#Shirley is an older character

[thetavolution]

SHIRLEY

Full name:  Shirley Whiteclaw Evenwood Name meaning:  Shirley: bright clearing; Whiteclaw: self-explanatory  Pronouns: She/Her  Race: Half-Orc Age: 38  Orientation: Bisexual Romance: Undecided  Class: Fighter Subclass: Champion Origin: Soldier  Theme Song: Sweetest Devotion - Adele / I Lived - OneRepublic / You Said You’d Grow Old With Me - Michael Schulte 

Personality Shirley is a single mom with two kids at home and she always puts them first. Her main focus is taking care of her family and working as a sword for hire puts food on the table. She’s a sweet gal, even if her day job involves a lot of killing. She’s not the sharpest tool in the shed, but she’s cheery, friendly, and outgoing. She’s not book smart, but she has emotional intelligence. She’s also a very even-tempered person.

She’s talkative and the kind of person who’ll strike up a conversation with a total stranger like they’re old friends. Being a little dimwitted, she can be taken advantage of. She’s far too trusting for her own good. She is self-aware she’s not the smartest person in the room. 

People often look at her and think, “There’s nothing going on behind those eyes.” She’s basically a Labrador Retriever as a half-orc. 

Background Shirley is the product of an arranged marriage that was created to form an alliance between an orc tribe and the human village of Northwick. Her father relocated to the human village as part of the alliance since Shirley’s mother didn’t want to leave her hometown.

Fortunately, her parents did get along even if it was a loveless marriage. They were able to come together as friends to give their daughter a good life. It gave Shirley an unusual advantage compared to many other half-orcs. Her parents may not have been in love, but they did love her. She was raised in her mother’s village among humans. While she struggled to find acceptance, her good nature helped her worm her way into the hearts of the townspeople. She slowly got people to tolerate her and even won over some genuine friends. 

Her father trained her to be a fighter and she became set on protecting Northwick. She worked as a guard and this helped earn her respect among some of the higher ranking villagers. She even met and married a human paladin, Kayne Evenwood. They would have three children together, Galvyn and Bilga. Sadly, not long after Bilga’s birth, Kayne drowned when he was caught in a current while trying to save a small child who slipped into the river. He was able to save the boy, but lost his life in the process.

Alone, she took jobs as a sword for hire to take care of her children. When a tadpole got lodged in her brain, she had to set out to save herself and her children. While away, the kids stay with their grandparents.

Likes: Her children, her late husband, giving her kids a better life, children (in general), animals especially dogs, giving to charity, volunteering, social events, talking with people, early mornings, and romance novels

Dislikes: Anything that could harm her family, being away from home, criminals, bullies, people judging her based on being a half-orc, loneliness, bugs, hurting people who don’t deserve it, math, 

Fears: She’s afraid of anything happening to her children. Outside of her children, she’s terrified that she won’t be able to protect her village or that peace between the humans and nearby orcs will be compromised. She hates to admit she fears dying alone, too. She doesn’t feel like she should want love again, but she does. On a lighter note, she’s really scared of talking to a room full of people. She hates it.

Quirks: She talks pretty loudly, even when trying to whisper. There’s a running joke amongst her friends that she just CANNOT whisper even in a life or death situation. 

Mental Health: She’s still grieving her husband while trying to focus on her children.

Favorite Food: Minted Pea Soup, Rabbit Stew, Wayfarers’ Cake, and Toasted Cockatrice Gizzards on Rye

Favorite Drink: Moon Mountain Ale, Mint Tea, and Apricot Cider

Favorite Flower: Summer Lillies and Peonies (Peonies was the first flower Kayne ever gave her)

Height: 6’2”

Skin: Sage Tone 5

Hair:  Red Black with Gray

Eyes:  Brown 1

Color Scheme:  She wears a lot of browns, silvers, and blues. She doesn’t really pick her armor based on color, but durability and strength. She never thinks to get things dyed or colored. When not in armor, she leans toward shades of green and blue.

Fashion Sense: She’s a simple woman with a simple wardrobe. It’s all about durability for her. As a woman with two kids, she doesn’t dress up fancy. (Bilga is just going to spit up on it.) She does like to wear nice things from time to time though. In those cases, she keeps it simple and elegant.

Family: 

Nybarg Whiteclaw — He’s Shirley’s orc father. He was offered to the humans for the marriage contract simply because he didn’t really fit in with the other orcs. While he’s not cuddly and sweet, he is agreeable. He doesn’t actually like to turn to violence in most cases and prefers to just let people live and let live. He loves his daughter and grandchildren with every part of his being.

Enid Whiteclaw — She’s Shirley’s human mother. She’s a strong-willed and kind woman. She quickly earned her husband’s respect shortly after meeting each other, mostly because she’s an assertive person. She’s a bit pig-headed and she was definitely the head of the household. She loves her daughter and grandchildren more than anything. Enid and Nybarg are not in love, but grew to love one another as friends.

Kayne Whiteclaw Evenwood — He’s Shirley’s late husband. He was a human and a paladin who swore to the Oath of the Ancients. He fell in love with Shirley’s big heart. He was honorable, brave, and kind.

Galvyn Whiteclaw Evenwood — They’re Shirley’s 5-year-old kid. 

Bilga Whiteclaw Evenwood — She’s Shirley’s 1-year-old daughter.

I slightly ignored how DnD does half-orc aging. I’m treating her more like she just ages the same as a human instead. If you don’t like it, you can fight me. But don’t actually because I can’t fight.

[pretty-little-mind33]

Robbie Jennings x fem!reader

Summary: Your brother causes a misunderstanding between you and Robbie.

Genre: Fluff, blurb <3

Warnings: brother's best friend trope, underage characters (robbie is 17 and reader is 16), first kiss, misunderstandings

It feels like a dream watching him up there; his brown hair falls messily over his eyes, long fingers gliding over the strings of his guitar. The friends you came with have wandered off somewhere, probably to find some snacks or a drink, but you're too enthralled to even move.

"You're drooling," a voice drawls, causing you to spin your head around and see your older brother, Robbie's best friend, standing beside you as he nudges your shoulder, a grin curling his lips.

