#Not that being chosen instills an authority in them

[bonefall]

Snowbird anon here, I was going through my old middle school journals (sodamn cringe btw) but after I had read Mapleshade's vengeance I had a little headcannon/Theory that Firestar was supposed to be one of Patchkit's or Larchkit's or Petalkit's kits, the chosen clanborn Fire to beat the oncoming darkness, and with their deaths it allowed the darkness to gain more strength while the chosen one had to be moved to a different parent, and a different generation.

"Kill not the part of you that is cringe; kill the part of you that cringes" - sun tzmew

I love going through my old middle school notes, it makes me cringe inside lmao but it's fun seeing your old stuff and thinking about how you would make it work now. It can feel really cathartic to see your storytelling skills develop like that

That's a pretty cool theory, it would bump Firestar back to be slightly older than, or around the same age as, Bluestar. I wonder who his Tigerstar would end up being? Adderfang, maybe? Thistleclaw if Fire's born when his parent is older?

[romaritimeharbor]

HEIR. — In which Arlecchino's heir comes home after a tough mission.

— trigger & content warnings. references to violence and other dubious activities. mild blood.

— pairings & notes. fluff. arlecchino & heir!reader. reader is gender neutral (they/them pronouns used). reader is a member of the house of the hearth and is arlecchino's chosen heir. 2.5k words.

— author's thoughts. arlecchino is the best harbinger fr <3

       Being the Knave's heir came with many implications.

       It was, firstly, a role that was never forced upon them; it was more of an offer that Arlecchino extended to them, the child who she felt would make a worthy king and successor should something ever happen to her. It was no obligation—not until they actually inherited her title, that is. Up until that point, they would always be permitted to withdraw. They could withdraw until they literally could not anymore, until they were the director of the House of the Hearth.

       Shackles weighed heavily on their body, growing more difficult to escape from with every passing moment, slowly fusing with their flesh and bone until one could not identify where their body ended and the chains began.

       Their time to dispel the House's darkness from their veins was there, but it was gradually ticking down… not that they particularly minded.

       (They weren't sure that they would fully leave the House, regardless, so its darkness would always inhabit their veins in some way, shape, or form. It would simply be to a lesser degree, if they were to decide that they did not want to be the next Knave.

       ...But they weren't sure that they would do that, either. The spider's web was their home, entangled inseparably with their limbs; it simply felt right for them to become its next owner with how intensely it stuck to their skin, as if it was beckoning them and only them.)

       The implication that they had limited time to leave was not such a heavy burden to bear.

       What was quite the weight, however, was the nature of their missions.

       Missions assigned to them were those that were unsuitable for the other children; generally, "unsuitable" meant extremely bloody and shrouded in the pitch-black shadows of the vile secrets of nobility or political figures. The darkness that their missions harbored ran deep. Missions assigned to them were more than simple intelligence gathering—there was something far more sinister about their work.

       It was often about sending a message.

       It was often about silencing the cackles of boisterous, rich fools who wrongly believed they had won by sending one of the Knave's agents running home like a frightened dog with its tail between its legs, bearing wounds they had not worn before leaving.

       It was often about instilling the fear of those who lurked in the darkest shadows into unwisely confident people who'd only just stepped into the dark, new to the territory and unfamiliar with the dangers that prowled further within.

       Over and over and over again, it was about sending a message.

       Missions that other children failed, they would be sent to complete.

       And often, those missions resulted in them walking home drenched in blood that was not theirs.

       (They still were not quite as elegant as Father, and this was one of the most frequent things that she chided them for… but they were still learning. Arlecchino hardly thought it was worth holding against them when they could successfully complete the missions that others failed to. She was a bit harder on them in the beginning, typically subjecting them to difficult stealth trainings that often involved plenty of brightly-colored paint ready to drench them the second they made a wrong move.

       Much to the Harbinger's intrigue, they had little issue with her trainings. It was never their stealth that was the problem. Rather…

       'Things tend to get… physical quite fast, Father. The people I am sent after are often quite volatile, as I am sure you know, so I have few choices other than to get dirty.'

       'I see.'

       Now, all she usually did when they returned in a disheveled manner was click her tongue and tell them to go clean themselves up, followed by little to no tasks assigned to them the next day, unless there were absolutely necessary operations that could not be avoided or handed to someone else.)

       They supposed that—at the very least—missions of that nature were not common, so they rarely had to tread home tired, bloody, and, sometimes, in a poor mood. It was rare that Father deemed a mission too unsuitable for the other children, yet still appropriate enough for them.

       Unfortunately, however, this was one of those nights.

       Their mission had gone well, as per usual. Nonetheless, they did not return well, and instead came home with a distantly tired expression and rather neat clothes… should one ignore the blood soaking their shoes and the tips of their pants, of course.

       The sight of home only motivated them to walk faster and with more purpose, yet they kept their steps quiet and light to the best of their ability. It didn't take long to reach their destination when their veins were filled with newfound energy and enthusiasm.

       Before fully stepping inside, they took their footwear off as to not drag the evidence of their mission all across the floor.

       (Not that it couldn't be easily cleaned. The skills which their siblings possessed would make cleaning blood the simplest task in the world. No, they were not concerned that the blood would stain the floor or any of the carpets. In their mind, it was more about respecting the home that Father built and not tarnishing it with the blood of unworthy fools. That was what they were concerned about.)

       Once their shoes were secured in their hand, they peered inside. It was vacant and silent. The only sound that filled the room was the quiet crackling coming from the active fireplace.

       Most of their siblings were probably out, they thought, but someone had to be home if the flames were still burning. For safety reasons, everyone was required to put it out, should the House be completely vacant. Someone was home, then.

       They felt no particular need to hide themselves in this state; it wasn't exactly uncommon for a child to return either bruised and beaten or soaked with blood that may or may not have been their own, or some combination of both. Such was the nature of living in the House of the Hearth; everyone came home like that at one point or another. It was mere curiosity that made them wonder who was home. 

       The little ones, Foltz or Heloir? No, Father did not permit them to be home alone with the fire burning, since they were too young and small to handle fire correctly.

       Perhaps Lyney or Lynette, then? But those two had a show scheduled for tonight (one that they were a little upset to have to miss, but their sadness was met with reassurance by the twins, that they would both be more than happy to give them an exclusive show so that they would get to see what they missed).

       Freminet? Maybe, but he was probably with the twins or out diving. He had mentioned that he was going to go if Father did not assign him any new missions.

       With gentle steps, they made their way inside, closing the door behind them using their vacant hand.

       A smooth, elegant, and calm voice called out to them:

       "Welcome home, child."

       "Ah." That's who was home, then. They turned to face the Knave with a polite bow of their head. "Good evening, Father."

       Her gaze pinned them under the weight of scrutiny, eyes quickly taking in their disheveled appearance and tired disposition. "That blood is not yours, is it?"

       There was a vague twinge of something in her tone that they could not quite identify.

       Arlecchino was not a particularly easy woman to read, so it never much bothered them when they could not discern what she was thinking or feeling. Most couldn't. It was not a lack of ability on their part; it was simply a fact of life. The Fourth Harbinger was not a person easily understood.

       …But somehow, it almost felt like she was concerned.

       "No, it isn't," they replied.

       Whatever it was that took hold of her tone a moment ago had dissipated, snuffed out like the small flame of a candle.

       "Good. Go clean yourself up, then. You may deliver an oral report to me later. Worry not about a prompt delivery—concern yourself first with recovery." She turned on her heel. "Oh, and… [Name]?"

       "Yes, Father?"

       "You are not to partake in any missions tomorrow. Do not allow your siblings to include you in any of theirs, either."

       'Do not get roped into your siblings' messes,' is what she meant to say. Their lips twitched upwards in poorly-concealed amusement. She almost certainly could hear it in their voice. She said nothing, however—perhaps she herself was vaguely amused by the implication of her own statement, or perhaps she was endeared by their capacity to clearly and completely understand what she meant to say.

       "Yes, Father."

             — flower of the universe !! 🌸

       Flames and shadows danced and flickered on the walls, their dance of light and dark uniquely mesmerizing.

       The radiating warmth of the fire caressed their skin, kissing away any of the cold that they might have felt as a consequence of the remaining water droplets clinging to their hair.

       Falling asleep sounded so very tempting, surrounded by the hearth's warmth and safety, sitting… somewhat comfortably on the soft, red rug right with their back partially supported by the sofa behind them.

       It wasn't exactly… uncommon for many of their siblings to take naps here, though that was typically during the day when the golden rays of the sun filtered in through the open window.

       (Lyney and Lynette were notoriously fond of sleeping here in the afternoon when the sun streamed in so perfectly, bathing the carpet in its golden light until it became as warm and cozy as a blanket—they sometimes wondered if it had to do with those two's feline genes, though they dared not ask, in the case that either one would take their question the wrong way.

       They probably wouldn't, especially Lyney. They're certain he would find amusement in their musings… or maybe he would get terribly embarrassed?

       …Ah, well. They wouldn't pry. It was more entertaining to speculate nevertheless.)

       It was not daytime. It was nowhere near daytime.

       If they had to guess, it was more than likely the middle of the night; the only light that filtered in from that window was the cool moonlight, though it's cold light was largely drowned out by the flames roaring in the fireplace.

       Still…

       Sleeping right where they were sounded so much more appealing than getting up and making the lengthy trek to the room they shared with some of their siblings…

       Truly, honestly, they had only intended to rest their body for a moment.

       However, after what felt like a never-ending battle with microsleeps, they allowed their eyelids to flutter shut and finally succumbed fully to sleep, the crackling of the fire cooing its goodnights into their ears.

             — flower of the universe !! 🌸

       Arlecchino was a woman not easily fooled.

       That much was a given, of course, considering her status as the Fourth of the Fatui Harbingers. The fact that she was a Fatui Harbinger was enough of an indicator of her sheer perceptiveness on its own—surely nobody in such a high position could be anything other than observant. A Harbinger at all, let alone a Harbinger so highly ranked, could not afford to be anything besides calculated, cunning, and sharp-eyed.

       Her understanding of their state was instantaneous; the very moment they walked in the door, she knew.

       She had seen the utter exhaustion seeping into their bones, permeating their very being and making even the simplest tasks quite a bit more challenging. It was all too clear to the Knave, as clear as the most cloudless of days, visible in the way their shoulders slouched and the way their eyes drooped.

       She knew from the very moment they had stumbled—stumbled, their feet barely coordinated and legs struggling to support the rest of their weight—into the house, tired and dazed though still able to muster up respect and courtesy when faced with her. Had they been faced with one of their siblings, Arlecchino was certain that their formality would have quickly crumbled into nothing, but because it was her, they had maintained near perfect diplomacy and grace.

       Nevertheless, they still failed to hide how worn out they truly were (but perhaps that was because she was the person she was; had it been any non-Fatui member, their exhaustion may have slipped by entirely unnoticed).

       Therefore, it was only natural for her to check on them.

       That was part of her responsibility as Father—to know how her children were doing, physically or otherwise, at any given time. A healthy child made for a good soldier. An unhealthy child, less so.

       …But their state of being could only make her sigh as she walked over to them, steps light and soundless as to not disrupt their rest.

       They needed it. That much, Arlecchino was extremely aware of. She was nonetheless irked at their blatant lack of consideration for their own body; sleeping in the position that they were, neck craned uncomfortably against the edge of the sofa and body still incredibly tense, would only serve to strike their body with in great pain the following morning. It was simply unhealthy, but it was also inconvenient, considering the responsibilities that loomed over their shoulder like a shadow of the past that could never be shaken.

       The Knave slipped behind them, gingerly lifting their head with a pleasantly warm hand (though her rings were considerably chilly, but the sting was also a rather pleasant sensation against their skin) so that she was able to situate herself behind them.

       Then, she gently laid their head back down. Now, however, their neck was offered far greater support by her thigh, and her mind was soothed. No longer did the Fourth feel that they would awaken sore and stiff.

       Nails raked across their face and delicately brushed at the hair slightly sticking to their forehead; it had mostly dried by now, but there was still residual moisture clinging to their hair, causing it to adhere—albeit weakly—to their skin. Their eyelids seemed to twitch somewhat. A soft hush from their caretaker, however, and they ceased stirring.

       Mad and cursed. To an extent, perhaps those labels were true; Arlecchino was mad and cursed, but then maybe her children found comfort and safety in her madness and her curses.

       They most certainly did, for despite the brief consciousness they regained, they were quick to allow themselves to be lulled back into a peaceful sleep under the watchful eyes of Father.

       Perhaps "madness" was subjective.

       ...Or perhaps her heir was simply following in her footsteps, slowly descending the same path she did, gradually growing to be as mad as she.

       "Dearest child of mine…" she mused aloud, the tones of her voice soft enough to ensure that they would not begin to rouse once again yet not quite faint enough to be regarded as a whisper. Something one might call fond flickered in her voice as she went on, hand coming to a slow stop and settling on the top of their head: "How foolish you can be."

       The darkness creeping up Arlecchino's arms day by day, indicative of her curse's growing severity, was sated, ceasing its ascent for the time being.

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[opal-owl-flight]

can I ask about the poster "agent 3" kids story?

Yes you can and here it all is!! Presenting…

tldr: She comes from a family of big name actors in the industry, and shes been raised from hatching to continue their legacy. Its…a lot of pressure to put on a kid, especially one who just wants to make her (impossible to satisfy) family proud. Despite being surrounded by impossible standards, the fakest friends chosen for her, being given everything she can ever want (except what she really needs), and putting on a hundred masks for everyone in her life for survival’s sake in a cutthroat industry, she chooses to be kind.

more details under the cut!!

Her name is Sariwa, which means “fresh” . Named for her spring green tentacles and as a blessing from her parents that shed stay youthful, beautiful. a hope that she would be seen and be adored (as freshness implies coolness/popularity in sploonworld).

Shes hatched into the acting industry, with both parents being big in the industry. From hatching she was expected, trained to be an actor like her mother is. The media adores them, this “sweet little family”, but no one knows how nefarious everything is when the cameras are off.

The dad is neglectful, disappearing into meetings most of the time. The mom is a helicopter parent to make up for it. Pointing out every flaw that Sariwa apparently has in either performance or appearance. Never giving praise. Except when she performs “well enough” on stage. This instills in the child this need to make them proud. to…to make everyone happy. She becomes someone whose dependent on other peoples’ praise to function.

Shes given everything else, dont get me wrong. Every material thing she’ll ever need. all the big popular “friends” chosen for her. But…shes not allowed to turf. yknow. biggest event in an inkling’s life here in Inkopolis. and shes not allowed to go to school either. shes too busy memorizing lines for adverts or-

The second she turned 14, she was chosen as the lead role for Cuttlegear’s brand new show abt Agent 3. She looked exactly like the legendary hero, according to the sources. All her time went into this project. Thankfully, unlike at home…her co-actors were very kind. Her parents didnt choose for her this time. She was meeting actual people who dont put on masks beyond their job. the actor they got for Cuttlefish, in particular, is a very kind soul, defending her when the directors get too pissy with her performance. (Those are the only people she fears, tbh shes fearful of most authority figures.)

*Cuttlefish is also depicted as kind and supportive in the show. and in most games. Unlike the real Cuttlefish, which is kind of a loony old man who pushes ideas on young inklings. He still gives more support and kindness that 3s dad ever gave, but thats only RELATIVE to how little he gave in the first place. One can only imagine the longing this inspires in the real 3.

