. She was a genius though, beloved by Earth. But only an apprentice when she suddenly passed away in her sleep may the Ocean carry her soul.

Her parents knew one of my pupils at the time and through him I received her finished works and blueprints. I have been looking for a promising talent who’d give her credit so she can take her rightful place in history,” Virgil stated. “This one is called Apis,” he offered, indicating the modest weapon.

Logan took all that in and nodded weightily as the weight of the story behind the weapon settled on him. He put the bracer on and attached the crossbow which glowed blue as soon as it sat secure.

“Fascinating,” he mused.

“Yeah, they all have some tricks up their sleeves should you need it,” Virgil mused as he walked on and soon retrieved a pair of twin daggers, connected to one another with a chain.

He looked at them for a long moment. Testing their weight. And eventually going through a few fighting motions. Roman could feel that just holding them put Virgil in a rather sullen mood.

Feeling his concern, or noticing that they were all looking at him worriedly, he righted himself and gave them a sad smile. “We weren’t always at peace,” he pointed out… Oh gods… How many…?

Stardust chose that moment to demand attention once more and they were all promptly distracted for a good five minutes.

“Alright, yes you are very good Star, I love you too,” Virgil smiled before getting up again along with the rest of them.

“Listen… I was an efficient fighter, but that doesn’t mean that I enjoyed doing it. I only picked these up when there was no peaceful solution,” he assured them, feeling nervous, ashamed, scared, sad…

“You were a protector,” Roman said decidedly. “Sometimes that means being a fighter,” he assured him. Virgil looked up at him, searching for truth, insisting he had blood on his hands without saying it out loud, glancing towards Patton and Logan, worrying that this would ruin the progress they had made.

Roman didn’t waver, didn’t doubt. They all had been a little afraid of him from the very start considering how powerful he was. Whether with a blade or magic, he’d always been able to overpower them. So in that sense nothing had changed.

Virgil relaxed just a little and gave him a smile, thanking him for his reassurance.

“Ahem, we are also still here. And would you even be able to use those? As stated, even if we arrive in the night, which we might not, you will likely be forced into your guide form as soon as we get close to the sunstone,” Logan stated. Virgil looked up a bit apologetic and nodded.

“Yes, but we might encounter cult members before we get that close,” he pointed out. “And I will be in human form at least for a bit of the encounter, if the crystals do their work,” he pointed out.

“Crystals?” Logan asked.

“His home is lit by moon crystals and he had some left over in stock,” Roman surmised.

“Ah,” Logan nodded in understanding.

“With all that said, I will give you a change of clothes and then we can head to the library to talk strategy before we settle in for a quick nap,” Virgil insisted.

Roman couldn't help but be a bit excited. Despite Virgil's earlier insistence of being a sensible dresser, he'd felt his pride in his work. Felt how much he enjoyed wearing something nice he put effort in to the party.

He knew Virgil had a great sense of style, not to mention wearing something Virgil made sounded exciting to him.

Virgil smiled at him and motioned for them to follow him. They passed through the room with the loom, their barely started work left untouched.

Virgil went on into another room, and they followed. This one had a little round stage, half of it surrounded by mirrors. In front of it stood a changing screen and four mannequins each prepared with a different outfit that was practical, not too loud, but obviously tailored uniquely for each of them.

"The traveling cloaks should be waiting for us at the door," Virgil stated as he collected his ensemble and headed to the changing screen first.

"They are all self-cleaning. So it won’t be as uncomfortable to travel in these," he explained as his borrowed outfit was tossed in the air and some sort of magic carried it away. Presumably to be washed.

"Much better," he mused as he appeared in a black, sleeveless tight fitting top with silver feathers embroidered along the seams of the shoulder.

It was tucked into dark pants with a silky purple sash as a belt. Roman tried not to stare too much. In his previous two outfits it hadn't shown, but Virgil was well built.

"Next," he smiled.

"These are... custom made for us," Logan observed.

"Yeah. Not by hand, though. I mean the fabric was made by me. The rest is courtesy of the house. I don't have the time to do it by hand right now," Virgil explained.

"Gosh Virgil! That's so impressive. Mine feels so soft and cozy, and I'm not even wearing it yet!" Patton gushed, playing with the sleeves of his blouse with little bunny paws along the hem.

"Hmmm." Logan mused, taking his outfit and getting changed. His outfit, too, was collected by seemingly invisible assistants.

He came out in a black undershirt and pants with a midnight blue vest. The buttons in the shape of unicorn horns. Logan was reattaching the crossbow to the brace while Patton took his turn, getting changed.