"No, I'm not," you argue, feeling embarrassed.

"He'd never date you, y'know," your brother says, his lips curling as if it won't hurt your feelings, and he misses the way your entire face falls. "You're so not his type. Plus, he said so himself—you're too young for him—"

Your heart constricts and you feel like you can't breathe. You glance up at Robbie, accidentally meeting his gaze as he sends you that precious smile and you feel sick. "Excuse me," you whisper and turn away, needing air or even a ride home.

You wander around, searching for your friends but they're nowhere to be seen. "Oi, Y/l/n?" another male voice interrupts your thoughts and you tense up. You were just about to find your coat and leave. You force a smile when you turn to the boy.

"Hi, Tom," you say, looking around. "Jas went home with Georgia and—"

He looks out of breath as he holds his hand on his knees. He's bending forward and he shakes his head in your face, as if wanting you to listen and stay put. You frown. He's being weird. Your stomach sinks and you wonder if your brother had said anything to him—after all he is Robbie's twin brother.

"Are you leaving?" Tom asks once he's regained his breath.

You're even more confused. "Yeah? It's late and I have loads of homework—"

"Wait, um, can't you stay? They only have one more song to play. I know it would mean a lot to my brother if you stayed. He—well, he should tell you."

It would mean a lot to Robbie if you stayed? What did that even mean? That familiar feeling of hope sinks in, only to be crushed by the reminder of your brother's words and heat crawls up your neck to your cheeks. Still, you're curious and that curiosity wins as you agree to stay until the setlist is over.

Once, it is, you stay by the bar as you play with the straw of your Shirley Temple. Your brother greets his friends, patting them on the back, and whispers something in Robbie's ear as the latter sends you a glance, his cheeks a little pink from what you assume was from the heat of the overhead lights on the stage. You look away, poking at the bottom of your glass with the straw.

Should you just leave? This is agonizing.

Still, your heart flutters when Robbie calls your name.

"Hi," you say when he leans against the bar next to you. He's smiling, his blue eyes gazing across your features.

"Thanks for coming," Robbie places his hand over yours on the bar, and then he tilts his head and adds with a laugh, "Well, for staying—"

"Your brother wouldn't let me leave," you laugh awkwardly. You never know how to act when he's this close to you. Robbie's eyes sparkle and he nods. He looks quite proud of himself.

"Yeah," he says, rubbing his nape as he laughs. "I asked him to make sure you didn't leave. I- I have a question I've been wanting to ask you."

You nod, still fiddling with the straw as you focus on Robbie and not his laughing bandmates and your brother in the background. Robbie doesn't seem to notice your unease because he jumps right into the question, unaware of your worry.

"Will you got out with me?" he blurts out.

Your eyes widen. "Pardon?" You whisper, staring at Robbie like he’d suddenly grown two heads.

The poor boy looks just as confused now. "Y-yeah. Like on a date? We can go to the arcade or—"

Your brother laughs from behind, pushing on one of the band members and your heart thumps against your chest. Is this some cruel joke? Is that way your brother had said what he’d?

Tears fill your eyes. "You're being mean," you whisper, looking at Robbie and his heart shatters.

"Wait—" he calls but you're already rushing out the door. Confused and determined to make this better, Robbie follows you.

"Y/n, wait, please," Robbie jogs up to you and takes your shoulder, stopping you in your tracks. "Did I do something wrong?"

You wipe at your tears with your palm. "I don't want to talk to you right now," you whisper and try and push by him but he won't let you. Your tears only fall quicker.

"Please," Robbie pleads and his thumb presses against your cheek, wiping a tear. You jerk your head and shove his hand away.

"Did my brother put you up to this?"

"Put me up to what?"

"This! Using the feelings I have for you as a way to have a good laugh. Because it's not funny. I know you wouldn't date me. He said so himself!" you ramble, outstretching your arm towards the window and Robbie turns to look inside where your brother and his friends are laughing and joking around.

Turning back to you, Robbie's gaze is hard: "Your brother never said anything about your feelings, Y/n, and I certainly never said you weren't my type! I've been crushing on you since year one!"

You fall silent, your cheeks still wet from tears.

Robbie walks closer and cups your cheek. "I like you. I really like you," he smiles.

You're star struck. "Y-you do?"

Robbie hums and dips his head. He kisses you, quick and light, and then pulls away. Your lips tingle and your eyes are wide. Without thinking, you wrap your arm around him and pull him into you as you kiss him back. It's clumsy and still a little rushed, but it feels like a real first kiss.

When he pulls away, he nuzzles his nose against yours and asks, "Whatever your idiot brother said, he was wrong. You need to know that," he says and presses another kiss to your lips.

You nod, smiling. You relax and Robbie grins.

"Good. Saturday at the Arcade?"

You nod again, still too shocked to say much else and when Robbie leans down and whispers, "And don't tell your brother just yet, will ya? I need to make him sweat a little for messing with you like that," you just laugh, smiling wider than you ever have.

[cripplecharacters]

Feel free not to answer this question as it's more a research-type question, I'm just not sure how to go about finding what I need: do you happen to know any fiction books with portrayals of medium to high support autistic people that are considered realistic and positive? All I can find is rep of low support autistic ppl (unless it's in semi-educational children's books) and it's making it harder to figure out how to write medium to high support autistic ppl myself.

Hello!

When I was diagnosed, it was before the levels were used (Or at least before they were used where I lived). I suspect that I would be considered 'level one autistic' today but would likely have been 'level two', bridging into 'level three' as a child. This is all just to explain my perspective with this.