Sariwa…since shes hatched shes had to put on an act. Be the perfect little doll for her parents. For the world. But her friends here, they inspired her to…have fun with what shes doing again. To take off the mask (mostly beyond the clock). Breathe life in the character when she can. (But lets be real…shes getting 3 spot on with how many parallels they have with each others lives.)

But what is she beyond the mask, her role? She wasnt allowed to do anything beyond this. She was forced to depend on her abusive parents and their associates. She cant live alone beyond them. Not allowed to turf bc shes “a prim and proper young lady; above such violent drivel that only delinquents participate in”. They gesture to 3, whos one of the faces Squidforce uses in their promotions, and say (ironically.) that she must not become that. Face ripped to shreds and eye mangled.

No one knows they got that from the real war that Sariwa is pretending to show.

The show does its best to be an accurate telling. Child friendly, to a point. Horrifying things still get kept in somewhat. Things that will horrify a child on stage.

If Sariwa is terrified of the props, can you imagine how it was for 3?

————————

And once she realizes all of this. Once she gets out of this situation thanks to Callie, Marie, and 3 themself. Does she feel guilt? Guilt for depicting the horrors in a way that glorifies it instead? A part of a project that aims to make people complacent to the real horrors that churned below?

There is one thing Sariwa feels about 3, that I am aware of rn.

“Im glad, that out of every story I couldve told, Im glad it was yours.”

Just like 8, she sung this tale in her hearts. Just like 8, she used this to break out of this terrible situation, answering the call of the ones who promised her safety. A better life. Like the way she stage broke through that prop in the choreographed Octavio fight, she broke through the influence of those around her.

*She actually went off-script a bit in that scene. After she beat down Octavio, she held out her hand. Mostly to help the actor up. But then, without realizing, she spoke, she spoke of making things better between the nations. That maybe he doesnt have to steal the zapfish anymore.

Her time with the octoling actors, and hearing the stories from the ex-octarians, made her aware and know the fact that theyre people too. The directors kept it in. They knew that if they released this as they have planned it, there will be fuckign riots from the ex-octarians or the Inkling “sympathizers”.

She saw the value this story held, despite the subliminal messaging that she wished wasnt implemented. That she wished she wasnt a part of. She saw that its a tale of hope. A tale that inspires one to become the hero of their own life. A tale that inspires one to make the world a better place.

————————

So she was hatched and raised to make people smile, singing her songs and dancing their dances. Much like the clan singer that was 4, except the tradition is much more healthy compared to industry standard. And she didnt become as mean as the people around her, at least not internally. She put on a mean mask but she felt the void within. When she was given kindness for a long enough time, she put her walls down.

And just like the real 3, she underwent through the horrors of expectations she had to hold up, and trying to make uninterested parents proud. They dont see her as their daughter, shes just a means to an end. She had to wear a hundred masks to survive and it made her lose her sense of identity. She had to be mature, she had to take the shitty behavior of adults who expect her to be like one too. It made her lose grip of who she is beyond this role. Hell, they made her so dependent on their handouts that shes not sure she can exist beyond this hell. Much like how 3 struggles to know a life beyond their duty.

And much like 8, she used the story she was telling to break out and get herself in a better situation. She met with the real Agents 1 and 2 (without her knowledge) and asked. Begged. for help, after her show ended. (3 also kind of pointed the two in her direction. Bc cod knows how horrifying this industry is. Shes lucky she didnt get any of the grosser horrors ~~its bc I didnt feel comfortable writing such topics~~)

And then shes faced with the same problem all the real legends faced. What comes after the end? When the dust clears, what happens next? She wasnt given a damn choice, she wasnt allowed to try to learn things beyond this role. to be beyond an imagined agent 3. a soldier for the screen. who is she now, that shes out of that battlefield?

little does she realize that the real 3s asking the same question for themself.

[ohgraveyard]

another rico ramble

throughout his various design iterations (most of which are just contained within my brain, tho i should have drawn them or had them written down somewhere) ive been struggling to figure out the exact happenings of how he became immortal

immortality, along with his other powers, should come at a great cost. I really liked the idea of him having to die and be reborn, not unlike a phoenix. and that pleasantly related to his original fire/lava powers

when rico was a going to be a lava elemental, he was going to be sacrificed to the roman god of lava, being physically burned on a pyre and his scorched corpse would reanimate into his old self just before, in a fit of rage, he killed his boss by turning into a lava monster

because i scrapped the lava elemental idea, the issue of the ritual/sacrifice has been hanging in the air

ive entertained a few different ideas but none of them have really stuck with me. what ive landed on this time is as follows

his boss healey is pursuing an artifact that is meant to grant great power. A cult in [location] from [the past] would select a sacrifice to be made into a guardian - perhaps for the whole town, the ruler, or for the place of worship. the guardian was made into a great beast that afforded the ruler authority in the region, lest he sic the guardian upon his enemies

healey plotted in secret to turn rico into a monster, so when rico is imbued with the guardian spirit, he holds no loyalty to his supposed master. the protective aspect that the guardian possessed in the original legend stems from an undying, genuine loyalty to its people, instilled from a strong sense of community. the strength of will of the chosen people is what allowed them to use the power for protection. so when rico is sacrificed, he cannot tame the monster and kills healey and every member of his team present at the ritual.

[republicsecurity]

Conscripts Life

In the dim-lit chamber, the neophyte paramedic conscripts sat, a collective of fresh minds ready to be sculpted into the ideal conscripts of the Republic. KO10T, a seasoned instructor with a gaze that echoed experiences both real and virtual, stood before them, ready to unravel the intricacies of the neuro-based VR conditioning that awaited.

"Welcome, recruits, to the threshold of transformation," KO10T began, his words carrying the weight of authority and a subtle undertone of shared experience. "You've chosen a path that transcends the mundane, a journey that will reshape not only your external actions but the very fabric of your being."

"Now, my fresh recruits," KO10T intoned, his voice a blend of authority and the detached resonance of someone who had tread this path before. "You've volunteered for a noble cause, the Paramedic Corps. But remember, nobility requires sacrifice, and sacrifice requires change. Neuro-based VR conditioning is our means of sculpting minds into instruments of efficiency and harmony. Brace yourselves for the unveiling of your new selves."

He gestured to the holographic display, projecting the five aspects the Corps sought to instill in its paramedics.

"First: You'll find your minds shedding unnecessary layers," KO10T explained, "openness is a luxury we can't afford. The Corps demands efficiency, organization, pragmatism, and a reliance on hard data. Welcome the closure of unnecessary possibilities; embrace the clarity it brings. Precision, order, and adherence to protocol will be your guiding stars."

"Second: The backbone of the disciplined paramedic is conscientiousness. Duty, self-discipline, and a relentless pursuit of achievement against expectations will be etched into your character. The Corps thrives on those who act dutifully, unwavering in their commitment

"Third: You are the face of hope in moments of chaos," KO10T declared, "extraversion is your shield. Enthusiasm, action-oriented thinking, and an unyielding sense of happiness define the ideal paramedic.

"Fourth: The Paramedic Corps operates as a collective force," KO10T continued, "you must value harmony. Be considerate, kind, trustworthy, helpful, and willing to compromise. An optimistic view of human nature is not just a trait, it's a necessity. You are the healers"

"Fith: Stoicism and self-confidence shall be your armor," KO10T proclaimed. "Neuroticism has no place in the paramedic's psyche. You must be emotionally stable, a pillar upon which lives are rebuilt."

KO10T paused, letting the weight of his words settle among the recruits.

IU664, a question gleaming in his eyes, couldn't contain his curiosity. He raised his hand.

"Sir," IU664's voice echoed through the dimmed room, "what does all this mean for me for example?"

KO10T pressed some buttons. The room flickered with the emergence of IU664's personality profile, a mosaic of traits and tendencies laid bare.

"Look closely, IU664," KO10T's voice carried the weight of experience. "This is your personality profile analysed by the AI, the foundation upon which the Corps will mold you into an ideal paramedic."

The hologram projected a vivid spectrum, each trait a pulsating node in IU664's psychological constellation.

He pointed at the holographic interface, a web of interconnected traits hovering in the air. "Your openness, IU664," KO10T declared, "it's a trait we'll temper. We deal in certainties, not the whims of endless potentialities."

A dismissive flick of his hand called attention to IU664's existing strengths. "You score well in conscientiousness and extraversion," KO10T acknowledged. "But this is just the beginning. Your neuroticism, IU664, it will rise. Stoicism and self-confidence are not optional; they are imperative."

He tapped a button, and the hologram shifted, highlighting the aspects of IU664's personality that would undergo augmentation. "Agreeableness," KO10T continued, "will be nurtured within you. It's not about being an individual; it's about harmonizing with the collective."

As he spoke, there was an underlying tone, a subtle reminder that IU664 was a cog in a larger mechanism. The holographic display reflected not just the changes in personality traits but the transformation of an individual into a meticulously calibrated instrument of the Corps.

"And always," KO10T concluded, "know your place. The Paramedic Corps demands a hierarchy, a structure."

IU664 felt the weight of KO10T's words settle heavily upon him. A subtle gulp betrayed the nervous tension that lingered beneath the surface.

"Recruits," he addressed the gathered paramedic novices, "understand that your transformation is not a solitary endeavor. You will receive top-notch simulated and real-life training, a relentless immersion that will shape you into the pinnacle of paramedic efficiency. This is not a mere journey; it is a guided evolution, an evolution that will transcend the boundaries of your former selves."

He paced with measured steps, a silhouette weaving through the dimness like a shepherd leading his flock. "Simulations," KO10T continued, "will be your crucible."

He paused, the gravity of his words hanging in the air. "Instructors," KO10T stated with emphasis, "will be your guides. We have traversed this path, felt the crucible's heat, and emerged as the disciplined force the Corps demands. We understand the sacrifice, the transformation. Trust in our guidance, for it is the path to your becoming."

The holographic display flickered to life once more, depicting intricate training scenarios and the silhouette of an instructor guiding a recruit through the simulated chaos. "Your journey," KO10T concluded, "is not solitary, but collective."

"Recruits," KO10T continued, addressing the unspoken questions that undoubtedly lingered, "as part of the conditioning process, you may find a shift in your sexual preferences, a redirection toward the same gender. This is not a deviation; it's a calculated aspect of the conditioning. Embrace it, for it is woven into the fabric of the disciplined paramedic mindset."

His words hung in the air, a blend of assurance and directive acceptance. The recruits, in their journey toward becoming the ideal paramedics, were confronted not only with the transformation of personality traits but also the reorientation of deeply personal aspects of their identity.

"In the Paramedic Corps," KO10T continued, "unity and cohesion are paramount. The conditioning extends beyond the mind; it extends into the intricacies of human connection. Same-gender preferences foster bonds of understanding, camaraderie, and shared purpose. This is not a deviation from the norm; it is the evolution of your interpersonal dynamics."

IU664's absentminded touch traced the contours of the rugged nanoplastic chastity cage beneath the red flightsuit. The absence of direct contact with his most private parts served as a constant reminder that personal freedoms had been replaced with the rigid protocols of the Corps.

[browniefox]

Fanfic Director Cut: Gunsmoke and Daemons?

:D Gunsmoke and Daemons! I've been having so so so much fun writing this fic series <3 Some of the things I say here might've been said in the author notes too, but oh well lol. Time to go through the fics!

Souls from Earth

Chapter 1

Choosing daemons are always tricky, because you want to pick something that rally fits the character, but also sometimes you want to go a little more abstracted in the characters. The names were even harder; I always picked the daemon names divorced from the daemon's forms, because ultimately they wouldn't be related when the name was chosen. I usually tried to pick names I felt would be important to people in No Man's Land - things they're familiar with or aspects they want to instill on their kid.

(This'll be long so I'm putting it below a cut)

Meryl's daemon Caelum was chosen to be a black cat, both as a reference to Kuro Neko, and because I think giving her a somewhat 'plain' or common daemon fits Meryl's role in the story. Caelum's name just means sky.

Roberto's daemon Devana is also pretty straight forward; she's a bloodhound because of how Roberto is good at sniffing out people and tracking down and noticing things. Similarly, Devana's name comes from a hunting goddess.

Wolfwood's daemon Fenneke is a maned wolf. When I get to the second chapter of the Wolfwood fic I'll go into this as well. Maned wolves are neither foxes nor wolves - Wolfwood does feel he fits into things anymore. Her long limbs are emblematic of how Wolfwood literally grew up too fast. Her name means protection, something his parents would've wanted for Wolfwood and Fenneke.

One thing I'm always trying to make clear is how strange it would be for people to see Vash without a daemon. I guess this does mean it extends to all people who have insect daemons, to a degree, but it stands that not seeing one is like seeing someone inexplicably missing their head.

I'm also trying to keep the plot more or less the same, but also not just seem like I'm rewriting Tristamp word for word, but with 'and Caelum said hi' or whatever sprinkled through. In that vein, I like having the daemons be able to notice things before their human counter parts.

Chapter 2

According to HDM lore, humans can recognize daemons on sight, which makes writing Zazie tricky, so I just kind of have to hand wave that with 'well, it would make more sense for that worm to be a daemon, wouldn't it?'

Chapter 3

I really liked playing with the fact Caelum, being the small cat around canine daemons, can easily be pulled around by the others, and how Meryl and Caelum need to learn to stand up for themselves and not be pulled around, very literally. I think being yanked around by your daemon and range like that is super uncomfortable and VERY rude, but it's done by Roberto in an effort to save Meryl's life. Still, that doesn't mean it's super great to pull someone's daemon away from them like that.

The reaction Caelum and Devana have to Vash after he's accessed his gate kind of came to me while writing. It's like how animals are usually shown in movies to react to supernatural creatures; it's not so much that they think Vash is a threat, more that there is something Wrong going on there, and until they can understand it keeping the distance is safer. Fenneke reacts similarly, but more so because she's familiar with an Independent, and did not like her experiences with it.

Fenneke also hints at another thing I hope to go into in the Wolfwood fic: that he didn't not know, going in, entirely what Vash was. Finding out he's an Independent is shocking and is almost like betrayal.

We also get the great scene of Meryl having to fight to get Caelum to follow her to Vash, and her war between seeing something totally alien to her and wanting to help her friend, where the desire to help wins out.

Chapter 4

Similar to Zazie, people can tell that Pax is not typical flora right off the bat, but most people don't realize she's a daemon - or let themselves believe she's a daemon, because everyone knows daemons don't look like that!

Luida's daemon Wiglaf, named after a character from the Beowulf poem who kind of embodies the human and flawed hero that comes after the death of Beowulf. He's a gray eagle, which I thought looked cool and big :)

Brad's daemon is Arch, which means brave. She's a raccoon because she's smart and handy.

Chapter 5

I forgot to mention this, I'll probably finally mention it in the Wolfwood fic, but because Elendira's neither human nor Plant, her daemon is not flora nor animal: her daemon is cordyceps fungi that's 'infected' a tarantula (not really infected since uh her daemon came like that).

Having Meryl hold Devana before she died was a choice I struggled with, I was way overly worried how it would be received. But I felt like it was such an intimate moment that it warranted it. I'm going back and forth on whether I'll write the epilogue/Milly chapter, and if I do how I'll write it. one of the aspects that was considered to be included, however, was Milly being Roberto's niece or something, and Meryl telling Milly about this.