"How did you guess the exact weapons we were trained to use? I am assuming some level of weapons raining has always been mandatory, but there are a lot of options," Logan pointed out.

Virgil nodded. "You assume right... among high mages who've been around for sone time, patterns become apparent. We usually could guess which guide would unveil itself to which student. Made little bets on the ones who we weren't unanimous on. We also saw patterns in the weapon someone chose and the guide they turned out to have," Virgil explained. Patton came out and hopped on the stage to get a good look at his new shirt.

Roman, while interested in the story, didn't want to waste time and went to change as well. His pants were similar to what was made for Lo, Pat and V.

The difference was in the tunic. It reached to his knees, was a lovely red in color and golden wings embroidered on his chest similar to the decorative golden chest piece Virgil had worn when they first met. On the other side of the screen Virgil continued.

"Jackalopes are playful and rarely go for truly lethal weapons. Combined with Patton being a martial caster, and thus not afraid of direct confrontation when needed, I figured the Bo staff a good fit. Confrontational, but far less likely to cause accidental maiming.

Unicorns are for the intelligent. The strategists. So a long distance weapon is logical. Combined with the fact that you aren't built for a longbow or a short bow, a crossbow was most likely." Roman bit back a laugh. That was a polite way to say that Logan clearly had no upper body strength.

Virgil paused his story, amused at Roman's barely concealed mirth.

Roman finished changing and joined his friends. Taking a moment to admire himself in the mirrors. He felt like a noble warrior honestly, especially while holding the spear.

"The phoenix... tends to favor being up close and personal in battle. We can afford it. High mages might survive injuries but they still hurt. We aren't as incapacitated by a serious blow and as you saw, our reincarnation can be an effective weapon too," he explained. Roman could very vividly imaging Virgil forging a path through an army. Literally blazing through and leaving terribly burnt enemies in his wake. The image both beautiful and frightening in his mind. But not in a way that made him afraid of Virgil.

"Not that we know that when we choose the weapon, but phoenixes, like dragons, will tend to be at the front line. We choose weapons that are noble. That are direct. The light phoenix' bravery makes them brazen. So a sword or a spear would fit him most. I figured Roman would be the type to want a more versatile weapon. For myself I chose the daggers for their high mobility and the tight control on every swing. Less chance on friendly fire. In my mind at least..." he finished. "So. If we are all satisfied with our new clothes, I'd suggest heading to the library. In one hour we sleep," he said decidedly.

The group nodded and they followed Virgil through a door back to the library.

"Say Virgil, can I borrow this book after we do all the important things? I looked through it to see if there were any interesting creatures for me to turn into, but it only has magical creatures. It's a verry fun read though so i wanted to read more when we are less pressed for time," Patton offered gently, picking up a book from the shelve and showing it to him. Before Virgil could answer though Logan grabbed the old leather book that looked more like a journal than a proper book to Roman.

"This..." Logan gasped, flipping through a few pages with wide eyes. "Is this a, complete, handbound first draft of the beastiary of Aristofel?" he asked baffled.

"Um... yeah. We used to date..." Virgil admitted sheepishly. "He sent it to me as a thanks for my help and stuff."

Logan looked up at Virgil. "Most existing copies are damaged in some way. This is the only complete edition in existence as far as I am aware," he stated.

Virgil clearly didn’t know what to say to that.

Roman decided to step in. "Let's focus on our missions for now and then you can explore the house for more forgotten treasures whenever Virgil decides to invite you back," he suggested.

Logan nodded and gave Virgil his book back. "Yes. Apologies. I forgot myself," he said a bit embarrassed.

"That's alright, it happens. Patton if you need some inspiration for transformations into non magical creatures..." Virgil looked at his shelf and picked out a different book and handed it to Patton.

"What were you looking for Logan?" Virgil wondered.

"Ahm. I want to look into chrono magic. It is closely related to my divination and some spells I heard about might be useful in a crisis situation," he explained, nervous but determined. Who was this man and where did his extremely cautious friend go? Forbidden magic? Logan? It was a bit of a shocker even with how, bold, he’d been today.

"Hmmm..." Virgil mused before getting a deep blue book with stars on the cover. "That should help," he stated before turning to Roman.

"And now you..." he stated. Roman nodded and followed him to settle on a carpet on the floor.

"I suppose I should learn some basic martial crafts," Roman mused.

"Didn't you say that you wanted to learn more about herbology the way I taught it?" Virgil wondered. Roman nodded. "Of course, but the fight..."