That being said, here are some of my recommendations:

A Step Toward Falling by Cammie McGovern

I just finished this book earlier today and while it isn't specifically about autistic characters, it does feature several autistic characters with high support needs as well as other disabled characters. The book is written from the perspective of two characters, one of which is developmentally disabled (Belinda). Although her disability is never specified, I do see a lot of autistic traits in Belinda. The premise of this book is a bit heavy. It's about two characters (Who are not disabled) who end up volunteering at a centre for adults with developmental disabilities. One of the things I appreciated about this book was how well rounded the characters are. Each of them has their own stories, interests, and ideas. I also like how it discussed sex and relationships in the context of people with developmental disabilities. Something to note is that this does have some sensitive topics such as ableism, sexual assault, and bullying. It is also written by a parent of an autistic child but, as far as I'm aware, the author herself is abled. I did have some conflicted feelings about specific parts of it but I'll leave that for you to make your own decisions about. Target Audience: Young Adult

How to Speak Dolphin by Ginny Rorby

I also read this book recently and I personally really disliked it. There were several scenes that made me feel very gross and I found that the autistic character was dehumanized very often. One line that stuck with me was another character about a blind character, essentially saying, "I thought she was going to drown herself. If I was blind, that's what I would do." Although the character does get to know the blind character and changes her mind, it really felt awful to read and seemed so unnecessary -- especially given the target audience. The way it talks about blindness in general bugs me. That being said, I have seen several autistic people recommending the book (Which was why I read it in the first place) so I'll include it here anyways since my opinion seems to be in the minority around this book. Target Audience: Elementary/Middle Schoolers This is a brief review from another autistic person. [Link]

Planet Earth is Blue by Nicole Panteleakos

This book centers around Nova, a young autistic girl with high support needs. Nova is a foster child who is missing her older sister and the story is told through a mix of narrative, letters to Nova's sister, and flashbacks. It's been a while since I've read this book but I remember really enjoying it (And maybe crying a little bit too). The author is autistic herself and also consulted many other autistic people with a variety of experiences, which I appreciated. Target Audience: Middle Schoolers This is a more in-depth review on the book from a reader who (I believe) is also autistic. [Link]

These are also a couple books that I've seen recommended but can't personally recommend as I haven't read them myself yet:

Real by Carol Cujec

Remember Dippy by Shirley Reva Vernick

I know it's not very much but hopefully it's enough to get you started! If anyone has any recommendations for anon, feel free to mention them in the notes.

Cheers,

~ Mod Icarus

[the-moral-of-the-rose]

Rilla of Ingleside created a new timeline...

Anne's House of Dreams mentioned a historical event - a federal election: “Mistress Blythe, the Liberals are in with a sweeping majority. After eighteen years of Tory mismanagement this down-trodden country is going to have a chance at last.” (AHoD).

From Wikipedia: "The 1896 Canadian federal election was held on June 23, 1896, to elect members of the House of Commons of Canada of the 8th Parliament of Canada. Though the Conservative Party, led by Prime Minister Charles Tupper, won a plurality of the popular vote, the Liberal Party, led by Wilfrid Laurier, won the majority of seats to form the next government. The election ended 18 years of Conservative rule."

It wouldn't be surprsing, but... it was also the year in which Jem Blythe was born! The election took place few weeks after his birth: "When Anne came downstairs again, the Island, as well as all Canada, was in the throes of a campaign preceding a general election." (AHoD).

So... according to this timeline, Walter was born a year later (1897), then the twins (1899), Shirley (1901) and Rilla (1903).

The point is... at the outbreak of the war, Walter would have been only 17 years old, the twins 15, Shirley 13, Rilla 11...

Shirley would have been too young to participate in the war and Walter would have barely turned nineteen at the time of the Battle of Flers-Courcelette in September of 1916...

Someone in one of my older posts noticed that puff sleeves fashion suggested that Anne of Green Gables took place in 1880s rather than 1870s... so it would make sense!

I wonder why Montgomery chose Rilla as her teenage heroine (according to the original chronology, Rilla should have been only 11 years old), while there were 15-year-old twins...

Can you imagine Nan and Di as the main characters of the war book? Two young girls at Queen's, trying to come to terms with rapidly changing world? Rilla and Shirley at Ingleside, growing closer in such trying times? Teenage boys - Jem and Walter - who had to choose if they wanted to sacrifice their life at even younger age - at eighteen? Walter, never reaching the age of twenty (or maybe - dare I hope - coming back home safely)? Anne and Gilbert in their 40s, trying to collect all the broken pieces that was once their family?

It would have been equally good, in my opinion. I wonder... why Montgomery felt she had to suddenly change a whole chronology?

Side note: of course, I love Rilla of Ingleside. But I am just curious... (Nan and Di of Ingleside would be a good book, too!).

@diario-de-gilbert-blythe @gogandmagog @pinkenamelheart @valancystirling48

[teecupangel]

If Desmond ever ended up in the Persona 5 universe, I wonder what he would think of the Phantom Thieves? Would he be a confidant for Akira/Ren/Joker, be a neutral party? Become a Phantom Thief himself? I can't help but think that because of his Bleeds, he'd end up having his ancestors show up as Personas to help him fight in the Metaverse.

Ngl, I wanna make Desmond the Sun because of my penchant of giving Desmond something related to the very thing that killed him but based on his ‘situation’, these are the Arcanas that Desmond can be part of in my opinion:

Aeon (many of the Aeon Personas have an affinity to light and a common theme for Aeon representatives are that they are unfamiliar with the world they are in and are struggling to find their place in this world which describes Desmond’s current predicament and also… there’s no Aeon confidant in P5 so Desmond won’t be sharing this spot with anyone or, worse, won’t be removing an existing confidant)

Sun (A character in a lonely and most of the time terribly situation, signifying the hopelessness of them succeeding with the end results being them having to reflect on their situation and coming to peace with themselves and what is happening to them)

Moon (being attuned subconsciously to the world around someone, gaining the ability to sense things without being told about them, or without anyone else knowing, this arcana is also sometimes called the Arcana of Lies and Deceit which Desmond would be doing anyway because there’s no way he’ll tell the truth)

Death (metamorphosis and deep change, regeneration and cycles… which can also hint on Desmond’s origin as someone not from this world)

Personally, I do see Desmond as a Phantom Thief and acting like the cool older brother type to these teenagers. But being a neutral party seems more like his style, considering… everything.

So I would suggest we make Desmond a neutral party the Phantom Thieves meet up with in the Metaverse from time to time, mostly in Mementos because, in his own words ‘something calls to me here’.