In general, with daemons deaths is so interesting; you know when someone is dead, because their daemon has disappeared.

I really liked the scene between Meryl and Wolfwood, mostly for their daemons being able to be more honest, to have the conversation that they themselves are unable to have at that moment. I've also by this point made a few references to Wolfwood and Fenneke's range. Another thing I hope to touch on in the Wolfwood fic, but to settle one question: no they are not separated, the Eye of Michael would not destroy someone as useful as Wolfwood like that. Their range has, however, been stretched from an incident.

While writing the scene with Vash in the tank, originally I had Pax growing just as much as Vash himself, but that never sat well with me. Pax represents Vash, but more than that she represents his soul. Conrad mentions that at the end of the procedure, Vash is a Plant, seeming to imply Vash is more like his sisters than before (in my opinion) and normal Plants don't have daemons, so I had Pax withering instead. On Ship Three, her bush is withering as well. Was the vines growing out of Vash also Pax, though? Honestly, I'm not sure if I'd say they are or aren't.

Pax does get to reach out to Meryl, holding onto Meryl a few times in a desperate effort to bring Vash some kind of strength, to connect with Meryl. After all, Pax has been there the entire time, she has come to trust and love Meryl and Caelum just as much as Vash.

The decision to make Vash's daemon a plant actually came from my sister, @the-east-art! For a while, we weren't sure how deal with her; obviously the range between Vash and Pax would be basically witch-like. At one point, she was just in one place, flourishing on a random spot of No Man's Land where she'd landed. Then there was her stuck on Ship Three. I really like the idea of the cuttings though that allow her to grow in different places, letting Vash keep a stronger and bigger form of her with Ship Three, but also carry her with him.

There was, for a bit, also the idea of adding a sixth chapter of Meryl and Wolfwood, post July, with Wolfwood escorting her back to November (where I'm saying the tabloid agency is). And then, at the end, she would've given him part of Pax and they would've both carried her. However, the idea of Meryl deciding to cut up Pax didn't sit right with me, and I think Wolfwood wouldn't have accepted it, not thinking he was right to carry Vash's daemon like that.

The Plant and the Flora

I've said this a few times now, but Pax's name means peace. He tells people her form is that of a wolf spider, which is a reference to the spider and the butterfly question. It also shows that Vash is not afraid to associate himself with humans or 'the spiders'. Pax's exact appearance is, uh, deliberately left vague. She's a fantasy plant.

Rem's daemon is Evander, which means strong man. I went with a black-footed ferret because they're similar to a pine marten. How much does the HDM canon fit here? IDK, but I like how it gives Rem a little more holy connection. At one point, I considered making Evander a spider as well, but ultimately decided I wanted something else, and that it would feel weird for Rem to have a spider and then for Vash to pretend Pax is one.

I don't really show it in the scene, but when Ship Five is burning, Nai does feel it as well, and it does hurt, but he sees it as him freeing himself. It does take Amare a while to bounce back from that, however, and I think she struggles for a while to completely agree with Nai about what he decided to do.

When Vash was found by Ship Three, Pax had fallen out of the pendant. For a while, Ship Three ran experiments, but when it became clear that Pax wasn't doing so well, they placed her in the Herborium in hopes it would help her to grow stronger and kept most experiments and sample-taking to a minimum. Still, Pax couldn't grow in Ship Three until Vash felt safe there. None of it was done with cruel intentions, but it still hurt Vash. But, well, Vash's trust in humanity means nothing if it doesn't come with struggle.

There's like one (1) person left on Ship Three who remebers enough about psychology classes to try and be a therapist, and that's single-mention Haru. Give it up for Haru, she's a busy lady.

I went back and forth on who would give Vash the Pax cutting, between it being Luida and on purpose, or Brad on accident. I decided it was much more likely Brad would do it in a panic, in a desperate act to make sure that Pax lived. And I think it's a good gesture for him, for Brad to give Vash back his daemon, as well as to officially untether him from Ship Three with the act.

Amare's name means love, but she and Knives changed it to Papilio, which means butterfly, as that's what Knives views himself as, doing what he has to do survive the spiders. She's managed to grow so big because of how comfortable Knives is with himself, and how strong his powers are (I'm also thinking she's grown thorns, but I never mentioned that). Pax and Vash, on the other hand, try to fit in, and thus Pax usually never gets bigger than a bush.

Because Pax is with Meryl and some of her is still alive on Ship Three, Eriks always a sense of love and comfort, because his daemon is in good hands <3

Eve and the Original Sin

To those (my sister) who were hoping to see a lot of Tesla, I'm so sorry, but I think the relationship between Rem and Mendel ends up being soooo interesting. The exploration of 'should you participate in something terrible if you think you can mitigate the damage, or should you stay to the side and still be complicit and still watch as terrible things happen - maybe even go worse because you aren't doing anything - but at least you're not doing it yourself'?

Fun fact! If I remember right, what makes a bonsai is how you prune it, which forces the leaves to grow smaller. So basically Rem if accidentally making Mendel into a bonsai.

When Rem plants Mendel in the herbarium, Mendel continues to live there. He does not grow any bigger or healthier, more or less in stasis with the rest of him and Tesla.

[ryqoshay]

Putting on Hairs: Post Production - Heavenly Hiraeth

Primary Pairing: YohaRiko Implied Pairings Trios: YuuAyuSetsu, LanzMiaShio Fandom: Love Live Sunshine, Nijigasaki Words: 646 Rating: G AU: Angels, Demons, Monsters Time Frame: Sometime after the main story Prompt: Hiraeth

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Author's Note: Primary entry for the 8th

Summary: Yoshiko isn't feeling the best at the festival

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“Ayumu-chan! Set…” Riko called, only to realize her coworkers couldn’t hear her over the din of the festival.

“I wonder what Ayumu is gonna make for her girlfriends.” Yoshiko pondered aloud.

“Eh?”

“She just bought a bunch of yarn from that vendor.”

“Ah.” Riko recalled her friend’s love of knitting.

“Anything catching your eye, Riri?”

“Mm… not yet…”

The couple continued to meander through the crowded path, scanning the stalls for souvenirs.

“Oh, Lanzhu-chan is here as well.” Riko said.

Yoshiko flinched at the mention of the angel’s name but elsewise subdued her instinctual reaction. Lanzhu had been surprisingly civil to her, if a bit narcissistic, but that was just angelic nature. And while part of Yoshiko wanted to reciprocate, just being within that Holy aura made her feel…

No… not now… I’m on a date with Riri. We’re having a good time…

“Yocchan?”

“I’m fine.” She lied.

Damn. Yoshiko realized she had chosen the wrong direction to look. The pink-haired celestial was right there, not ten meters away. However, something else drew Yoshiko’s attention; Mia, holding something out to Shioriko. Yoshiko’s brow furrowed with recognition.

Why in the Nine Circles of Hell is that damned jackalope giving a silver crucifix to a vampire?! And why isn’t the angel stopping them? Are they all idiots?

Shioriko touched the pendant and… nothing happened. She smiled and Mia slipped the chain around her neck.

What. The. Hell.

Yoshiko’s mind reeled as she tried to process what she had just witnessed. Then her stomach churned as she realized how close she had gotten to the angel. And…

“Yocchan?”

“Uhm, I’m actually kinda hungry.” Yoshiko decided to say. “And look over there, a choco banana stand. My treat?” She grabbed her girlfriend’s hand.

Riko raised an eyebrow but said nothing while letting herself be led toward the food stalls.

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“Yocchan.”

Yoshiko clenched her jaw. She knew that tone was coming. The couple had just arrived back at her apartment for the night.

“Would you please tell me what’s gotten into you tonight?”

Yoshiko sighed. “I’m sorry, Riri.”

She had done her best to keep up a cheerful façade for the rest of their time at the festival, but it seemed Riko knew her too well already and had seen through it. Hindsight being 20-20, she probably should have just asked to leave early.

“It’s… hard to explain.”

Arms gently slid around Yoshiko’s waist from behind and a chin landed on her shoulder. “Would you be willing to try?”

“It’s ███████.”

“Eh?”

“It’s an untranslatable angelic word.” Yoshiko scoffed. “And apparently, having fallen, I’ve lost the ability to pronounce it. A foolish mortal tried to translate it once and ended up creating the entire language of Enochian, which… don’t get me started on that mess… The Welsh came close with their own <hiraeth> but…”

“Can you describe it?”

“Well, to oversimplify, it means longing.”

“Longing?”

“For Heaven. For His presence. That He instilled within us.”

“… Oh…” Riko tightened her embrace.

“One would think that severing my Heavenly tether would allow me to escape that curse, but I guess that is just a fallen angel’s luck.”

“Uhm, if I may ask, why do I not feel it as well?” Riko inquired. “Are we not of the same ilk?”

“You were born in Hell.”

“Yes.”

“You are unaware of the Glo… nature of Heaven, and thus are incapable of experiencing ███████. And may you forever remain so.”

“I’m sorry.”

“You’ve nothing to apologize for, Riri.”

“But if I cannot empathize, is there anything else I can do to help?”

“Just… be with me.” Yoshiko said, turning in Riko’s arms so she could face her and return the embrace. “Help me remember why I am better off here than there.”

“Alright.”

“Thank you, Riri.”

How long the fallen angel and demon stood together in the entryway, neither knew, nor did they care.

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Author's Note Continued: Whenever I read a word as being untranslatable, but Google translate happily spits out a translation, I know I'm going to end up with multiple tabs open researching a deeper meaning. And that's exactly what happened here. Not complaining, mind.

Anyway, I've seen many movies and shows that depict angels, fallen angels, and demons who were once angels, as having a built-in need for Heaven and/or God that they cannot ever truly shake. There is a fantastic rant from Dogma that unfortunately ended up on the cutting room floor, but can still be found around the net, that describes this feeling better than anything else I've seen. And while there was no way I could capture anything close to the power of that rant within the confines of a 4k character limit event entry, I do hope I at least got the sentiment across.

I will probably expand on this scene when I get around to adding it to the PoH:PP collection proper.

And finally, day eight of getting both prior prompts in. Festival was from '21 and Yarn was from '22.

[idigitizellp21]

The Psychology of Colours in Graphic Design: Crafting Emotional Connections

In the realm of graphic design, colours are not merely visual elements but powerful tools that can evoke emotions, convey messages, and captivate audiences. As we embark on a journey through the psychology of colours and the art of contrast, let’s delve into the intricacies of nine key colours and their impact on audience perception and engagement.

The Psychology of Colours: Building Bridges of Emotion

Each colour possesses its unique personality, carrying with it a spectrum of emotions and associations. Here’s a closer look at the nine colours and their significance:

1. Red: Radiating passion and urgency, red commands attention and evokes feelings of love, power, and intensity. It’s a go-to choice for brands needing to convey strength and action.

2. Blue: Symbolising trust and reliability, blue instills a sense of peace and professionalism. Corporate brands often embrace it to inspire confidence and stability.

3. Yellow: Like a burst of sunshine, yellow exudes warmth and optimism, instantly brightening moods and conveying cheerfulness. It’s a favourite among brands aiming for a friendly and approachable image.

4. Green: Representing growth and harmony, green symbolises balance and vitality. Brands in the health, wellness, and sustainability sectors utilise it to convey well-being and eco-friendliness.

5. Purple: Associated with luxury and creativity, purple exudes elegance and sophistication. It’s often chosen by luxury brands and artistic ventures to evoke prestige and refinement.

6. Pink: Radiating femininity and tenderness, pink appeals to the heart, evoking feelings of affection and romance. It’s commonly used to create intimacy and connection, especially for brands targeting a youthful or female audience.

7. Orange: Bursting with energy and creativity, orange commands attention and sparks excitement and spontaneity. Brands looking to make bold statements often incorporate it into their designs.

8. Black: Symbolising sophistication and authority, black adds an air of mystery and elegance to designs, making them appear sleek and modern. Luxury brands frequently use black to convey exclusivity and sophistication.

9. White: Signifying purity and simplicity, white creates clarity and openness. It serves as a blank canvas for creativity and allows other colours to pop with intensity. Brands seeking a minimalist aesthetic often incorporate white into their designs.

How do you pick the right colours for your brand? When selecting colours for your designs, consider your target audience’s preferences, cultural associations, and the emotional response you aim to evoke. By choosing colours that resonate with your audience and reflect your brand identity, you can create a powerful visual language that enhances brand perception and fosters meaningful connections.

What is a company’s colour palette? Crafting a company’s colour palette involves meticulous research into target demographics, industry trends, and competitors. This ensures alignment with your brand’s personality and mission, fostering recognition and trust across all platforms. Each colour is chosen for its emotional impact, aiming to evoke desired feelings and associations. The palette should be versatile yet coherent and adaptable to various contexts. Ultimately, a well-crafted colour palette serves as a tool for building brand recognition, forging emotional connections, and fostering long-term loyalty.

Colour Contrast in Graphic Design: Elevating Visual Impact 

In addition to understanding the psychology of colours, mastering the principles of colour contrast is essential for creating visually striking designs that capture attention and communicate effectively. Here are some key contrast techniques to consider:

1. Brightness Contrast: Varying the brightness or intensity of colours creates stark contrasts that immediately draw the eye. Pairing light and dark hues can highlight important elements and create depth in your design.

2. Complementary colours: Combining colours that are opposite each other on the colour wheel creates vibrant contrasts that demand attention. This technique is particularly effective for creating dynamic visuals and emphasising key messages.

3. Warm vs. Cool: Contrasting warm colours (e.g., red, orange, and yellow) with cool colours (e.g., blue, green, and purple) creates a visually striking juxtaposition that adds visual interest and dimension to your designs.

4. Size and Shape Contrast: Beyond colour, varying the size and shape of elements in your design can also create contrast and hierarchy, guiding the viewer’s eye and emphasising important information.

By strategically incorporating colour contrast techniques into your designs, you can ensure that your visuals not only capture attention but also effectively communicate your message to your audience.

Summing Up:

In conclusion, the art of colour selection and contrast in graphic design is a delicate balance of science and artistry. By understanding the psychology of colours and mastering the principles of contrast, designers can create visually captivating designs that resonate deeply with their audience and leave a lasting impression. So, let your creativity soar as you paint with the vibrant hues of red, blue, yellow, green, purple, pink, orange, black, and white, and watch as your designs come to life in captivating ways. At Idigitize, we pride ourselves on being the best graphic design company. Let us help you discover the perfect colours to make your brand truly stand out.

BE SEEN, GET CONNECTED, GO VIRAL!

[rowanoke]

![alt text](Title: A Dark Fusion: Count Dracula and Jonathan Harker's Stephen Universe Adventure

Word Count: 2000

Chapter 1: A Mysterious Encounter

Count Dracula, weary of his dark existence, found himself intrigued by the world of Stephen Universe. The show's colorful characters and their quest for harmony resonated with him in a peculiar way. Determined to immerse himself further, he contemplated indulging in a rather unusual escapade: role-playing as one of the show's characters. However, he needed a companion to join him on this journey. Jonathan Harker, an adventurous and curious ally, seemed to fit the bill perfectly.