Roman stopped talking as he felt Virgil's fond amusement, though there was an undertone of frustration. Oh. The holes in his education were showing once again.

"Did they teach you that all you could do was identify herbs and minerals and heal?" Virgil wondered. Roman nodded, waiting to be corrected. Virgil reached into his pouch and retrieved a yellow dusty substance. Pollen. Roman knew instantly.

And then from his hand a gorgeous fire Lilly grew, which Virgil gently tucked behind Roman’s ear.

"Roman, the spell Patton did to trap those wolves. What kind of magic did you think that was?" Virgil asked.

"I-I thought Wild keep magic but I’m guessing that's wrong," Roman concluded. Virgil nodded.

“It was herbology. We do more than just identify the gifts of nature Roman. We connect to them. When you held that stone, you weren’t divining it the way Logan would. You connected to it, heard it’s entire story, and that happened to include what it was used for. How it was used,” Virgil explained.

“Through that connection you also returned the fields to a healthy state, making undeveloped seeds catch up to their neighbors and the sick plants heal in only a moment.

Wild keepers can commune and command the plants that are living. We…” He made a flourish with his hand and laid a dried out lavender stem in Roman’s hand.

“We can call upon them even if they are long gone. They are our ally as much as we are theirs,” he insisted. “So long as we treat the plants and minerals around us with love and respect, there is no telling what favors we might yet learn they would do for us,” he added. Letting a long silence fall.

Roman could tell he was expecting him to do something, anything with the stem.

Could he revive it? Roman closed his eyes and focused. Willing his magic into the plant the way he would when he would try to draw out its mana, but this time he didn’t make it stream out and take energy with it. He strengthened the mana, connected to the plant’s innate wish to live…

He opened his eyes when he felt Virgil’s pride swell.

In his palm was a perfectly healthy lavender stem. He looked up, proud of himself and tucked the lavender behind Virgil’s ear.

“Good,” Virgil smiled, touched by the gesture. “Now, let’s teach you to be a force of nature.”

[carnivalcarriondiscarded]

hello again everyone i'm putting on my tinfoil jester hat & passing out Hefty grains of salt. its batshit theory time!

in short: i think Julie is gonna get violent & might end up killing someone - or she'll at least try. and i'm pretty sure something terrible is gonna happen to her.

in long: hoo boy. strap in

first off, i'd like to say that i love womens' wrongs And rights! all of this is said with utmost affection & respect for Julie. i love it when characters do terrible things, its interesting and so tasty for the story and their development <3

second disclaimer: most of this is just based off of what we have / know as of now. which is, admittedly, not much! so despite having short arms, i may be reaching very far! i'll get the based-on-knowledge part of my thoughts out of the way before getting into the more abstract I'm Just Making Shit Up At This Point part (educated guessing, yk yk!)

not sure where to start so i'll begin with what starting this line of thinking - flower symbolism. I've gone a little bit into it in a previous post from a while back (where i just made observations about the neighborhood map), but i'll restate the relevant parts. there are two flowers in the neighborhood with greek myths attached, and similar ones at that: the hyacinths outside of the Post Office, and the sunflowers outside of Frank's house.

most people know the hyacinth myth! Apollo, while playing metal frizbee with his (male) mortal lover Hyacinthus, Apollo's thrown discus bounced off of the ground and accidentally hit Hyacinthus in the head, killing him - then Apollo turned the spilled blood into the hyacinth flower. in another - popular - version of the myth, the wind god Zephyrus was jealous and blew the discus off course to kill Hyacinthus. as for sunflowers: Clytie, a nymph, was in love with Apollo and grew jealous of his relationship with a princess, Leucothoe. Clytie informed Leucothoe's father of the relationship, and he buried Leucothoe alive as punishment. Apollo turned his murdered lover into a sunflower. two flowers attached to greek myths about Apollo falling for a mortal, and that mortal gets murdered by a jealous non-mortal.

next, I would like to bring attention to This Concept Artwork from 2021. now i'm not gonna use this as a definitive "oh this exists so it must mean-" but there are always elements of concept work, especially Canon concept work, that sticks or can allude to themes or information that will be revealed later in the story. concepts are concepts for a reason - it means there's a solid idea that's being explored in depth, most times for use (especially that deep into the story crafting).

specifically, right now i'd like to look at the type of flower Julie is holding. pansies. normal ones + the primary fucked up pansy. pansies are symbols of love - both romantic and platonic, but predominantly platonic. it can also symbolize nostalgia, thought, admiration, remembrance, and can even be used as an "i'm sorry" flower. in victorian times, it was often used to represent forbidden/secret love.