The Phantom Thieves don’t know he’s the same bartender that works at Crossroads who would always give Joker a Shirley Temple whenever he’s on break. Lala told Joker that Desmond looked ‘lost’ so she helped him out (in more ways than one, Lala actually thinks Desmond is undocumented and helped him be an ‘upstanding citizen’…)

Desmond, for his part, is just happy that, for some reason, he knows Japanese? He has a feeling it’s one of his Bleed and many people tell him he speaks like he’s from a period drama so yeah, there’s that (it’s one of his Ibn-La'Ahad ancestors who knew Japanese because they chased the Mongols to Japan)

As for Desmond’s Persona…

It would be funny to give him Minerva or Juno as a Persona but we’re not that evil. Another idea would be to give him Dionysus for our usual ‘Desmond could totally be Dionysus’ Sage’ idea that pops in and out XD

Although…

So we’re going to make Desmond special because he’s our blorbo and we’ll use the Persona 1 and 2 plot of how the characters get their Persona.

He does the Persona game because he was bored one day XD

And that’s how he starts to hear Mementos’ call.

And while he journeys in Mementos by himself, that’s when he encounters the Shadows… of his Bleeds.

Confronting them (which always ends in a boss fight) ends with him receiving their Arcana and his Bleeds become his Personas.

His Bleeds’ Arcanas:

Altaïr: Hermit (wisdom, introspection, solitude, retreat and philosophical searches)

Ezio: Judgment (associated with realizing one's calling, gaining a deep understanding of life and a feeling of acceptance and absolution)

Ratonhnhaké:ton: Hanged Man (sometimes self-sacrificial or self-loathing, but are more often notable for being caught between two different extremes, parties or stages in life of which they have little to no control – always in the middle of two opposing forces and he’s doing his best to protect his people given what’s happening) or Strength (associated with the morality about the stronger power of self-control, gentleness, courage and virtue over brute force)

Haytham: Emperor (desire to control one's surroundings, and its appearance could suggest that one is trying too hard to achieve this, possibly causing trouble for others; some elements in life are just not controllable)

Desmond’s real Arcana and his own Persona (which may or may not be some biblically accurate angel-like figure with all of his Bleeds around a small orb similar to the Apple of Eden in the same veins of the Norns design) will only awaken after Joker reaches max level with him.

Also, the Phantom Thieves don’t know it’s him because his form in the Metaverse is always hooded with the robes changing depending on which Persona he uses (at the start, they thought it was different dudes until Desmond changed Personas in midbattle)… and yes, that includes Haytham. Desmond gets a hood too even when he’s using Haytham but he also has Haytham’s tacohat. Them’s the rules.

Arcana symbolism from megamitensei.fandom.com

[codegeassfacts]

A Collection of Code Geass Season 1 Informations from Various Sources and Interviews // Canon

I've reunited in there all of the various information I couldn't fit into full fleshed out post and only kept the one with sources (that mostly came for Celiss Galvea Geass legacy), that were mentionned in various corner of the web, so there might be some missing as I don't want to share rumors/unconfirmed material. You'll be able to find the same similar Collection for R2 right there.

The title “Code Geass” was a fairly last-minute decision (the tentative title was “Lelouch of the Rebellion”) The production team were in a panic over the lack of a proper title; “We need a title to design the title logo!” etc. (ura de net geass!)

An 8 hour meeting was held to determine C.C.’s name and real identity. Supposedly none of the participants ate or drank throughout the whole thing (Okouchi: “Give me something to eat!”) According to Yoshino, whenever he thought the meeting was about to come to an end, someone would start up again and the meeting would continue with no end in sight. XD . (ura de net geass)

The hero wasn't meant to be an anti hero like Lelouch, but an ace pilot, just like in most anime from SUNRISE (Taniguchi/Okouchi Interview)

At first Lelouch had white hair, Shirley had blue hair and the Ashford uniform was red, that's why some old school scans show the characters with those colors.

Kallen's first name was Akira, then Kallen (Mutuality Artbook)

C.C. had a name during the creation phase, it was Sera, but nothing says it stayed the same, in Stage 11, Jun Fukuyama, Lelouch's voice actor actually spoke her real name but they decided to cut his voice during the montage. (Mutuality Artbook + DVD commentary) Yukana's voice work profile also used to say the name of her character in Geass was "Sera/Cera."

There was a classement of the boobies size of the girls of the anime which went out in a magazine and you'd be glad to learn that Milly has the biggest boobs of them all ; Lelouch's mother is a close second and Kallen takes the third spot. (Newtype)

Lelouch's line in Stage 14 when he erases Shirley's memories "if there is another life…" was supposed to end up like that "…let us be lovers" but it was eventually cut out. (Shirley gave the full line in the best phrase award session stage 14 to 25 of the first DVD of season 1)

When asked about a possible romance between Lelouch and C.C.,(During S1) Taniguchi said that for that to happen, Lelouch would need to see C.C. as a human being, for he was currently seeing her as some kind of alien (That's why he was about to take a blood sample in Stage 11) (Newtype interview)

About romance, Taniguchi said there would be romantic devellopment for Lelouch in season 2 and that it was left out of season 1 to focus more on Lelouch's goals (destroy Britannia, happy world for Nunnally) and him setting up his rebellion to avoid complicating matters (pash ! interview )

Kallen's story was moved to R2 when it was announced they'd be getting a season 2, that's why she became less present within the second half of season 1 (Fake Okouchi interview)

Suzaku isn't a virgin and is said to be experienced, but we don't know who the lucky girl was ; We know his first love was an older woman, that's probably why he had some form of relationship with Cecile, even if she'll be more of a big sister than a lady mama for him eventually. (Commentary DVD of Turn 19)

Zero was meant to kiss Kallen at the end of the first season to give her courage and determination after being shaken up; she was meant to remember the scene during a fight, but the kiss was removed because Season 2 was coming and a lot of arrangments had to be made around Stage 20 (Megami Magazine /Fake Okouchi)

Kallen doesnt know how to cook, if she tries to make bread, it will turn into ashes; (Kallen's character information given to her seiyuu, Ami Koshimizu)

Jeremiah was meant to die at the beginning of season 1 but he had so much popularity within the staff (and in 2ch) that they chose to bring him back to life. Twice. (Taniguchi interview)