The two friends met after sundown at Count Dracula's castle to discuss their plan. Surrounded by ancient tomes regarding Stephen Universe lore, they meticulously researched each detail, trying to grasp the essence of their chosen characters. Dracula, intrigued by Garnet's stoic demeanor and fortitude, resolved to be his doppelganger. Jonathan, on the other hand, was captivated by Peridot's intellectual prowess and technological prowess.

Chapter 2: Transformation and Role-play

Equipped with newfound knowledge about Garnet and Peridot, Dracula and Jonathan decided to kick-start their role-playing adventure. In a flurry of ethereal magic and human ingenuity, the two transformed into their chosen characters. Dracula stood tall, coated in Garnet's ruby-red attire, encompassed by her poise and grace. Jonathan, sporting Peridot's green ensemble and futuristic gadgets, bounced with excitement.

As Dracula surveyed himself, he admired Garnet's confidence. The fusion of two beings that symbolized love and unity appealed to his dormant, yet yearning, human heart. On the other hand, Jonathan, in Peridot's form, observed Dracula and acknowledged the nuanced blend of power and vulnerability he exuded. Their fusion was as uncanny as it was thrilling.

Chapter 3: The Gem Homeworld

United as one, Count Dracula and Jonathan Harker set off to explore the world of Stephen Universe. They materialized in the vast landscape of the Gem Homeworld, an alien planet. Their adaptive disguises allowed them to blend in seamlessly. As they ventured deeper into the heart of this mesmerizing realm, they encountered a group of Gems, unfamiliar with their newfound "Gem" presence.

The Gems were immediately intrigued by the mysterious duo, and the pair seized the opportunity to study the complex dynamics of Steven Universe's world more intimately. With Garnet's regal commanding presence and Peridot's meticulously organized mind, Count Dracula and Jonathan played their roles seamlessly. They were cherished additions to the Gem society, always exuding an air of mystery.

Chapter 4: Uncertain Loyalties

As Count Dracula and Jonathan Harker continued their exploration, they uncovered secrets within the Gem Homeworld. The leaders of this realm, the Diamond Authority, harbored malevolence masked by supreme power. The duo discovered their dark intentions of subjugating humans instead of fostering harmony between Gems and the Earth.

With this newfound knowledge, Count Dracula and Jonathan had to revisit their roles and decide which path to follow. Garnet and Peridot, as noble as they were, never faced such a moral dilemma in the show. This was where their creative agency came into play – Dracula longed to be redeemed, to find a path to forgiveness, while Jonathan, as Peridot, yearned to expose the Diamond Authority's malignant intentions.

Chapter 5: The Redemption Arc

Empowered by their resolve, Count Dracula as Garnet and Jonathan as Peridot, led a rebellion against the Diamond Authority. Their fusion, boosted by Dracula's millennia's worth of knowledge and Jonathan's determination, proved pivotal in the battle for Earth.

As they unleashed their full potential, fusing their powers and strengths, they caught the Diamond Authority off-guard. Their unfathomable abilities undermined the villains’ power, instilling hope in the hearts of Gems and humans alike. The rebellion ultimately shattered the Diamond Authority's oppressive reign, paving the way for a new era of unity and love.

Epilogue: A Friendship Realized

After their triumphant battle against the Diamond Authority, Count Dracula and Jonathan Harker resumed their human forms, their unbreakable bond now strengthened through their transformative Stephen Universe adventure. They returned to Count Dracula's castle, carrying with them the lessons of Stephen Universe - lessons of love, forgiveness, and redemption.

Their journey evoked in them a profound understanding that, though darkness may reside within, it can be overcome with the help of friendship, self-discovery, and the desire to change. Count Dracula and Jonathan Harker vowed to carry these lessons into their everyday lives, forever cherishing their fusion with the world of Stephen Universe.

And so, their story became a whispered legend among Stephen Universe fanatics, a tale of a vampire and a mortal who, for a brief moment, became gems. Their role-playing adventure remained an extraordinary and cherished memory of heroism, redemption, and most of all, friendship.)

[bakerlaurin14]

*Leading Ideologies*

In this entry, I will examine the critical questions: How is this artifact constituting a group around a certain ideology and using rhetoric to do so? What is ethically productive and/or limiting about this type of constitution, and is it more productive or limiting? In order to answer these questions, I will be examining the movie The Hunger Games as my rhetorical artifact. This movie constitutes a society around the ideology that the government is the ultimate authority by promoting the values of obedience, bolstering governmental control, and giving the people social roles as recruiters of the cause. This ideology is ethically limiting because citizens have no free rights. Rhetoric is used by showing that the government can persuade people to do whatever they want by instilling fear into them, and nobody will revolt against them without being punished.

The Hunger Games (2012) is a scientific movie series that revolves around a nation called “Panam” which is divided into twelve districts. This nation is portrayed to be ironically similar to conspiracies about what North America will be like in the far future when the population is overcrowded. These districts are each unique in that some are extremely rich, some are extremely poor, and some are middle class. The government clearly fights for the rich to survive over the poor, giving them more food and fewer hardships to overcome throughout the game. Two people, one boy, and one girl between ages twelve and eighteen are randomly selected from each district yearly to participate in the Hunger Games. The people selected have no choice of whether or not to participate, but one may volunteer to play instead of the other. 

The point of the game is to challenge these twenty-four people to fight and kill one another, and only one person can win the game in the end. While this game is going on, all other citizens of these twelve districts are forced to watch these people fight for their lives. Katniss, the main character from an impoverished district twelve, volunteers to replace her twelve-year-old sister when she is chosen to compete in the Hunger Games. Along with Katniss, Peeta, the male chosen from district twelve accompanies her. Each district’s “tributes” are given a mentor from the same district who has previously won the Hunger Games. This mentor will help them train and provide them with items during the games. The most important aspect of this movie, the government, is in full control of everyone who lives in this nation. The citizens are not permitted to do anything without the government’s authorization, and if one were to rebel, they will be killed. 

Ideologies are a set of beliefs that influence people to abide by certain aspects of their attitudes and actions about a particular thing. Foss (2004) states that: 

Ideologies are shared by groups whose members share a problem or desire, are mutually dependent-or at least know about other members of the group, and feel an affinity for the group. Individuals are adopting, to a greater or lesser degree, the ideas of an ideology and are using fragments of that ideology to help organize their own knowledge, attitudes, and actions. They enact the ideology in various–and often idiosyncratic– ways in their everyday social practices,” (p. 240).

Ideologies can be formal or informal, some including government, tv shows, politics, and more. These beliefs can be quite powerful, compelling, and biased.

The ideology present in The Hunger Games is that the government is the ultimate authority. This is shown in the movie by promoting the values of obedience, more specifically, when the capital decides who is going to play the game from each district. Citizens were not given a choice of whether to play or not, and they were expected to win and be grateful that they were even “chosen.” The leaders of the capital made the game seem like a privilege and an honor. The leaders would speak very highly of the game, and by it being broadcasted to the nation, this was portrayed to show the power the government holds over the people. Haymitch, Katniss, and Peeta’s mentor states, “From now on, your job is to be a distraction so people forget what the real problems are.” The government valued power and conformity more than anything else. During the movie, a scene of a young man pushing, yelling, and fighting with one of the armed guards is shown. The man is immediately shot. This outburst was yet another way that the government could force its people to do whatever they wanted. Citizens had to obey whatever the government told them to do, ethically limiting their decisions in life and their human rights. 

The Hunger Games also depicts this ideology by bolstering governmental control. Throughout the movie, it’s consistently shown how the government convinces people that what they’re doing is ok. While watching the games live, citizens are chanting and cheering when people die, get injured, and when one of their own members from their district kills another member. This depicts how influential the people in power are to the other members of Panem. During the games, the controllers of the game could purposely make hazards, start fights, and limit one’s chances of surviving. This tactic was a way to show the people that even during the game, the leaders could still do whatever they wanted. Throughout the process of the game, Katniss and Peeta began to team up. They formed a close relationship and we’re working together to survive. President Snow, the leader of the government, after watching these two form a bond, stated, “Oh, look. They're holding hands. I want them dead,” Following this, many near-death experiences pushed Katniss and Peeta apart. The rebellion from the two “sticking together” was not going to be tolerated, further bolstering the immense control the government had. 

The final way this ideology is present in The Hunger Games is by showing that they can give the people social roles as recruiters of the cause. This is shown by having certain tributes from the rich districts previously trained throughout their lives to compete in these games. Some of the men and women picked from the districts with more money, such as districts one and two, already have the skills necessary to keep themselves alive longer. They are trained to hunt with spears, arrows, and knives, kill animals and keep physically tough throughout their whole lives. So basically, they are having these children grow up learning how to win the Hunger Games so the rich population can stay on top. This guarantees that these people will be better off mentally and strength-wise during the game if they are chosen. The poor districts such as eleven and twelve (Peeta and Katniss’s district) do not have this advantage, they grew up struggling to find food and keep alive. They did not have the prior knowledge, resources, and skills, therefore they are not as prepared as the tributes from districts one and two, for example. Recruiting people to help with the cause is again shown in the movie by having the prior winners of the Hunger Games from each district be mentors for the new tributes of their district. This enables people to continue contributing to the problem and directly “train” these people to maintain the games long enough to stay occurring. 

This ideology may be seen as limiting to most, however, some may see it as productive from the perspective of controlling overpopulation or wanting the government to have all of the power. Likewise, showing how strong-willed and persevering the chosen participants are throughout the games may convey a somewhat powerful aspect to some people. Just because the government is in control, doesn’t mean that the tributes will give up. Although there are not many excuses for why something like this game would be excusable, Buckler (2007) gives an explanation for how governments use their powers to instill that an ideology, like The Hunger Games, is an acceptable moral constitution into the minds of their citizens. “At the level of ideology, where the aim is to generate commitment to a platform, we can expect greater emphasis upon ideational integration. Particularly, we can anticipate heightened emotional appeal and sharper action orientation, with the ‘deontic’ modality (‘should’) more heavily mediated by the ‘epistemic’ modality (‘will’),” (Buckler, 2007). Governments are able to use their power in order to integrate ideologies into the lives of their citizens by using emotional appeal and by making them think that they do not have any free choices. This explanation of ideologies is further seen in the movie when cameras are hidden throughout the landscape of the games. This is done in order to allow the other citizens who are not participating in the games to be able to watch the tributes at all times. There are scenes where the government is turning the cameras off, and the people are “boo-ing” in disappointment. At this moment, it is shown how governmental manipulation has taken over the minds of their citizens because they’re so keen to watch people struggle, and they think that this is totally normal. 

Governmental authority is also consistently shown in the movie when the leaders of the government are starring in a tv-like show with the newly picked tributes in front of an audience. Here, the tributes are forced to come on stage and talk about how they are going to win the games, as well as answer questions. They are shown off like tv stars and made to wear elegant dresses and suits. The people of Panem are shown cheering when they come on stage, depicting how ordinary, and okay everyone sees this as. Machin & Van Leeuwen (2016) states: 

Authoritarian powers have always used forms of ideological dissemination that bypass democratic participation and rational debate, and, today, again provide the modern equivalent of ‘bread and games’ — consumer products and forms of entertainment that are consonant with the interests of the powers that produce and disseminate them. (p. 6)

During the “media showcase” of the tributes, the leaders of the government are always making decisions about what they will wear and what they will say. With everyone in the nation watching the participants, this entertainment-like show before the games begin illustrates that the interests of the people are consistent with the people who hold the power because they are eager and willing to watch this “show” before they watch them go off to fight for their lives. This conveys strict obedience to authority.

The ideology that the government is the ultimate authority by promoting the values of obedience, bolstering governmental control, and giving the people social roles as recruiters of the cause is consistently depicted in The Hunger Games. This is seen in the use of making the citizens watch the games, rebellion not being tolerated, and citizens being forced to comply with anything the people in power want. This ideology ethically limits the capability and freedom Panem’s people have in their lives. Twenty-four citizens are chosen to compete in this “game,” killing one another, and trying to survive terrible accidents, while their families and friends are forced to watch. What is shown on the television to the people watching can be censored, and the government's leaders can purposely place obstacles in the tributes’ ways. The rich are idolized and the poor are looked down upon. Only the strongest and most powerful will survive.  

Will the world ever come to this? 

References 

Buckler, S. (2007). Theory, ideology, rhetoric: Ideas in politics and the case of ‘community’ in recent political discourse. The British Journal of Politics and International Relations, 9(1), 36–54. https://doi.org/10.1111/j.1467-856x.2007.00248.x 

Foss, S. K. (2004). Ideological criticism. Rhetorical criticism (3rd ed.) (pp. 239-248). Long Grove, IL: Waveland Press. 

Machin, D., & van Leeuwen, T. (2016). Multimodality, politics and ideology. Journal of Language and Politics, 15(3), 243–258. https://doi.org/10.1075/jlp.15.3.01mac 

The Hunger Games. (2012). 

[sirikenobi12]

I am worried that after the last response you’ll just respond with more ablei and make fun of me again, however I’m really hoping you’ll consider being kind instead. Please try to remember that not everybody processes things in the same way or perceives tone and behavior the same way, and please also just open your heart a little and consider that many people have very legitimate reasons to be wary of authority figures. Instead of telling us what worthless failures who will never amount to anything and we won’t make it i. adulthood, please consider that maybe not everyone had Good experience is with authority figures. Try having compassion for others, like the best of the Jedi would. So I’m gonna try this again.

Even if somebody argues that being cold to Anakin when they first meet him as a nine-year-old is justified, once his training was started and he did become a Jedi, how come he He wasn’t ever shown the same empathy and support that other Jedi showed each other? It seems like the only one who consistently cared about him was Obi-Wan, meanwhile we do see how warmly the other Jedi interact with each other. Why didn’t anyone except Obi-Wan ever treat him that way?

So, I am not asking this to be condescending or to make fun of your questions/opinions, I am asking this because I want to know from your point of view where you actually see examples of the Jedi not treating Anakin with empathy in Canon material, or at least can you please provide me with specific moments where other Jedi were treated with different or better empathy than Anakin? Because I can provide numerous examples where Anakin was included and encouraged and cared for by more than just Obi-Wan. But I'd like to see where you are coming from and what shaped your opinion on this (legitimately I am curious).

Here are my top 10 examples, but maybe you see these scenes differently than I do.

Example #1: AOTC. Obi-Wan confides in Mace and Yoda that he doesn't think Anakin is ready for an assignment on his own and both Mace and Yoda tell Obi-Wan to have faith in his apprentice.

Example #2: AOTC. Anakin slaughters the Tuskens after his mother dies and both Mace and Yoda have tears in their eyes when they sense Anakin's pain. Neither one talk about how dare Anakin feel something, they seem worried about him.

Example #3: AOTC. Yoda literally lets Dooku escape in order to save both Anakin and Obi-Wan from being crushed - thus throwing away their chance of stopping the war before it began.

Example #4: TCW. Anakin is invited to join in many meetings and meditations with the Council even though he is just a Knight (such as finding the kidnapped children).

Example #5: TCW. Mace works with Anakin quite often, and they are on friendly teasing/joking terms with one another (much like Anakin and Obi-Wan). Mace is high ranking enough that if he truly hated Anakin he wouldn't have to work with him.

Example #6: TCW. Plo Koon helps guide Anakin through Ahsoka's disappearance and encourages him to have faith she'll survive because of the training he instilled in her.