stick with me, i'm getting to the point i promise

now, another thing is how much of Julie's character (meta-wise & in regards to the WH show as a production) is centered around love. her house is the "cutest" or most feminine one in the neighborhood, and it's downright infested with hearts, from the windows to the bushes to the chimney. she exists as Frank's foil, and it's almost definitive that she was meant to be Frank's love interest (there's just. so much evidence that there's no way that's not it). and just look at her! she looks like a love interest! if WH was a real show that i sat down to watch, i'd see her and immediately go "oh, ok, that's her base role"

this contradicts with what we know of her character - Julie seems big on platonic love, loving her friends, but other than that? she very much steps around what her house/character design is trying to say. she's hopscotching right over what the production wants from her. the only thing she kinda sticks with is the whole flower thing

but. but but but. i wonder! after the update, I'm pretty confident that the neighbors are influenced by the "script" and the workshop, even if they're not aware of it. see: the difference in how they act in the "recovered media" (where they behave more like they're characters playing out a bit, their dialogue has no natural lulls and it just sounds like a (really good) script) vs the 14 audios & the phone calls (natural dialogue, they seem more layered & like actual people instead of just characters, there's no set shenanigan - they're just doing their own things). and we can assume that the latter audios are from the neighbors off-script off-the-air.

despite this, they still somewhat try to fill their roles. the question is: how much of that is authentic, and how much is them still feeling that pressure to perform? just like how We as people feel pressure and expectation from societal rules/norms, even if we're not conscious of it. like, say... kids growing up thinking being queer is wrong, even if they've never been directly exposed to / made aware of homophobia/transphobia. We fill in the absence of being told "this is right" with "it must be wrong", and We act accordingly

so apply that to sapient puppets who were (again, most likely) made with set relationships, dynamics, and character details in mind. they're meant to be This Way, even if they want to be That Way, and that internal "programming" has to conflict, at least a little. like how I've seen Clown mention that homophobia will/may be a theme, and the only way i can see that happening among puppets who have never been directly exposed to it is if the above happens: they feel pressure from something they're unaware of. expectation from a "higher" plane of existence. as above, so below.

OKAY NOW WE'RE GETTING TO IT I PROMISE! blend this all together into Frank & Eddie catching feelings. they weren't meant to fall in love. they're not supposed to be together. it's - from the perspective of Playfellow & society (in the time period WH was active/created) - wrong.

Julie is supposed to be with Frank. Frank is supposed to be with Julie. in a way, they are together - they're best friends. they're foils. they were created to compliment each other and click. in the media audios, they're almost always together. if one of them is in a scene, so is the other.

so what happens if Frank starts to pull away? if he starts to spend more time with Eddie - what if Julie feels like she's being pushed out? what if she asks Frank to come play, only to be told he already has plans with Eddie, and if Julie tries to join in, what if Frank tells her no?

if it were me in this situation, I think I'd start to panic a little. everything has always been the same - it's always been Frank and Julie. that's how it's supposed to be. Frank and Eddie, well that's just - that's just wrong! and if, at this hypothetical point in the story, things are tangibly starting to degrade/go wrong, Julie might cling even harder, panic even more.

you see where I'm going with this? what i meant with the flower symbolism and what it could point to?

their world is falling apart, and Julie's one constant - Frank, her best friend, her grumpy rock - is pulling away. for Eddie. the mailman. and so what if the jealous "lover" takes action? Julie can make things go back to normal. she needs Frank, and in her mind she's losing him, but she can't lose him. she can't. and maybe that little whisper of expectation that she can't hear but feels nonetheless, fuels this fire. it makes her feel justified, makes her feel the need to act and "correct" this. maybe if she gets rid of the distraction, Frank's love and attention will be hers once more.

i mean, people do insane things when they're under that much pressure. from current probably-horrible events, a loss of control in their own life, their closest person seemingly distancing themselves, subconscious pressure from societal expectation. especially when it comes to love - platonic or romantic. w/ Julie, i'm pretty sure it's platonic in regards to Frank. though she is bi, so you never know! could be both!

and maybe it won't be about Frank & Eddie, if any of this turns out to even a little right. maybe there's a factor I'm not considering or haven't seen yet. but i really do think that there are things pointing to it.

like yeah, the Concept Art linked above. the caption saying "liar", the specific species of flower, Julie holding it over her mouth as if keeping a secret, the hammer. not sure if the person standing over her is her primary puppeteer, an abstract, or something else (it seems cracked?) but that's not what this theory is about!