Zero was one of the first character to be created, Okouchi wanted a masked man because a Sunrise anime without a masked man didn't seemed right (Taniguchi x Okhawa Interview)

In case the sequel wasn’t greenlighted (they already received the OK for it back in December 2007 at least), they had an alternative route prepared for the story to take, one which would have ended the story in episode 23. It would have been a non-conclusive ending though; according to Taniguchi it was more of a “psychological” ending for Lelouch like the Evangelion Ending (Taniguchi Interview)

Kawaguchi said Lelouch had Euphemia phone number on his phone because they certainly exchanged their numbers when they met on the deserted Island. (Ura de net Geass)

Mao’s repetitive clapping didn’t exist in the scripting stages; Taniguchi was the one who later added it to make him “more annoying”. (Ura de Net Geass)

Originally, Toudou was supposed to join Lelouch’s side much earlier. They talked about the Diethard and Toudou shot in the ED. All were baffled by it; Conclusion: “Only Taniguchi knows.” (Ura de Net Geass)

Stage 19 was written by Yoshino ; supposedly he requested to do it, saying “Oh well, if (Okouchi) wants me to write a script, I might as well do the island arc.” (he’s more or less the fanservice supervisor for this show) According to him (and the Newtype Taniguchi + Fu-kuyama interview), this was how Lelouch’s trap was supposed to work: Lelouch successfully digs a proper hole –> However, a boar appears behind him –> Lelouch tries to Geass it: “Lelouch Vi Britannia orders you to SIT!” –> Geass doesn’t work on animals –> Lulu Quality Tragedy ; However, Taniguchi changed it all, telling Yoshino: “Well, in the first place, Lelouch isn’t capable of digging such a hole…” (Ura de net Geass)

The reason why the writers made Kallen stand on Gawain’s shoulder instead of getting into the two-seater cockpit with Lelouch in Stage 19: “There’s no way Kallen will hand over the 2nd-pilot position to anyone else once she’s in there.” Good point. (Ura de Net Geass)

According to Tanaka, right after the airing of Stage 22, three of his friends rang him up asking “What the hell was that? I need to know what happens next!” etc...; According to Kawaguchi, “some of the viewers may have been satisfied with the handshake in episode 22, but actually, a lot more people would have been upset…” (Ura de net Geass)

After episode 23, the production team received letters from fans saying “Okouchi is so evil”, “Dark Okouchi” etc, and he didn't liked that (Ura de Net Geass)

Discarded Season 1 plotlines :

Kallen's father was first hinted as being someone important by Okouchi, when he claimed his occupation couldn't be revealed back in March 2007 (Okouchi 28 questions interview from Animage)

Suzaku was meant to have an unrequited love, and it was hinted as being an important subplot back in the day ; The hints strongly pointed at Nunnally. (Fake Okouchi)

Suzaku was meant to be linked to Geass, that's why he reacted to C.C. and to the ruins in Kamine Island, in relation to his superhuman abilities; He didn't had a Geass though (perfect Stage Mook Interview)

Cecile's seiyuu said her character had a "painful sibling relationship" in the past, and she was allowed to reveal that because it wasn't going to appear anymore within the show. Cecile's relationship to Suzaku was basically discarded) A scene with Suzaku was also seemingly cut out from Stage 20 (Magazine preview back in S1.) * What happened to Naoto (Kallen's brother) ; The writers considered bringing him back but then couldn't find a place and decided to let him stay dead (Audio commentary Stage 4 + perfect Stage mook interview)

That's about it for the various miscellanous information I could find for the first season; Now that I have gotten several of those magazines, expect more full blown articles from those whenever I'll have more time.

Hope you enjoyed.

[mollysunder]

I didn't know anything about League when I watched Arcane (and you don't need to), but after the season finale I definitely dug in to learn some of the older theories that surrounded the characters before Arcane premiered.

There was one especially cool theory that Viktor, Vi, and Jinx all shared a past together, either as a part of Vi's old gang (old lore) or as people a part of Singed's experiments. The theory came about because specific stylized letters in each of their names were Roman numerals that followed in ascending order. The V in Viktor for 5, the VI in Vi was 6, and the X in Jinx made 10.

It's pretty impressive how close people were years back, but now the numbers theory might still be in play, at least in the marketing.

Vi gets 6, because VI is 6. Jinx gets 10, because X is 10. Viktor is 5, because V is 5. The marketing is absolutely adamant at pretending Viktor, Mel, and Jayce's status is a mystery, but they're still willing to hint at his status in teasers like these. If it's true then Blood, Sweat, Tears by Shirley Lee Ralph is a Viktor song!

Sidenote: Mel's probably line #7, and Jayce is either line #1 or #8. Who else would be described with Makeup, the Council, and a big kind of painting, something Mel does. C'mon people.

[dragonfly0808]

Can you do a Winx headcanon post about how Winx characters little siblings feel about their older siblings partner[I don't know if I phrased that right]

Example :Riven's little sister, Sherly's feelings towards Riven's relationship with Musa.

ooooohhhhhh

Kay here goes (I’ll also do Zila and Thyler though they’re older siblings)

Chimera hasn’t gotten a lot of chances to interact with Brandon one on one, but she thinks he’s cool and is low-key jealous of how much he protects and respects Stella and how he always is right at her side and hyping her up. She wants someone like that. She’s probably the only sibling to straight up be like, I want a relationship like that, when looking at her big sister

Brandon’s sisters all adore Stella and very much already see her as a sister, Brandon jokes they’d totally chose Stella over him anytime, they are very close. Brandon’s sisters all think the world of Stella and have learned a lot from her in terms of how to dress and hairstyles

Helia won over Mielle by making her magic origami and volunteering as a human step stool, Mielle loves being carried around. Mielle is still quite little so as soon as she saw how happy Helia made Flora and how he was a potential human jungle gym, she was like, yeah that’s enough for me

Shirley was hesitant of Musa at first, mostly due to past experiences and not being very used to trusting people to begin with (not to mention Riven’s past… lack of judgement) but she was slowly won over before they ever got together just by watching them together and realizing that Musa in some ways was just as guarded as Riven and that the two are really two birds of a feather and that they did each other good