Example #7: TCW. Both Yoda and Mace feel Obi-Wan is wrong to lie to Anakin about his "death". They don't like his choice to deceive Anakin because they know it would hurt Anakin deeply.

Example #8: TCW. Yoda requests Anakin's help and states that his independent thinking is what makes him special. Yoda also in his vision decides to save Anakin rather than defeat Sidious.

Example #9: ROTS. Yoda takes time from the busy war to sit down with Anakin and talk about his dreams and feelings. He tries to guide Anakin through learning to let go of his attachments just as he would any other Jedi.

Example #10: Mace tries to protect Anakin by telling him to stay behind from arresting the Chancellor. He even says "for your own good". If Mace didn't care about Anakin he would've made sure to bring him along, cause wouldn't the Chosen One be helpful in defeating the Sith? But he cared about what that would do to Anakin.

----

I hope this answer was a little more understanding than my previous one. I am always happy to discuss Star Wars and the Jedi with people, I'd love to know what you think about the examples I gave.

Again, I have a very different perspective on this story than most I think. I was 19 when TPM came out (much closer to Obi-Wan's age) so I didn't grow up with Anakin, TBH I never ever saw him being a victim of Jedi neglect or cruelty. I've also been in a leadership role since I was 25 years old - I have been the brunt of employees yelling at me because I would have to write them up for excessive tardies or because they were rude to customers. I had to find a way to draw the line between being a Manager and being a friend - it is not an easy line to draw. So, perhaps it's easier for me to see the Council's side of things because I understand sometimes leaders have to make choices that aren't popular, the Jedi Council is no different in that sense.

But I can see where you're coming from, can I ask for the same respect in return? Maybe you've had bad experiences with authority figures, but not every one is going to be like that...there are good ones out there who do care.

Thank you for the discussion! And thank you for your time.

May the Force be with you!

[invictarre-archive]

mental scars. a part two to this post.

- a fear of legendaries, with his response ranging between general nervousness (silence, averting eyes, widening the distance between them) and a full breakdown. he knows they probably won't attack him, but he can't go through an event like the eternatus attack again. this event also instilled a brand-new fear of purple/magenta spotlights, because they remind him too much of the attack

- paranoia of being controlled, manipulated, or otherwise losing his autonomy. thank u chairman rose, very cool chairman rose, you definitely caused no problems whatsoever :))

- extreme discomfort surrounding uninvited, professional leadership. this ties into the idea above. a person doesn’t get to suddenly declare themselves his superior unless they want to constantly lock horns, and deal with his constant undermining of their authority / deliberate attempts to go behind their back/otherwise circumvent them. if he invites someone to lead him, things will be totally different

- a continued inability to ask for help, because somewhere along the way he was taught that he needs to be the strong one, the responsible one, the hero. admitting he can’t do something is a weakness, and weakness is a disappointment to all those who supported and believed in him. though he’s getting better with this, he would sooner work himself to exhaustion than admit something is beyond his capabilities

- related to the above: immense guilt when he does force himself to ask for help. he won’t show it, if only because he doesn’t want to inconvenience or concern anyone, but the feeling will gnaw away at him for the rest of the day

- self-sacrificing tendencies to the point of suicide. though he hopes he never has to rush into a situation like the eternatus event again, immediate postgame leon has a hard time understanding that he isn’t obligated to throw his safety away for others. he doesn’t know how to protect someone without using himself as a shield

- a permanent loss of identity. though he could describe himself if pushed, his chosen adjectives would all be shallow and obvious, rather than truly introspective, or they’d be things that center others’ views and how he can make himself more likable. this is something that improves the further into his future you go, but he never regains a concrete idea of who he is. instead, he learns to make peace with who others see him as

- emotional numbing, especially regarding a lot of his pre-eternatus champion duties. leon can recognise how exploitative the environment was when you describe it affecting a hypothetical person, but he fails to apply those same feelings to his own experiences. he was fine, after all! the stress was to expected, it’s totally normal :))

- and finally, recurring nightmares that often leave him unable to sleep for the rest of the night, and noticeably shaky/jumpy for the following day. these were at their worst immediately after the attack (as you’d expect), and they take a significant spike upwards during the eternatus “reunion” on pasio

[piracytheorist]

"I've touched on this before but I just wanna bring up once again how absolutely batshit stupid it actually is that after getting that insane video from his wife who's been missing for three years and is looking clearly insane/under duress, his response is to put on a nice dress shirt with some leather shoes, pack absolutely no supplies or weapons, make no attempt to alert any authorities and just drive out into the swamp like he's picking her up from a night out. Oh and Mia sort of covered up the fact that she was a ruthless operative for a shadowy organisation that created a monstrous biological weapon in the form of a young child they were exploiting but oh well :3"

Man, the things one reads on reddit; how to get almost everything wrong and pass it as fact

The only thing they get right is that he didn't alert authorities when he hightailed it from his job/afteroffice w friends

And we were just talking about this yesterday!

You know what I find a massive lost opportunity with such people? That they look at Ethan and think "He's stupid. Why is he a protagonist?" instead of thinking "He's a massive himbo and everything he says makes me laugh." They're sabotaging their own enjoyment of the games by only looking at the surface.

Like. Ethan can be an amazing protagonist if you're willing to look past the bias that USAmerican-made and USAmerican-centered media have instilled in us, that protagonists in anything that has action in it have to be witty and badass and cool and look away from explosions and stuff. No, fuck that. There's not one correct way to write a protagonist. And Ethan, he's perfectly written as he is. He's your average Joe, your neighbor, whose main trait is that he puts his feelings before his logic - and that's a super human trait to have, I'll have you know, more than the Ethan haters realize. Something I read from an Ethan fan and I loved is that "Ethan has all his braincells in his heart" because yes, that's it. When it's something about someone he cares about, he doesn't bother think twice - and almost no normal human would. Even though I haven't played any other RE game, I know the basic concept behind the other protagonists; being a trained operative/cop/soldier/whatever they are, they are not only trained into putting their logic before their feelings, they're people who have chosen this kind of lifestyle. It's not only their ability to do so, it's their choice to use that ability in their life. And that's a very common trait for protagonists of games with any kind of action. (Not saying they don't have their own identifying traits, of course; as I said, I know next to nothing about them. But they do have that specific trait in common)

And then comes Ethan Winters. He's a systems engineer. The police has been telling him for the past three years that they can't locate his missing wife. And now he's getting an e-mail from her. Not to get all ΑCΑB at your face but I'd probably do the same, if faced with that. Like we have the benefit of watching it all from a safe distance, from our screens, but the most we could say about Ethan there is that maybe he should have taken a moment to consider. They say he should've picked up a gun - because that's super easy to do last moment, for a systems engineer, right? Even in the US. Like, it's a very small thing, but... in RE Village, when the first villager we meet asks Ethan if he has a gun, Ethan's immediate response is "No, why would I?" Reminder that this dude was born and raised in a country with terrifyingly lax gun laws. He underwent military training after Dulvey, but he's still pretty clear-headed about it enough to consider being armed 24/7 a bit too much. And like, consider. Would Chris, who knows what Ethan went through and with whom he shares mutual trust, deny giving Ethan a gun for self-defense purposes, if Ethan asked? Yet Ethan doesn't consider it necessary. Like, I'm not sure if USAmericans understand how that feels to everyone else. I've only seen firearms from up close in my life a selective few times, and that was from border patrol officers in some countries' borders and in one (1) airport. I've done some training with air guns for recreation myself, but that's all. And the office my mother worked in was in the same building with the local police station, right next door to it; I even knew many of the people working there by name, yet I didn't see a gun once. I don't know if USAmericans realize how big it feels to hear Ethan Winters, a USAmerican character who went through a horror situation where he depended on guns to survive, considers it unnecessary to be armed 24/7.

Like... there's a lot to consider, and of course many gamers won't stop to do that and will immediately put a stupid label on Ethan. And like, if you don't care about any meta analysis and just want to play a game, that's fine and dandy but don't blame the game for wanting to put some extra layers on its characters when you're not willing to look into said layers, you know?

Same goes for Mia, but this is a video game we're talking about, of course a lot of people will hate on her. She's a female character who's not sexualized by the game (unlike Dimitrescu and her daughters), or mysterious (unlike Donna), or OP (unlike Miranda and potentially grown-up Rose). She's the easiest target for the incels people who frequent video game subreddits.

[november-rising]

What are your thoughts on Sam being Captain America in FatWS?

This is a great question!

As a Black female in the United States, Sam Wilson, personally, has been someone I wanted to become a main character and ultimate hero in his own right; yet I allowed the precedent of Black male sidekicks to dampen my expectations. It’s what I’ve grown up with and became accustomed to seeing in TV and movies.

Please note that my focus, for now, is mainly MCU. Sam being Captain America is healing. Throughout CAatWS/FatWS, watching as the reality of what it means to be Black in the US, to function and attempt to belong in the least agitating way for the rest of society, spoke to a piece of my soul that I can’t always express. Watching Sam struggle to not only wrestle with feeling unworthy but to acknowledge that people (ordinary citizens) will want him dead because of the color of his skin - well, that was fear. Fear dictated what Sam thought he could be, initially.

As we see in Episode One, Sam commands his own missions, utilizes his talents as he sees fit while subconsciously mentoring another person of color, that was the first glimpse in the series that Sam was a leader without being overbearing. Sam could recognize the talents of those around him, encourage their strengths, and foster hope, pride, and progress in those around him.

Sam Wilson is a subtle force that no one can fully reckon with. Sam is not just calm. He is considerate, contemplative and reflective. He must be analytical because of the world around him. These external factors include so many social rules and constructs, nonverbal cues, prejudice, racism, stereotypes…the list goes on and on. Can you imagine the drain and strain of catering to these factors first before your own? In some respects, Sam’s ability to maneuver in this world with all those impediments ahead of him is award winning! With grace, empathy, aforethought, and appreciation, Sam Wilson is an example right here and now.

As a Black woman I can only speak to my experience as well as the observations made of my other family members (female and male). To express anything other than humble gratitude is considered a threat. To express anything other than socially sanctioned sass or a sense of wisdom through a preconceived notion of heritage and expectancy is a threat.

As we saw in Episode Two, after learning that yet again the American government has betrayed, tortured, experimented, and mutilated more Black and African men, Sam is hurt and further pressed into fear of what could be done to him. That primary emotion was easily transformed into anger, as it should. He’s angry that yet again those around him failed his people, failed him. This time it’s much, much, much closer to home. He asks:

“Why didn’t you tell me about Isaiah? How could nobody bring him up? […] Steve didn’t know about him?”

Sam put his neck out with Steve. Sam put his neck out for Steve to believe in Bucky. I speculate that, to Sam, for Bucky to withhold Isaiah from him and the public and Black people it was a “Here we go again” moment. Yet again a White person is creating a history that wipes out Black History. He felt betrayed which further instills that you can’t trust those in authority and, in turn, those who are privileged. Yes, that means White people. And then, for him to express what he is experiencing (pain, betrayal, mistrust, fear, anger, sadness, etc), what happens? Oh! Right! The police show up!

(Sidebar: Isn’t it interesting that Isaiah Bradley, the one person who was able to damage the Winter Soldier, was kept under lock and key? This could be an example of Hydra’s insidious influence already infiltrating the US government.)

Sam was hit with so much externally all the while processing his own internal battle. That alone is enough for any person to do the proverbial wiping of their hands and walking away from a situation. But not Sam. Sam fundamentally knows that the world can do better and can be better than it is right now. It’s why he doesn’t walk away from Bucky. It’s why he doesn’t back down from John Walker who could take up the mantle of Captain America and deal with the bulls***. Sam could have been done with it all.

But he wasn’t. I don’t think he could have. He has always moved towards change. Sam recognizes that what he stands for is much bigger than himself. He understood this when he had to play the Smiling Tiger. Black men can be placed in any Black man role because, you know, us Black folks all look the same. Instead of becoming insolent or as my mother would say “snippy-sassy” (bitter and resentful), he rolled with the punches. He can differentiate himself in a way that ensures he is acting rationally and thoughtfully. I mean, he checked in with Bucky after he had to play the Winter Soldier again. Of course he did! Sam appreciates his team. Sam sees those around him, doing what he can to ensure their safety in any way that is needed.

That brings me to my favorite part about MCU Sam. He’s a counselor. I, too, am a counselor so I’m biased when it comes to this aspect of Sam. We saw this in Episode Four when he went to talk to Karli. He didn’t try to talk over her, convince her or any other tactic that someone else *coughJohnWalkercough* could have easily employed. He listened. He found common ground. Sam empathized, normalized, and validated her. That’s not to say he agreed with her 100%. But Sam did create space for her to be calmer, to talk, to think out loud to someone other than the Flag Smashers. Sam is a phenomenal person in his ability to make others feel safe and heard.

Another breathtaking quality about Sam that I admire is his unwavering trust in himself. He knows who he is, why he came to be, and how he can continue. His hope it what internally guides him. Because he’s so sure of his Self, Sam can remain open, curious. It’s why he returned to Isaiah in Episode Five. Sam desires to hear all sides, particularly the individual, personal experience is commendable. He doesn’t allow one thing or person to dictate his actions. Sam questions and evaluates while never wavering from his values.

My number one favorite therapeutic activity I do with my clients is the Values Cards. I won’t go into too much details about the execution of the activity. Just know that by the end, my client will have chosen their top ten values, then top five from those ten, and then their top three values. The values that jumps out to me concerning Sam include Justice, Connection, Compassion, Growth, Honesty, Commitment, Respect, Community, and Courage. These were all displayed in Episode Six and throughout the series.

If those values do not scream Sam Wilson, then I truly have no clue who I’ve been watching over the last seven years.

Sam Wilson has proven that, despite all the constraints put on him as a Black man in the United States, he is worthy. He has shown that Black men can be and are worthy of so much more than this country – this world – gives them. Sam is an icon, a symbol for change.

I shed tears knowing that Sam Wilson is Captain America. He is my Captain America. Until this show, I didn’t know how important Sam Wilson was to me.

Thank you @frostbite883! This was my first ask ever!

[lvlyhao]

『lifetimes; H.R』

one-shot; huang renjun

A/N: it’s been a hot minute since i posted the teaser but welp it’s finally here :] this has got to be one of my favourite things i’ve ever written so please give it some love!!

𝓖𝓮𝓷𝓻𝓮𝓼: not a lot of it but fluff (♡), angst (❆), fantasy (✯), author’s favourite (ツ)

𝓦𝓪𝓻𝓷𝓲𝓷𝓰𝓼: some mentions of death but nothing too explicit

word count: 2.8K

pairing: huang renjun x reader

disclaimer: the characters in the story below do not reflect real people or present real facts. this is purely fictional, and you may not copy, change, translate or repost my work in any way. all rights reserved © cherry-hyejin 2021.

*✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:

With chocolate eyes that dazzle golden under the light, he scouts the forest. The canopy is thick above his head and shudders every few seconds when some creature hurriedly passes by. The trees' branches sway in the breeze, and he can almost hear their rumbling under the chirping birds. The ever-so-green grass is dank under his boots, and he can still smell the rain that ended just a couple minutes ago. The Sun, though, seems to have no recollection of that. He is as argent as always, here in the Violet Woods. The place is dazzling, alive, and crisp; far too different from his own home, but also far less foreign. 