then there's the flower patch - both behind her in the concept art, and the one behind her house on the map. it's striking me now that the two look very similar. they have mostly the same flowers, even. blue/yellow/white/orange "daisies", some daffodils, what i think are roses (it's hard to tell specifics on the map). an odd choice to make them so similar (unless it's coincidence!).

when I first saw the patch, my immediate thought was "holy shit is that a body dump?!" bc it's oddly green compared to the rest of the map, it's placed at a noticeable distance behind Julie's house - as if it's supposed to be "hidden", and it's the lushest spot in the neighborhood. now, to provide a counterargument to my own claim: it could be very green because that's how things are shaded, it looks like it's at a distance from the house bc the map is 2D, and its the lushest spot bc Julie's all about flowers - also, i doubt flowers would spontaneously grow since we can assume none of them are real. it's a puppet world of props. but who knows.

(and okay this might or might not be relevant but we can assume Julie is the one who made the chalk drawings on the path, right? i think there's a spiral in front of her house. just making a note of it.)

and there's just how much "pressure" seems to be on Julie compared to the others. she doesn't match her house. she doesn't fit her "role" the way she's meant to. AND OH AND I ALMOST FORGOT - by the swingset, there's now a bowling ball and what looks like red scissors. idk about you guys but i associate scissors with Eddie. he's all about crafts, after all! now i'm really reaching but hey? murder weapon? Julie does seem fond of bowling balls... that's a perfect bludgeoning weapon to have on hand (in abundance!)

in conclusion, i just think Julie has major potential to do some deliciously fucked up stuff. in fact, i hope she does! it could be handled/done in an absolutely fascinating way, and could have intriguing consequences.

who knows, maybe i'm right about her trying to get rid of Eddie (not out of malice or anything, just fear & pressure), and there'll be a whole thing where he keeps on coming back, completely unaware that she tried to off him, bc he's a puppet and it's probably really tough to kill something that wasn't really alive in the first place. i mean, in This Observation post i made about some new map secrets, there's a strange window shine on the Post Office door that could be spelling out either "nexus" or "new us". that plus the apparent extra hands/faces behind the door... Eddie is quite accident prone. who's to say he's not used to being replaced by himself? it's not like he'd remember. or is that the reason his memory is bad? holy shit wait - no wait this is a tangent. sorry. this post is about Julie lmao maybe i'll make a different post for this Eddie Thought i just had bc ough. ough...

and also, before anyone tries to come at me - because there's always people who twist words to Start Shit or misinterpret/miss the point - i'm not saying that Julie is like... homophobic. or hates Eddie. or is a "jealous crazy-" just. yk? and if you think that, maybe reread the post. or take a reading comprehension class &lt;3

AS FOR THE SOMETHING TERRIBLE HAPPENING TO JULIE. this is based on Two things and also Vibes. this section will be mercifully short compared to the rest of this clusterfuck of a post

so in the Livestream Trivia doc compiled by @/theneighborhood watch, yes i'm referencing this again sorry, there's this tidbit:

that, plus This Artwork, which features Julie (they're her shoes!) standing at the edge of an apparent chasm (the edge of the set, i assume) paints an interesting hypothetical picture. maybe she wanders a little too far and falls off the edge of her world. maybe she discovers something and Wally has to do something he doesn't want to do, but "needs" to. hey, who knows. maybe she is gonna hurt / try to hurt someone, and in an attempt to save them / stop her, Wally pushes her - either accidentally or on purpose, either way the end result would be the same. now I'm just pulling things out of my ass so lets move on lmao

then there's the Unknown Record in the website's media section. i actually recorded the audio and sped it up - i'll post that video later - and it seems to be an excerpt from Alice in Wonderland. the only part of it i've been able to clearly pick out is "Alice found herself falling down.... down... down..." followed by, presumably Alice speaking - who's high pitched voice reminds me of Julie's. so that's another point in the Julie Goes Bye-Bye Via Rapid Descent theory. or just goes temporarily missing! it could be that the only relevant part of the above trivia tidbit is the "falling down a cavern", and not the "never seen again" part. but it could. be. both.

though! though. Clown has stated that if all the neighbors were to take on roles in Alice in Wonderland, Wally is the one who would be Alice. which follows his direct connection to the spiral/eye pit, and the phrase "down the rabbit hole". so it could be either or. it could be both! it could be neither! this is all speculation, which brings us to....

the end! we made it! i hope you're still carrying your Hefty grains of salt! soon you'll be able to fill a large chicken-shaped shaker with it all!