Naten ADORED Timmy from the moment they met and has made it very much known that he will not accept anyone else as a brother-in-law (he totally requested relationship updates anytime he talked to Tecna in s1 and 2). Timmy takes Naten seriously when he gets curious about how Specialist weapons works and lets himself get bullied into joining in on lightning farming and from that moment Naten was like; Tecna you are marrying him

Zila thinks Timmy is the cutest and finds his crush on Tecna just very endearing, she totally has a soft spot for him and sees him as a little brother, she’s rooting for them just in a more subtle way than Naten, she always makes sure to compliment him cause she knows he doesn’t always get the praise he deserves

Thyler doesn’t really have a relationship with Tecna at all. He absolutely did not get at all what Timmy saw in her at first and just thought she was weird and that she didn’t reciprocate Timmy’s feelings. He probably tried to dissuade Timmy from his feelings in s1 and the start of s2 cause he didn’t want his brother to end up heartbroken. But, after watching them and having Tecna join them for a few family dinners, he sees that the crush is actually reciprocated and eventually his mindset changes into a; yeah she’s weird, but my bro is weird too, if being weird together will make them happy then go for it. Their relationship is more like- causal and teasing than anything, but he approves and even encourages it now, especially after seeing just how much Timmy loves her in s3, he was turned into a full supporter, even if he doesn’t always get their relationship

^picture the Bridgertons watching Francesca and John in s3, that’s Timmy’s family watching those two. Their neurotypical asses don’t get it but they’re supportive (at least post-Omega debacle)

[theincorrigiblemagpie]

Anne of the Island - Chapter 21

Ugh this is probably the sweetest chapter in this book. It makes me teary and ache-y in the best way.

The absence of Anne's parents is so prominent through the series, especially when she's young. She found a family with Marilla and Matthew but they were never her parents. I'm not sure how adoption worked in those days but in her case, at least, given the mix-up, the Cuthberts were never trying to adopt a child for the sake of having a child.

The older women in Anne's life have mothered her in a mosaic-y way. Marilla saw to her overall upbringing, fed and clothed her, and was even affectionate in her brusque way. To an extent, so was Mrs Lynde. Miss Stacey encouraged her imagination and scholarly pursuits. Mrs Allan and Miss Lavendar offered a higher sort of spiritual and life guidance that Marilla perhaps could not. Even Miss Cornelia and Susan have looked after Anne in different ways after she gets married. But of course, it's not remotely the same, and that's what makes Bertha Shirley's character so significant. Anne's character is heavily shaped by this early loss.

The woman who lives in Anne's parents' old house enumerates some of the ways in which Anne is like her parents. But I wonder about the ways in which she's different too. And what they'd have made of her.

[rayless-reblogs]

2024 Book Recommendations

I have an embarrassment of riches this year -- I had the chance to read a lot, and I kept finding so many good books. So many that instead of my normal ten recs, you're getting fifteen.

As always, these recommendations are not complete endorsements. Especially with the older books, there are definitely elements present that are questionable and even offensive.

Dragons – Pamela Wharton Blanpied (fantasy written as nonfiction, the first section recounts what happens when dragons invade Earth, the second section is a treatise on the habits and biology of dragons, and the third is a fascinating series of field notes from those who dare to befriend the monsters)

The Chatham School Affair – Thomas H Cook (mystery, a rural school, a beautiful lonely teacher, a lake, luscious language, loaded with atmosphere, you keep making and remaking your theories as you guess what happened)

Plain Bad Heroines – Emily M Danforth (mystery, braided narrative between the early twentieth century and present day, copious narrator commentary, cheeky footnotes, extremely funny but also extremely dark, gothic tropes, mostly female cast)

Cloud Cuckoo Land – Anthony Doerr (sci-fi, braided narrative spanning centuries, the story of one ancient text's journey through history, ancient Greece, medieval Constantinople, the present day in a small-town library, space travel and ai, it all comes together across the endless reach of time and you feel a lot)

Fanny Herself – Edna Ferber (pre-WW1 coming of age women's story, old-fashioned Anne of Green Gables thoughtfulness and sweetness in some places, rousingly modern in other places, strong focus on the heroine's Jewish identity, extremely funny narrative voice, the love of nature versus the industrial verve of Chicago, will our heroine keep her soul?)

The Vows of the Peacock – Alice Walworth Graham (Middle Ages, poetic fantastical language, Isabella the She-Wolf of France, messy politics, a darkly sexy historical villain, a complex but at times quite moving arranged marriage, an absorbing female protagonist)

A Thousand Ships – Natalie Haynes (Homer's women retell Homer's stories, angrily, tragically, bitchily, including many women you might not have thought of [and it isn't just the women Homer mentioned – we get into the weeds], the story is cut into bite-sized pieces that still offer filling food for thought)

The Masqueraders – Georgette Heyer (Georgian-era glitz and witty repartee, the heroine lives as a man, her brother lives as a woman, their father is full of wild schemes that might very well get them all executed for treason, the romance is a slow burn, and we get highwaymen)

Venetia – Georgette Heyer (a Regency-era GH romance, if you know GH then you know she's the author every other Regency romance writer is trying to be, it's funny, it's daring, it's tender, GH's romances are solid, but this one especially stands out for its strong-willed and capable heroine)

The Haunting of Hill House – Shirley Jackson (the house is a character, and not a nice one, psychological instability, unreliable narrator, creeping inchoate horror, whose hand am I holding, let's dwell on the unhappiness of being a smart woman in the 1950s)

Thornhedge – T Kingfisher (Sleeping Beauty but WHAT IF, I love the heroine, her name is Toadling, it's funny, it's romantic, it's thoughtful, it's even folkloric, there's a lot about ugly lady lake trolls, the prose reads beautifully, and it's compact, it doesn't waste your time and is short enough to knock out in a day or two)

The Silver Metal Lover – Tanith Lee (sci-fi, awkward dystopian-glam girl falls in love with a robot, whom she does not own, the sci-fi is as soft as pudding but it's more about the vibes anyway, inimitably stylish Tanith Lee weirdness, the robot is an absolute doll along with being a robot)

Pony Confidential – Christina Lynch (a pony is on a revenge mission against his former Horse Girl, but what if it was both funny and serious, but what if there was also a murder mystery, but what if we dwelt on human-animal negligence a la Black Beauty, but what if we also brought in Homer's Odyssey, it gets emotional)

The Princess and the Grilled Cheese Sandwich – Deya Muniz (fantasy, graphic novel, nonbinary protagonist lives as a man and is appalled to suddenly fall in love with the local heroic princess, gorgeous gorgeous shoujo-ish art, also very funny, it will make you crave cheese)

The Alice Network – Kate Quinn (WW1 and WW2, braided narrative, women acting as spies in occupied France, little-known historical events unfold on the page, so much Baudelaire, an old heroine and a young heroine and both are smart and bitter and compelling, but there's still room for some sweet romance and sharp humor)

[w4gg]

Nobody probably cares but this is how I think the age order in STS goes (+ my head canons on the twins'/Timmy's mom's names)

Timmy

Because duh, he's the only lamb there.