Graceful fingers reach for the periwinkle flowers just left from the tallest red oak, kissing their soft petals as he wonders where they are. Renjun is positive he's at the right place, and this is the right time. Noon, by the bush of forget-me-nots. He could only hope they hadn't misremembered this week's chosen spot. Knowing them, it's perfectly possible. Maybe he should head to the muttering roses, where they had met last week, and wait there instead...

Laboured breaths and feathery footsteps sound from behind him a second later, and he doesn't have to turn around to know it's them.

"You're late", he states, fierce gaze still burning in the flowers.

Renjun doesn't expect an apology, not really, but the mellow hand they lay on his shoulder is just as startling. Still kneeling, he twirls to face them at once, and he doesn't miss the dim look of urgency that paints their features.

"Y/N? What happened? Are you okay?"

They don't answer him. Instead, their lips curl into a small smile that Renjun supposes is meant to calm his nerves. It doesn't work very well, or well at all, and he stands up to his full height, holding their hand in his.

Both of their hearts beat loudly, wildly attempting to escape their ribcages. However, neither of them shies away from the proximity. Renjun and Y/N idly stand together for a second, basking in each other's warmth when they speak for the first time today.

"Father knows about you."

If the incoming information is anything short of shocking, he doesn't let it show. His keen, fox-like traits remain the same as he searches their eyes for something else—fear, rage, or any other emotion. Something that would tell him what to do now. 

Nodding slowly, he gently squeezes their fingers, waiting for them to continue. 

The way Renjun looks at them is enough to make Y/N's throat tighten in concern. From the palace, all the way over here, they've been trying to conceal it, but they no longer can. 

It's freezing cold, even against the strings of sunlight that filter through the trees. Its' grip is vicious, instilling into their body a form of despair they had never felt before. It is the dawning realization that their little world is shattering, and there's little they can do to save it.

"...And he calls you a filthy mortal."

Somehow, Renjun finds it in him to snort. Out of all the things he thought they would say, that was certainly not one of them, but it makes him happy. After all those months, they still manage to catch him off-guard. Will they ever stop doing that?

"Aren't you elves so kind?" he laughs, lifting his other hand to gently flick at their pointy ears.

Y/N simply huffs, dodging his fingers and escaping from his hold to pace around the trees.

Watching them in silence, Renjun thinks their race truly is something else. Elegant, breathtaking, stunning, unmatched, perfect. Sharp edges give way to soft curves that make him question the existence of all deities. Should he turn his face in shame? Should he go down on his knees and beg for forgiveness over sins he didn't commit? Should he declare them as his one redemption and worship them until his breath forever ceases?

Sighing dreamily, he thinks he, too, would be an arrogant bastard if he looked anything like an elf.

"Don't put that on us, Renjun. You, humans, have a terrible tendency to destroy and foul the space you occupy" Y/N turns to him. 

Placing their hands on their hips, they know they're falling into the usual routine: bickering about historical events between the two races until one gives up. That's how their rendezvous always begins, and they wouldn't have it any other way, but today something hovers in the air between them.

Doubts.

Renjun can't keep himself from speaking.

"He will banish you some time, Y/N. You know we can't keep this up forever."

He's right, and they know. Had it not been for the strands of sunshine dancing across their frame, they would have shivered. The thought of getting banished from their realm is terrifying. Y/N is still incredibly young for an elf—just over their 75 years—but they've lived enough to know how it goes for elves who get exiled. 

For an elf, banishment isn't being outlawed from your homeland. That is most indisputably sad, and Y/N would cry about it for some time, missing nature's presence from her forests. Although that's not the part of the exile that frightens them: it's the loss of immortality, their lifelines cut too short from straying from their hearths.

Death is no friend of the elves, as everybody knows. The mere idea of perishing from disease or poison is strange to their minds, if not altogether catastrophic. It's not normal, as it is not natural. It's almost reason enough to stop Y/N from making her offer, but the pink haze in their eyes wouldn't allow them to.

"Run away with me then", they mutter, slowly closing the distance between them and the boy once again. Something in Renjun's eyes shifts, and his pink lips part to speak, but not yet. 

"Protect me from the dangers of mortality. We could go south to the Cristalline Planes, Injun", Y/N stops in front of him. "Or, maybe even head west, since I know you've always wanted to see Wistful Shores."

Hope shines bright in their complexion, burning with such richness it nearly turns into despair. What they're doing is not asking—they're pleading, and Renjun nearly collapses to the ground at the honeyed tone in their voice. However, the glow of their fingers, smoothly tracing the shapes of his light robes, grounds him. Their touch is as delicate as the breeze, and it takes all of his self-control not to say "yes" right away.

"And let you give up on eternal life for me? That is possibly the most foolish decision I have ever heard of", he says, stoping their movements to lace his fingers between theirs.  

For a moment, everything around the two of them stills and fades into silence. The woods are quieter than ever before, and even the tree's lullaby comes to a halt. Nothing exists out of their eyes, embedded deep into the others'. 

His might just be Y/N's favourite thing in the whole entire world. The vibrant, sunny brown of his orbs reminds them of the goodness still left in mortals. They shimmer, sparkle and flicker with every bit of emotion Renjun feels, for they are too honest not to. It would be nothing short of a crime if they ever lied about his heart.

Y/N's are what he would describe as literal gateways. To where? Well, that, he will always argue. Some nights, when the stars are out, he could swear the entire universe is right there, before him. On other occasions, when what surrounds them are the glistening streaks of dawn, Renjun sees magic in its purest form. He could spend all of his life staring at them and still feel like there's too much left to explore.

"I don't think this foolish decision is yours to make, then", they decide, lightly squeezing his hands and glancing down to the ground. "I would rather live one more hour with you than one hundred lifetimes on my own."

There is a sharp intake in his breath as if a blade had buried itself deep in his stomach. It pains him just the same, he realizes. Hearing them say that and knowing they speak the truth brings tears to his eyes because he knows this is the point where he has to stop them. Stop them from wondering about the "what if's" and from asking that of him. Gods know if they ask again, he won't have the strength to decline.

"I, on the other hand, would like for you to live a very long, happy, fulfilling life," he remarks, hoping the shaking in his voice is not too evident. "And for that to happen, you can't be that much of an idiot, okay? Don't give that away for some human prince, Y/N."

"And what if that human prince is all I care about? What if he is my entire existence, and my one reason to sleep through the nights is to dream about him? What then, Renjun?" they challenge. 

It's rare to see elves speaking in any way that is not moderate, light, but the fire in their voice is nothing like he's ever seen. It's the same anger that fuels them to pull him closer, resting their palms on his warm cheeks and wiping away the tears he didn't know have fallen. 

"Then you must tell me what does that make me. What is this between us?" Renjun mutters, eyes closing with soft flutters. Guilt claws at his chest for not immediately putting an end to it but savouring the moment, feeling himself fall a bit deeper for the elf as each second ticks by.

"Love", Y/N simply states, sighing when his hands come together to hold the small of their back. "It's love."

"A part of me wishes you had not said that", he leans into their touch. "Had you said 'nothing' and stopped torturing me, my heart would have been broken, but I would have been fine. How can I be, now, when all you've just done makes me cherish you more?" he chuckles bitterly.

He knows what they're about to say, and he can't stand to hear it, so he continues talking, eyes indolently opening to scan their features.

"Things are different for us, Y/N. While you don't have to worry about succeeding the throne, that is my fate. To be a good ruler for my people when my own father dies. I can't leave them behind", Renjun breathes, hating the way their hopeful look melts into denial.

"You have a brother, you know? Leave him to rule. We've both seen what it's like to wear the crown, Injun", they grimace. 

It is true. Being part of the royal family means you grow used to many horrible sights and dark secrets. He can't help but wonder what it will be like to live all of that and not have you to keep him sane.

Shaking his head to dissolve querying thoughts, Renjun attempts to focus on something else that is not them. It's dangerous to be that close, feeling their own ragged breaths fawning over his face. He is just one touch away from all he has ever wanted, but one touch away is still forbidden. In that one touch lies his downfall.

As if hearing his prayers, the wind blows stronger, running through his silken, dark locks and messing up Y/N's. It backfires, though. The urge he has to resist now is to run his hands through their hair, pushing away all of the wild strands that frame their face, and he curses. Nothing could ever make this any less difficult for him.

"If Chenle ever becomes king, I pity the people that will live under his hand." 

He smiles, and Y/N realizes he must be attempting to make a joke. They wish they could laugh, but the conclusion behind his words hangs in the air. He won't change his mind, will he?

A sob leaves their body as suddenly as the tears come. Their vision turns misty, and the cold awareness that hits them is too much to manage. Wordlessly, Y/N falls to their knees, hugging their own body in attempts to calm the heartbreaking cries pouring from their lips. The pleasant spring evening turns cold and unforgiving, and the elf loses their bearings for a second, only to realize Renjun has dropped to the ground in front of them.

Neither of them dares to open their eyes when two bodies become one, and the only thing they know is each other. Fingers grasp at robes, armour and leather, and rough sobs blend together in utter heartbreak. Renjun pulls them so close he's not sure which limbs are his or whose tears he's tasting, but it hardly matters. This is where they end.

How much time they spend lost in each other's embraces is unclear. Neither Y/N nor Renjun knows, and they don't want to. Acknowledging time is dangerous here because it means accepting this moment won't last forever, and that is something they can't—won't do. It won't be so until they let it, right?

Wrong, and they know it. The Sun is going down.

When sobs have turned into whimpers and clutches have turned into caresses, Y/N takes the courage to pull away and look at him.

The prince's eyes are red and puffy, much like theirs, they imagine. His pale cheeks are stained with dry tears, and his pretty lips still tremble from the deep breaths. He doesn't meet their gaze until they call his name.

"Renjun", they call once more, admiring the blue hour lights shifting across his dashing features. "I—" Y/N gasps, and he's suddenly terrified of what they'll say. "I think maybe... maybe we should no longer meet. I can't bear to look at you and know you're not mine to take."

Just like that, his fears were confirmed. In his mind, he knows this is how it was supposed to go all along. This is for the best, he reminds himself, even if right now it feels like having your soul ripped to shreds.

"Don't say it like that, Y/N. I've always been, and I'll always be yours", he flashes a watery smile. "Perhaps just... in another lifetime."

The pain becomes too much to handle, and all they can do is close the space between them again. Their last and first kiss is salty, from the tears they both still shed and bittersweet, from the goodbye it speaks.

How poetic, they think, to say goodbye right by a bush of forget-me-nots. I'll surely never forget him.

"Go now", Y/N whispers as they part, "before I kiss you again and never let you go."

A heartbroken chuckle leaves his lips while he touches his forehead against theirs. 

"Remember me, Y/N", he begs, slowly dragging them to their feet. "Remember me like this, young and well, learning what the flowers you mark our spots with look like. Always see me like this: grateful and completely in love with you."

"How could I not, my prince?"

And in truth, how could they not?

To say Y/N never forgot about Renjun is a misunderstanding. They never forgot about him, and they never stopped thinking about him either. His are every emotion they've felt. Every split of every second in every day of their life was and is dedicated to him. His smile is all they see when they close their eyes, and his laughter sounds right by their side whenever they visit the forget-me-not fields. He lived in all of the things surrounding them, and even in the name of that corner right by the tallest red oak: Prince's Lair.

Likewise, his very soul was bound to Y/N from the day they met to the day he died, still in reverence of how much devotion it is possible to feel for someone. He grew older and eventually found a family, yes, and he even went to war. His eyes held visions he would never wish for anyone to see, but they were still his first thought in the morning and the last one in the night when he allowed himself to weep for their lost future. He got to see the most distant borders of many kingdoms, and he got to meet people in all of them. Yet, no creature on this Earth ever compared to Y/N—his Y/N.

Even at the tender age of 18, Renjun was wise. 

Aeons of praying upon the stars never changed their fortune, but maybe there is something else to their fates.

Y/N never stopped loving Renjun, and Renjun loved them until his days were over, but their paths never crossed again.

Perhaps in another lifetime.

[vladdocs]

The Crusader Vlad and the organization of his country's army and its defensive system When we refer to the remarkable merits of Vlad Țepeș's head of state and army [1], we cannot ignore his takeover of a politico-military conception that has its origins in the old Byzantine imperial crusade tradition, Dragula being indisputably the first of our voivodes who rose to fight against the Ottoman Turks after the entry of Byzantium into the rule of Sultan Muhammad II the Conqueror [2]. Of course, this takeover was also made because he considered himself the legal continuator of the anti-Ottoman struggle of the Byzantine basilicas (emperors) and the great Romanian rulers, especially after the death of Iancu de Hunedoara [3], "the last great European crusade" [4]. Thus, edifying for the pro-crusade politico-military thinking of Vlad Țepeș is also the “crusade duchy [5]” discovered at Târgșor (in Prahova county), ie in the place where Vlad built a church (…) and where there was, in the 15th century, a royal court ”[6]. The currency was struck, in all probability, between 1459-1461, in this case being a second monetary issue made during the reign of Vlad Tepes [7], because, wanting to intensify trade for economic development of the country (which resulted in the procurement of the financial resources necessary to fight the anti-Ottoman struggle), the Romanian voivode was also concerned with this aspect. The only copy of the respective monetary issue, discovered so far, the silver duchy mentioned above, has on its two facets images inspired by the Byzantine iconographic tradition. On the obverse, there appears the face of Vlad Ţepeş with a beard, seen from the front, standing, wearing a crown [on his head] and holding a long cross in his right hand, and the cruciferous globe in his left ”[8], practically“ the typical representation of the Byzantine emperor, in his double position of defender of Christianity and holder of the power of universal aspiration ”[9]. On the reverse is shown "the bust of Jesus Christ, seen [all] from the front, blessing with his right hand, and with his left holding the gospel to his chest" [10]. Practically "this image was also taken from the Byzantine iconographic tradition, being the representation on coins of rex regnantium, ie the hierarchical top of all Christian sovereigns" [11]. Putting the two effigies together on the same coin, certainly on the initiative of Vlad Ţepeş, leads to the conclusion that we are dealing with “a crusade duchy", the Romanian lord considering himself the direct heir of the old Byzantine crusade traditions and , therefore, the main Christian adversary of the Crusent [12], after the disappearance of Iancu de Hunedoara ”[13]. It is interesting to mention the fact that the first coin struck by Vlad Țepeș was a “penny” of anepigraphic silver (ie without any inscription) on the reverse of which appears a star with a tail in the shape of the letter «S», so a comet. The fact that, according to astronomical data, on June 8, 1456, the famous comet Halley (which could be seen for a whole month) appeared in the sky of Europe, led the specialists to conclude that Vlad Ţepeş was influenced in choosing the image for the reverse of the coin. issued from his order, right at the beginning of the second of his reigns, precisely by this rare and interesting astronomical phenomenon, "disturbing image, as it seems unique in the European numismatics of the time" [14]. Considering the uniqueness of Dracula in our history, but also in the universal one, we cannot fail to notice the amazing connection between the evolution of his politico-military career and the mentioned astral phenomenon, which, while at that time instilled a terrible horror in the population. For Europe, it was for him a "heavenly" sign under which he managed to defeat (and kill) his rival (Vladislav II [15]) and ascend to the royal throne of his ancestors [16]. Aiming to consolidate and protect the royal authority and the economic and socio-political bases of the anti-Ottoman resistance and “preparing the reopening of the war