Shaun

In that flashback cutscene at the beginning of the movie, Shaun looked the youngest (also the only one w/ defining features... for whatever reason) and even though he often acts a bit smarter than the other sheep at times, I can't imagine him being older than any of them.

Nuts

NO he's not this low (technically high) because he's a bit absent minded or anything, he's mainly here because of that beginning scene of 'Fruit & Nuts' it just felt like that feeling where even the slightest thing your younger sibling says or does gets you annoyed (coming from an older sibling) Honestly I was kinda considering switching him with Shirley but this makes more sense

Shirley

The middle child (technically). To be completely honest she's here because it just feels right. At first I thought I should make her like second oldest because of that scene with Pidsley (Locked Out) but she's just constantly being used as a hammer space drawer and trampoline IDK it just gives me middle child vibes (don't ask for a better explanation, I cant give you one </3)

Leon & Billy (a.k.a. the twins)

(F.Y.I. I think Leon is the one with the longer head and the other is Billy) Okay, they're definitely not a good enough influence to be this high up but they kind a remind me of (for lack of better comparison atm) Rodrick Heffley; trouble making older brothers who get into trouble with younger siblings and turn them into trouble making trouble makers. Also if we're getting into specifics I say Leon came out the batch first (the left one, just.. you know incase you didn't read the first bit)

Hazel

Before the movie I don't think they really added the characters personalities consistently (especially because of the duplicate bg sheep) so there's not enough for me to go off of, but besides her often being the scared one she's had some moments where she seems a bit mature-er than the ones previously mentioned. At first I was thinking maybe I should put her lower cuz yk she's considered the 'timid' one, but then I thought back to Fluttershy and how shes the oldest out of the main 6 (I think? I haven't rlly watched mlp don't quote me) so now I'm using that to justify my reasoning

(it took me so long to find a good photo bc my laptop was lagging so js ignore the quality ¬¬)

Meryl (a.k.a. Timmy's Mom)

I mean she has a kid she's most likely the oldest. They all definitely respect her (more than Shaun) and treat her like the oldest (e.g. they didn't hesitate to listen to her in TFBC) soo.. self explanatory

;TLDR

Timmy because he's a lamb

Shaun because he looks younger

Nuts because he was annoying in one episode

Shirley because middle child syndrome

Billy & Leon (a.k.a. the twins) because they remind me of immature older siblings

Hazel because she reminds me of mature older siblings

Meryl (a.k.a. Timmy's mom) because she had a kid and the flock listen to her

[silverskye13]

talks to u

You will regret talking to me I'm very very sorry

So recently my sister has been reading out loud to me [it is very fun I wish I had someone to read out loud to] and the book she picked was Haunting on the Hill. This book was an absolute minefield of a read because it was advertised as a spiritual sequel to Haunting of Hill House and HOHH is probably one of the books I've been the most emotionally invested in ever. Mostly because I see people take the book and Try To Do It Better constantly, and they do it wrong over and over and over again. I don't know how this became My Hill To Die On, but no one can do a remix of the genre right, especially those that pretend like they're trying to.

Hell House, for example, a book that I hate with my entire being, was a very intentional stab at HOHH. It took the trope of four people -- one a slightly older gentleman who is doing research on the property -- two women -- who is a lonely homebody, and one who is a (implied) bisexual psychic -- and one younger man about their age who has some Obvious Substance Abuse Problems, and sets them in a haunted house to try and figure out why its haunted. The author then spends the rest of the book punishing those characters for obvious perceived societal slights. The old man's sin is being old, and dies because he isn't virile and strong enough to withstand the house [unlike the young male protagonist]. The psychic is punished for believing she is psychic, being a confident woman who lives alone, and being implied bisexual [this is evident in the nature of her death, which I won't share here. It's fucking bad]. Then after these characters die, the white male savior comes back, something to do with the old owner of the house haunting it with his willpower, in a closet with a glass of water? It made no sense. But the metaphor the book was obviously leaning towards was, the Good Guy can win and get the girl if he has strength of mind, is vaguely psychic [but better than the psychic lady obviously] and fucking stands around long enough while his friends are killed.

House on the Hill, which should have been marketed as a reference to Hill House and not as a spiritual successor, is a passable haunted house book that attempts to remix the story by making all of the main characters theater kids. There is an older lady who has been ousted from her community for being too old, the young woman main protagonist who is the Ellie parallel, the Theadora parallel is her girlfriend, a bisexual actress who is maybe a little too full of herself, and their single male character has a substance abuse problem involving cocaine instead of alcohol, like Luke from the original book. The author even seems to have grasped some of the original intention of HoHH as a conversation about isolation and loneliness. However about halfway through the book, it takes a turn and seems to punish Theadora for being the character she was written as, in the same way Hell House punished its Theadora allegory character. The rest of the book proceeds with a lot of standard haunted house tropes -- not a bug exactly, but they don't reinforce any extended metaphor. They're mostly there to be spooky. Which would be fine for a standard haunted house book, but not for a haunted house book that claims its the sequel to HoHH.

You see, Haunting of Hill House, and by extension, Shirley Jackson, the author, have a very subtle but also deeply impactful metaphor about loneliness going on in the background, and everything from the haunted house to the fallout of the characters reemphasizes this theme.