with the Ottoman Empire to ensure state independence and restore the territorial unity of Wallachia, Vlad Țepeș took numerous measures to strengthen the court army (The permanent army- nnTC), the backbone of the "great army", making full use of its revenues for its reorganization, endowment and training, according to the requirements of the time ”[17]. Dragula was also concerned with hiring a large number of specialized fighters from the sister countries (ie Transylvania and Moldova - nnTC), especially those trained in the campaigns of Iancu de Hunedoara, giving a similar status to the soldiers in the country "[18 ]. At the same time, he "raised and strengthened in military positions faithful and talented people (…), chosen with discernment, according to the value criterion" [19]. In the time of Vlad the Impaler, the country's "small army" (as well as its personal guard) consisted of mercenaries, viteji(Braves)[20], courtiers and servants or princely servants, while "the great army" ( mobilized only in case of great danger) was composed of all those able to bear arms and fight (mostly of them, these being inhabitants of villages, but also of fairs and cities, which, "unlike the guard the lord [as well as the army of the courtiers, the troops of the princely servants and the troops of mercenaries], an elite army, were inhomogeneously armed, that is, each came with the weapon he had in the household ”[21]) [22]. In fact, Dragula is the first Romanian ruler, since Mircea the Elder, who raised to battle all those capable of wielding a weapon, an act of great courage that proves his ability to maneuver large masses of people on the battlefield [ 2. 3]. Constantly in a categorical and overwhelming numerical inferiority to the Ottoman invaders he had to face [24], Vlad Țepeș always resorted to a series of measures aimed at a "consistent application of the strategy of the struggle of the whole people (specific to the Romanians - nnTC), he destroying everything in the way of the invading army - thus depriving it of any logistical support in the invaded territory - and triggering bold actions of harassment, the latter - the prelude to a decisive battle - must undermine the combative potential of to the enemy and to decisively weaken his morale ”[25]. Relevant to the care given to military matters is the fact that according to tradition, after the end of any of the battles in which he took part, Dragula (who was a good fighter himself instilling in the whole army a spirit of order and discipline" [26], as well as great courage and love for the country to the point of self-sacrifice), he personally searched each fighter and “who was wounded in the face, gave him great honor and made him brave, [but] who was struck in the back , he ordered that he be put (put - nnTC) on the stake ”[27]. Being "agile and as good as possible in military affairs" [28], a fact recognized even by his enemies, the Ottoman Turks [29], Vlad Țepeș " enlarged and strengthened the military institution promoting peaseants to small rank boyars , exempt them from taxes and benefits in exchange for military service, thus cementing ties with the majority class of the time - the peasantry - a class that understood to serve with devotion the one who defended it from the abuses of the great nobility "[30]. Therefore, "the peasant soldiers of Vlad [Țepeș] defended the entire land of Wallachia, from the Danube, where the Ottoman fleet could not be controlled, until the mountains transformed into a natural fortress of resistance" [31], and Dracula "He himself, as an example of bravery and heroism, often fighting in the front lines, personally leading the attacks on enemy camps, established himself as a valiant defender of his country's independence, [as] a great lord and army commander, [he being] one of the the most brilliant leaders of the Romanian people ”[32]. Vlad Țepeș also paid special attention to the defensive system of his country (as, moreover, was normal in the context of his anti-Ottoman policy), he strengthened it with new cities of refuge, fortresses on

the probable directions of invasion and fortified monasteries ”[33]. Dracula proceeded both to repair, enlarge, strengthen and even raise the foundations of some fortresses, and to "build or rebuild the defensive walls" [34] of some monasteries, such as Cozia, Govora, Tismana, Snagov and Comana [ 35]. Among the fortresses rehabilitated, consolidated and enlarged by the worthy Romanian voivode is the fortress of Poienari (on the upper course of the river Argeș), which, between April-May 1457, he renovated and expanded, which was done according to Povestirilor about Vlad Ţepeş and the forced labor of a significant number of boyars and townspeople from Târgovişte (along with their families), who had plotted against him (these are the ones who took part in the murder of his older brother, Mircea]) [ 36]. The next is the fortress of Bucharest (on the river Dâmbovița), where, in order to monitor the Danube line (given that the fortress of Giurgiu had been occupied by the Turks), he ordered the construction of a strong fortress (which was built in the current area). center of Bucharest, now the well-known archeological ensemble "Curtea Veche"), which is considered the most important plain fortification erected by Dracula (practically, it rebuilds, expands and strengthens the fortress existing here since the time of his grandfather, of Ungrovlahia ”Mircea the Old) [37]. In fact, the first definite documentary attestation of Bucharest dates exactly from the time of Vlad Țepeș, more precisely from 1459, when, through the deed of September 20 (“true birth certificate of our Capital today” [38]), the great Romanian ruler it exempts donations and strengthens the property rights of some inhabitants [39]. The document, very damaged, was discovered around 1900 [40], it represents, more precisely, a deed that strengthened, through the signature of the fierce voivode, an act of sale-purchase of some estates from Ponor (locality today in the county Mehedinti). The act concludes with the following text: "It was written on September 20, in the city of Bucharest, in the year (according to the" Byzantine era "- nn TC) 6968 (ie 1459 [according to" our era "- nn TC]), Io Vlad voivod, by the mercy of God, sir ”[41]. Also, on the last line of this document is mentioned the name “Bucharest [42]. If we take into account the large number of documents written on the orders of Vlad Ţepeş from his residence in Dâmboviţa, we can conclude that, starting with 1459, he led the affairs of the state here, practically Bucharest (or Dâmboviţa Fortress, as it was also called urban settlement at that time) becoming (along with Târgoviște) the second capital of the Romanian south-Carpathian state [43]. Finally, another fortress built by Vlad Țepeș is the fortress of Frumoasa, which, being located on the valley of the river Vedea (right on its bank), "controlled the access road coming from the Danube ford, from the right Zimnicea locality ”[44]. This "fortification, with an area of ​​2.5 ha, consisted of three rows of waves and two ditches arranged concentrically, the central wave, square in plan with a side of 43 m, carrying the wooden structure of the palisade [45], and the other two were of the simple type, having a rectangular route (the second) and trapezoidal (the outer one) ”[46]. Vlad Țepeș also ordered the expansion of the military constructions of all voivodship residences [47], such as the one in Târgovişte (at that time the largest urban settlement in the country and the main royal residence) [48], where, among other things, he “rebuilt the walls of the fortress with Transylvanian stonemasons” [49] and at the same time, “it seems to have been erected [by his command] and the famous tower of Chindia” [50], which was built , initially, for military purposes, the building serving as a guard point, and later it was also used as a fireplace, as well as for storing the country's treasure [51]. By investing large sums of money in the construction of solid buildings, made of stone and brick, Vlad Ţepeş made both the city and his royal court in Târgovişte to

have a truly princely appearance [52]. "The repair and enlargement of the walls of the royal court made it much stronger and, from now on, to be called a 'fortress'" [53] (on this occasion the royal palace was extended here, erected in a first form by Mircea the Old) [54]. In this sense, the opinion of Ştefan Báthory [55] (the supreme commander of the Transylvanian troops sent to Wallachia by King Matia Corvin to help Vlad Ţepeş to return for the third time to his reign) is also relevant. 1476, he visited Târgoviştele (after it was occupied by the army led by the Transylvanian “captain” and Dracula) and, at his sight, he stated that it was “a real fortress” [56], his opinion being an informed one, because where he came from, the art of building large fortifications was well represented, "and the notions of the military were much more precise." Referring to the exceptional qualities proved by Vlad Ţepeş as organizer of the defense of his country, and not only, as well as as a fighter with a gun in his hand and a leader of the army on the battlefield, a great specialist in military history in the eighteenth century , the Frenchman M. de Follard, appreciated them as remarkable, which is why, in his vision, the brave Romanian prince proved to be "one of the greatest captains (army leaders - nn TC) of his century" [58] , bringing as the main argument for this cataloging his famous victory obtained after his unprecedented and daring night attack, executed on 16/17 June 1462 on the camp of the huge Ottoman army near Targoviste (led by the conqueror of Constantinople, Sultan Muhammad of II), a battle that entered the popular tradition and historiography under the name of "Night Attack" [59]. ________________________ [1] Also nicknamed Dragula, Vlad III Ţepeş was the son of Vlad II Dracul (in his turn illegitimate son of Mircea cel Bătrân [who ruled the medieval Romanian state in the South Carpathians between 1386-1418 - History world in data, Romanian Encyclopedic Publishing House, Bucharest, 1972, p. 567], he ruled Wallachia between 1436-1442 and from 1443 to 1447 [Ibidem]) and Mrs. Anastasia (one of the daughters of Alexander the Good [Virgil Ciocâltan, Between the Sultan and the Emperor: Vlad Dracul in 1438, in “Revista de istorie”, XXIX, No. 11, Bucharest, 1976, pp. 1777, 1782], the lord of Moldavia between 1400-1432 [History of the world in data, p. 569]), he being, therefore, nephew of the two great voivodes, who completed the Romanian statehood in the south and east of the Carpathians. Dracula ruled over "Ungrovlahia" (the name of Wallachia in internal documents written in Slavonic) three times, namely from October (before 17-19) until the beginning of November (certainly after October 31) 1448; from July (before 3) 1456 to November (before 26) 1462 and from October (after 7) / November (before 📷 until the end of December 1476, possibly even until the beginning of January (certainly before of 10) 1477 (Constantin Rezachevici, Encyclopedia of Romanian Lords. Critical Chronology of the Lords of Wallachia and Moldova, vol. I [XIV-XVI Centuries], Encyclopedic Publishing House, Bucharest, 2001, pp. 101, 103, 115, 117, 801 , 802). [2] Mehmed II ruled the Ottoman Empire between 1444-1446 and 1451-1481 (History of the World in Dates, p. 567). [3] Remarkable politician and brilliant leader of the Romanian army, who lived between 1407-1456 and held high dignities in the Kingdom of Hungary, including that of regent or governor general of Hungary (between 1446-1453), he being the main promoter of the struggle of Christendom against the expansion of the Ottoman Empire, which he led, practically, between 1441-1456. Also, Iancu de Hunedoara was the father of the most important king of Hungary, Matia I Corvin, who reigned between 1458-1490 Tiberiu Ciobanu, «Fortissimus athleta Christi», Iancu de Hunedoara 555, Eurostampa Publishing House, Timișoara, 2011, p 15-28, 118, 192-193). [4] Ioan-Aurel Pop, The name of the family of King Matthias Corvinus: from period sources to contemporary historiography, in "Studies and materials of

medieval history", XXVI, Bucharest, 2008, p. 138. Regarding the related aspects of the “imperial idea” in Romanian, see also Dumitru Năstase, The imperial idea in the Romanian Lands. The genesis and its evolution in relation to the old Romanian art (XIV-XVI centuries), Athens, 1972; Petre Ș. Năsturel, Considérations sur l’idée impériale chez les Roumains (Considerations on the Imperial Idea in Romanian), in “Byzantina”, tom. V, Thessaloniki, 1973, pp. 397-413. [5] In the Middle Ages, in Wallachia, the "duchy" was a silver coin, weighing about one gram and worth three "money" (the name given to coins that have circulated over time on the territory of today Of Romania and whose value varied according to epochs and regions, small coin, initially silver, then copper, having the lowest value [Tiberiu Ciobanu, Glossary, in Stephen the Great and Saint and his brilliant victory in Vaslui against the Turks Ottomans, Eurostampa Publishing House, Timișoara, 2015, p. 366]), whose prototype (model) was the Venetian silver duchy, beaten since 1202 (Ibidem, p. 431). Stephen the Great was "great voivode and lord" of Moldavia from April 14, 1457 to July 2, 1504 (History of Romania in data, Encyclopedic Publishing House, Bucharest, 1971, p. 457). Being the son of Bogdan II (who ruled the eastern Romanian-Eastern Carpathian state from October 12, 1449 to October 15, 1451 [Ibidem]) and the nephew of Alexander the Good, he was closely related to Dracula [they were primary cousins] , because the mother of the latter, Mrs. Anastasia, was in turn the daughter of Alexander the Good and, therefore, sister (at least in paternal line) with the father of Stephen the Great (Virgil Ciocâltan, op. cit., p. 1777 , 1782). [6] Ştefan Andreescu, Vlad Ţepeş Dracula between legend and historical truth, second edition, revised, Encyclopedic Publishing House, Bucharest, 1998, p. 99. [7] Ibidem. [8] Ibidem. The term "globe cruciger" refers to a Christian symbol of authority, which was used in the Middle Ages, but which is still found on some coins, as well as in iconography. It represents a globe on which is placed a cross, used as a royal insignia, for coronation, in several monarchies in Europe. This is especially the case of the Holy Roman Empire of the German Nation, where it was designated as the "imperial globe". The cross on the globe, which symbolizes God's dominion over the entire world, is much larger than the globe, suggesting God's priority over human affairs. The globe, in the hand of the emperor, also signifies the divine origin of the power he exercises. The term comes from the Latin phrase "globus cruciger", consisting of the words "globus", meaning "sphere, globe", and "cruciger" [composed in turn from the noun "crux, crucis", meaning "cross" and the verb "gero , gerere, gessi, gestum ”, meaning“ to carry ”], which means“ bearer of the cross ”) and has the meaning of“ bearer of the cross ”(ro.wikipedia.org/wiki/Globus_cruciger). [9] Ştefan Andreescu, op. cit., pp. 99. [10] Ibidem. [11] Ibidem. [12] Part of the Moon's semicircular disk, illuminated by the Sun during one of the phases of the star; The moon seen in the phase of the first and last square. Symbolic sign of Islam, representing the Moon in the rising phase, in the form of a "sickle". Figuratively, the Ottoman Empire, the Turks, the Muslims; Islam, Mohammedanism [13] Ştefan Andreescu, op. cit., pp. 99; Octavian Iliescu, Unknown Duchies issued by two voivodes of Wallachia in the 15th century, in the “Bulletin of the Romanian Numismatic Society”, years LXXVII-LXXIX (1983-1985), Bucharest, 1987, pp. 268-278. [14] Ştefan Andreescu, op. cit., p. 63. [15] This was the son of Dan II the Brave (who ruled over Wallachia between 1420-1431, with four interruptions [History of the World in Data, p. 567]), who in turn had him as father on Dan I (who ruled the medieval Romanian state in the South Carpathians between 1383-1386 [Ibidem]), considered to be the father of Dăneşti, one of the two main branches of the princely dynasty of the Bessarabians, along with that of the Drăculeşti Vlad

Dracul, Vlad Țepeș's father, but who generally refers to the descendants of Mircea cel Bătrân). Vladislav II ruled between 1447-1456, with a brief interruption in the autumn of 1448, when the throne of Targoviste was first occupied by Vlad the Impaler (Ibidem, p. 568). In unknown circumstances, Vladislav II was executed by order of Dracula, on August 20, 1456 (after his defeat and capture following the battle of Târgșor [Prahova County], which took place before this date), finding- and eternal rest at Dealu Monastery (Constantin Bălan, Dealu Monastery, 2nd edition, Meridiane Publishing House, Bucharest, 1968, pp. 6-8, 24). [16] Ştefan Andreescu, op. cit., pp. 63; Jean Delumeau, Fear in the West (14th-18th century). A besieged fortress, vol. I, Meridiane Publishing House, Bucharest, 1986, pp. 118-119. [17] The military history of the Romanian people, vol. II, Militară Publishing House, Bucharest, 1986, p. 259. [18] Ibidem: Ioan Bogdan, Documents regarding the relations of Wallachia with Brasov and with Hungarian Country in sec. XV-XVI, vol. I, Bucharest, 1905, p. 99. [19] The military history of the Romanian people, vol. II, p. 259. [20] In the Middle Ages, in the Romanian Lands, the term "brave" meant a person who belonged to a category of landowners, similar to the knights of Western Europe and having special military tasks. Our princes raised many of their soldiers, who stood out on the battlefield, among the brave, especially from the second half of the fifteenth century and, especially, by Stephen the Great and Vlad the Impaler (Tiberiu Ciobanu, op cit., p. 633). [21] Radu Ştefan Ciobanu, In the footsteps of Vlad Țepeș, Sport-Turism Publishing House, Bucharest, 1979, p. 123. [22] Istoria Românilor, vol. IV, Editura Enciclopedică, București, 2001, p. 352; The military history of the Romanian people, vol. II, p. 259; Radu Ştefan Ciobanu, op. cit., pp. 119-123. [23] Ibidem, pp. 123; Tiberiu Ciobanu, The Night Attack, in From Rovine to Călugăreni. Great victories of the Romanian armies over the Ottoman Turks, Eurostampa Publishing House, Timișoara, 2014, p. 68. „In addition to the numerical increase of the soldiers who depended directly on the reign - mercenaries, servants, heroes, courtiers his army, mercilessly punishing those who did not respect his dispositions ”(Istoria Românilor, vol. IV, p. 352). Honestly and strongly "impressed by this discipline" (Ibidem), the Grand Vizier Mahmud Pasha * himself stated in the summer of 1462 that if Dracula had a larger number of fighters he "could reach great power" ( Laonic Chalcocondil, Historical Exhibitions: The Rise of Turkish Power, The Fall of the Byzantine Empire (Romanian edition by Vasile Grecu), RPR Academy Publishing House, Bucharest, 1958, p. 289). * Nicknamed the "Greek" (probably due to his origin), Mahmoud Pasha was the son-in-law of Sultan Muhammad II the Conqueror and Grand Vizier (the first counselor and his deputy) between 1455-1467 and 1472-1473 or, according to another opinion, between 1456 -1468 and 1472-1474 (Mustafa Ali Mehmed, History of the Turks, Scientific and Encyclopedic Publishing House, Bucharest, 1976, p. 383; ro.-wikipedia.org/wiki/Mahmud_Pașa). [24] Dracula never had more than 30,000-32,000 fighters (Military History of the Romanian People, vol. II, p. 263) and this only by decreeing the general mobilization, on this occasion being recruited all men and young people from his country, capable of carrying weapons, "from 12 years upwards" (the magazine "Trajan's Column" [edited by BP Hasdeu], NS, IV, Bucharest, 1883, p. 36). [25] The military history of the Romanian people, vol. II, pp. 272-273. [26] Ibidem, pp. 259. [27] The Slavo-Romanian chronicles from the XV-XVI centuries. Published by Ioan Bogdan (critical edition by P. P. Panaitescu), R.P.R. Academy Publishing House, Bucharest, 1959, pp. 207-208. [28] Foreign travelers about the Romanian Lands, vol. I (edited by Maria Holban), Scientific Publishing House, Bucharest, 1968, p. 176. [29] "The results of his reorganization and training of the army and his qualities as a

military commander were appreciated even by his fiercest opponents, and Turkish chroniclers regarded him as" famous among his peers and in his craft. to lead armies. He was also unique in serdaria (ie in command, this word coming from the term "serdar" * - nn TC), a second like him not being in the land of the ghiauri ", Sultan Mehmed II himself (ie Muhammad II- the Conqueror - nn TC) “considering him a brave man, and praising him to others” ”(Military History of the Romanian People, vol. II, p. 260; Turkish Chronicles on the Romanian Lands, vol. I [compiled by Mihail Guboglu and Mustafa Ali Mehmed], RSR Academy Publishing House, Bucharest, 1966, p. 199). Ghiaur = pejorative name (ie unfavorable, derogatory, contemptuous), used by the Turks to designate those of a religion other than the Mohammedan, in Turkish meaning "unbeliever" (Tiberiu Ciobanu, Glossary, in Mircea cel Batran the most agile of Christian principles », Eurostampa Publishing House, Timișoara, 2013, p. 188). * The generic name, in the Ottoman Empire, of the commander-in-chief of a large Turkish expeditionary military corps (Idem, Glossary, in Stephen the Great and Saint and his brilliant victory at Vaslui against the Ottoman Turks, p. 593). [30] The military history of the Romanian people, vol. II, p. 259-260. [31] Ibidem, p. 283. [32] Ibidem, p. 283-284. [33] Ibidem, p. 260. [34] Ibidem. [35] Ibidem. [36] Gheorghe I. Cantacuzino, Poienari Fortress, 15th-16th centuries, in “Studies and researches of ancient history”, tom. XXII, no. 2, Bucharest, 1971, pp. 263-289; Maria Ciobanu, Nicolae Moisescu, Radu Ștefan Ciobanu, Poienari Fortress, Sport-Turism Publishing House, Bucharest, 1984; The military history of the Romanian people, vol. II, pp. 88-89; Radu Ştefan Ciobanu, op. cit., 109-112. [37] Panait I. Panait, The Citadel of Bucharest in the 14th and 15th centuries, in “Revista Muzeelor”, no. 4, Bucharest, 1969, pp. 310-318; Radu Ştefan Ciobanu, op. cit., pp. 103-105; Ştefan Andreescu, op. cit., pp. 97; Gheorghe I. Cantacuzino, Problems of the relations between the beginnings of the medieval urban settlements and the princely courts from Wallachia, in “Studia Valachica”, Târgovişte, 1970, pp. 104-105. [38] Ştefan Andreescu, op. cit., p. 94. [39] H. Chircă, Historical-Philosophical Commentary on the Chrysostom of September 20, 1459, in "Studies", vol. XII, no. 5, Bucharest, 1959, pp. 5-7; Radu Olteanu, Bucharest in dates and events, Paideia Publishing House, Bucharest, 2002, p. 14. [40] Ibidem; H. Chircă, op. cit., p. 5-7. [41] Ibidem; Radu Olteanu, op. cit., p. 14. According to the “Byzantine era”, the date of “Creation” is the year 5508 BC. Often encountered in the form of "years since the creation of the world" or "years since the building of the world" or "years since Adam", this chronology was officially used in the Byzantine Empire (by the Ecumenical Patriarchate of Constantinople) and other churches. Orthodox from 692 to 1728. In the Romanian Lands, it was used mainly until the middle of the eighteenth century, being gradually replaced, until the middle of the nineteenth century, with "our era" (abbreviated "en"), which we count from the birth of our Lord Jesus Christ, which is why the abbreviation "AD" is used. Because the "Byzantine era" is considered to be 5508 years older than "our era", in order to transpose the years of the "Byzantine era" into the years of "our era" this difference of years must be taken into account, using operations. subtraction or addition, depending on the situation(ro.wikipedia.org/wiki/Era_bizantină). [42] Radu Olteanu, op. cit., p. 14; H. Chircă, op. cit., p. 5-7. [43] Radu Ştefan Ciobanu, op. cit., p. 105. In fact, Dracula spent four of the more than six years of his reign “in the city of Bucharest”, preferring it to the royal residence in Târgoviște, this, especially, out of the desire to be as close as possible of the Danube, in order to be able to better supervise the movements of the Turks (Radu Olteanu, op. cit., p. 14; H. Chircă, op. cit., p. 5-7). [44] The military history of the Romanian people,

vol. II, p. 90; Radu Ştefan Ciobanu, op. cit., p. 123. [45] Wooden fence or "wall", used in the past as a defense structure; fortification element, used in older defensive arrangements, consisting of thick and long poles, knocked to the ground, tied together with planks, ropes, ropes (tree branches, tree branches, etc.) etc. and having between the spaces braids of twigs, sometimes also a filling of beaten earth. The height of a palisade could be up to three meters. Synonym: (rarely today) lever ((ro.wiki-pedia.org/wiki/Palisadă; dexonline.ro/definiție/palisade). [46] The military history of the Romanian people, vol. II, p. 90. „The ditches (fortress from Frumoasa - n.n. T.C.) had oblique walls, with a maximum width of 8-12 m; the difference between the wave coast and the ditch wire was between 6 and 10 m. Outside the central palisade there was a platform, approx. 3-3.5 m, on which the defenders of the fortress circulated. For the construction of the central palisade, two ditches were dug with a depth of 1-1.30 m, on the bottom of which were fixed, in an oblique position, thick oak poles, at a distance of 0.15-0.25 m from each other . Between the rows of stakes, at different levels of them, thick beams and beams were fixed, horizontally or obliquely, thus compartmentalizing the skeleton of the palisade, which was then covered with beaten earth ”(Ibidem). [47] Gheorghe I. Cantacuzino, op. cit., p. 104-105; Istoria militară a poporului român, vol. II, p. 90; Ştefan Andreescu, op. cit., p. 97; Radu Ştefan Ciobanu, op. cit., p. 123. [48] ​​Ştefan Andreescu, op. cit., pp. 97; The military history of the Romanian people, vol. II, p. 260; Radu Ştefan Ciobanu, op. cit., pp. 123-126; Nicolae Constantinescu, Cristian Moisescu, Royal Court of Târgovişte, 2nd edition, Meridiane Publishing House, Bucharest, 1969. Royal and capital residence between 1396 and 1714, Târgoviște held for more than three centuries the status of the most important economic, political center -military and cultural-artistic of Wallachia, currently being the city-municipality of residence of Dâmbovița County, administrative-territorial unit from the central-southern part of the country, more precisely from the central-northern area of ​​the Romanian geographical-historical region Muntenia (ro .wikipedia.org/wiki/Târgoviște. [49] The military history of the Romanian people, vol. II, p. 260. [50] Ştefan Andreescu, op. cit., p. 97. [51] Also known as the "Chindia Tower", it is currently part of the "Royal Court" Historical Monument Ensemble and measures 27 meters in height and 9 meters in diameter. Between 1847-1851, the tower was completely restored by the rulers of Wallachia, Gheorghe Bibescu (who ruled between 1842-1848 [History of the world in data, p. 568]) and Barbu Știrbei (who ruled between 1849-1853 and 1854). -1856 [Ibidem]), the current form being due to the first one, including its elevation by about 5 meters compared to the initial construction. The Chindia Tower is the most important tourist attraction in Târgoviște and, at the same time, the symbol of the city, specific elements of the building being present on the coat of arms of the respective city, both at the top and at the bottom. In fact, now, the tower is also the most important tourist attraction of the entire Dâmbovița County, currently hosting the exhibition entitled "Vlad the Impaler - Dracula, legend and historical truth", which presents documents, weapons and objects from the reign of the fierce Romanian voivode, but also maps with the surroundings of those times. From an administrative point of view, the Chindia Tower is under the tutelage of the “Curtea Domnească” National Museum Complex in Târgoviște. There are two hypotheses regarding the origin of the name of the tower, but there is no consensus on this fact. The first claims that areas in the vicinity of the tower were places of feasting, called "chindii", hence the origin of the name. It has also been suggested that its name comes from the word "chindie", an archaism meaning "sunset", a time of day when soldiers

defending the tower were required to give the signal that the five gates of the city were closed. After this moment, it was forbidden to enter or leave the city throughout the night, and the inhabitants had the obligation not to drive on the streets and not to maintain outdoor fires, which would have made the city visible from a great distance (ro.wikipedia .org / wiki / Turnul_Chindiei). [52] Radu Ştefan Ciobanu, op. cit., pp. 125. [53] Ibidem, pp. 124. [54] Ibidem. [55] This is Stephen I Báthory of Ecsed, who was a prominent member of the powerful Hungarian noble family Báthory. He lived between 1430-1493 and held the position of voivode of Transylvania from July 1479 to January 1493 (History of Romania in dates, p. 461; History of the Romanians, vol. IV, p. 807). Very ambitious, he will be appointed, in 1471, by Matthias Corvinus as a judge of the Royal Court (ie royal judge, in which capacity he was the king's legal deputy [en.wikipedia.org/wiki/Judge_royal]), holding this high position until his death. Due, however, to his warlike nature (warriors - nn TC), along with the cruelty he had shown countless times (especially to the Szeklers, whose committee [governor] had been for a time - nn TC), István (Ştefan - nn TC ) Báthory will end up being dethroned in 1493 "(Cristian Ioan Popa, The Battle of the Field of Bread [October 13, 1479]. From the universality of the medieval lied to the recovery of national heroes, in" Terra Sebus. Acta Musei Sabesiensis "[ Yearbook of the Municipal Museum „Ioan Raica” from Sebeş], No. 2, Sebeş, 2010, p. 276), dying shortly afterwards (see also en.wikipedia.org/wiki/Ştefan_Báthory_de_Ecsed). The special merit of Stephen I Báthory was that together with the Timiș counties, Pavel Chinezu will obtain, on October 13, 1479, on Câmpul Păinii (near Orăştie), a brilliant victory over the Turks who had invaded Transylvania (Military History of the People). Romanian, vol. II, pp. 334-337). * Famous for his Herculean strength, for his extraordinary skill in handling weapons of all kinds, especially the sword, usually he "fighting with two swords at once" [Antonio Bonfini, Rerum Hungaricarum decades quatuor cum dimidia, Buda, 1770, p. 639]) and for his remarkable qualities as an army leader, Pavel Chinezu was a Romanian from Banat, who lived between 1432-1494 and held a number of high positions in the political-administrative and military hierarchy of Hungary, among which the leadership of the entire province of Banat and the supreme command of the troops from the south of the Hungarian Kingdom were counted (at one point, he was appointed by Matthias Corvinus at the head of all the military forces of the Hungarian Crown), which he exercised from 1478 until his death. sa (Tiberiu Ciobanu, Pavel Chinezu and his great victory on the Field of Bread against the Ottoman Turks, Eurostampa Publishing House, Timişoara, 2014, p. 15-42). [56] Radu Ştefan Ciobanu, op. cit., p. 125-126. [57] Ibidem, p. 126. [58] M.de Follard, Histoire de Polybe (Istoria lui Polybius), II, Paris, 1727, pp. 49-50. Polybius = Greek politician and historian, who lived between 200-120 BC. and he was an unconditional admirer of Rome, compiling a vast history (in 40 books) of the Roman Republic (and of the states which came into contact with it, practically a universal history), which entered historiography under the title of General History, which deals with the events that took place between 220-146 BC. (Dominique Vallaud, Historical Dictionary, translated by Nicolae Șarambei, Artemis Publishing House, Bucharest, 2008, p. [59] For information on the development of the sultanate campaign in the summer of 1462, undertaken north of the Danube, as well as details on the "Night Attack", see Tiberiu Ciobanu, The Great Sultanate Campaign in the Summer of 1462 undertaken in Wallachia and the Night Attack ”, In Vlad Țepeș and“ The Night Attack ”555, Eurostampa Publishing House, Timișoara, 2017, pp. 99-172; Sultan's campaign = large-scale military action led personally by the sultan.