Ellie, Eleanor, is an exhausted housewife-style woman in the 1960s, whose never gone anywhere or done anything with her life, because instead of marrying and moving across the country somewhere, she stayed home to take care of her ailing mother. Now that her mother is dead, she lives with her sister and brother-in-law, and believes herself to be a general tax on the family. She fills stuck, alone, unloved and unwanted. The story is in her point of view, and you quickly realize her way of coping with her trapped feelings involves fantasticizing the world around her. She dreams of who she would be if she just lived over there in that little cottage, how differently her life would turn out if she had a cute little life in that one room house. Etc. When she accepts the summons to Hill House, she steals her brother in law's car and drives there on her own, her first trip alone anywhere in her entire life.

Theadora is a psychic who, if I'm remembering right, lives alone and owns a flower shop. She lives a much more interesting lifestyle than most women in the 60s, in a big city with many different friends and lovers coming and going, completely independent. There is an implication that she has trouble keeping interpersonal relationships -- she's a little too flighty -- and really a woman who can't settle down with a man is a red flag.

Doctor Montague seems fine on the surface, if a little jaded. He's a professor at university who is being slowly pushed out of his scientific field because he believes in the supernatural, and wants to prove it using empirical evidence. You find out his wife is very supportive in this venture -- too supportive. He thinks all of her contributions are nonsense, and so is she. His loneliness is self inflicted. He has a fan club right there with his wife, if he gave two shits about her opinions.

Last is Luke, an alcoholic, and the person in line to inherit Hill House. His loneliness is that he, doesn't want the fuckin' house. But because of his alcoholism and gambling problems, the family has decided he, as the cursed child, gets to take care of the cursed mansion no one else wants to touch. So Luke, ostracized from the family and a little shitty about it, decides he might as well rent out the place for some extra cash to fuel his various addictions. The family is going to be cutting him off soon anyway...

These four characters, over the course of Hill House, become haunted by the house, not because of tragic deaths there, or because the house is alive in any literal sense of the word. But because the House has the quality of an overbearing mother, smothering its children with its expectations. Any piece of furniture moved in the place is replaced as soon as they leave the room. Any door opened to allow air or light inside is shut the minute they walk into the next. The house rights itself back to a self-inflicted perfection that is unlivable, and it wants to isolate you too, to be like it. Hill House tells you exactly what it is and what it wants to do in the first paragraph: And all who walk there, walk alone.

Shirley Jackson wrote this very intentionally. As a woman in the 60s trying to have a successful writing career, none of her books were taken seriously. She was pigeonholed into mother and housewife first. Articles that wrote about her works at the time held the patronizing tone of someone congratulating a child who found a new hobby -- not a serious writer wanting to make poignant stories. Her books are lovely now, the few that were published. But Shirley Jackson lived a life that was full of anxiety and agoraphobia, in a world where she felt belittled and token. Her books are written the way they are for a reason. There is great loneliness in being shoved in a box.

I really love that exploration. I love how the people in the book descend into the box of Hill House, the expectations they place on each other, and the way all the women feel tonally dissonant in their token roles. And that's why I hate so many modern adaptations, or inspired-bys, or spiritual sequels. Hill House is a metaphor before it's a ghost story -- and that is why it succeeds as a ghost story! It is scary because you get invested in the characters' wellbeings, their doomed qualities, their individual, very subtle, madnesses. Watching new writers read the book and punish those characters over and over again for not acting right [especially Theadora, Jesus Christ.]

In fact, since I'm already ranting, I'm going to give you a quick rant in defense of Theadora.

Theadora breaks into the book as a very bright star in Ellie's world. She is, literally, everything Ellie wishes she could be. She lives an interesting life, alone, without being too cripplingly lonely. Theadora, used to a little bit of flirting and over friendliness, falls in with Ellie and Luke immediately. She is charming, and bright and beautiful, and Ellie, who's character flaw is romanticizing everything, falls head over heels for her. They get scared together. They comfort each other when the ghosts start acting up. They get haunted together. And Ellie decides, in the way of someone romanticizing something, when all this is over, she would like to live with Theo. But when she tells Theo this, Theo laughs it off. "This is just a holiday, Ellie dear. We will have to get back to our lives eventually." It's unfair to say this is a game for Theadora. I feel like her feelings in the book, all her charm and her flirting, are genuine. But they're genuine in the way of someone going on vacation and flirting around with the people they meet -- she has a normal life she enjoys that she plans on getting back to. Ellie, who is incredibly alone, and who feels like she has only just tasted happiness now that she's come to Hill House, doesn't want to go back home after this. This is the happiest she's ever been.

Ellie informs Theo she is going to follow Theo home, and Theo turns very, very mean. She starts hitting much harder on Luke [something that makes Luke uncomfortable, but something he never really stops, because Luke also likes the attention he's getting] and belittling Ellie and her wild fantasies. She pushes Ellie away. It isn't kind, but what else can she do? She told Ellie she doesn't want to be followed home and Ellie, trapped in her daydreams, doesn't listen.

The rest of the book unfolds. Hill House isolates Ellie, and makes her feel like she can have no happiness outside its smothering walls. She gets taken by it.

In every book that takes on the mantle of trying to tackle the themes that made Hill House great, I would like to ask you all this: Why do they always punish Theo?

Hell House straight up kills its Theo allegory in a very brutal, overt way, implying she deserves that brutality for her promiscuity. The House on the Hill kills its Theo for being too full of herself, for believing she was entitled to greatness.

Why?

You can make a case for the queer aspects of her probably. Or for misogyny. Or for infidelity. Or for the fact that she appears to choose Luke over her relationship with Ellie. But I notice none of these books punish their Ellie allegory for also falling for Theo. For also aspiring to be something other than a stuffy housewife somewhere. For also falling for Luke, and wanting him to be a part of her happiness fantasy.

In honesty, I really think these authors read Theo and think she's the antagonist. So they write their stories to punish the angry woman who was mean to poor, lonely Ellie. But, here's the kicker, Theadora isn't the antagonist. The house is. Loneliness is. The house leads Ellie to a perfect world, and Ellie, who is the way that she is, cannot fathom a world where that perfection is broken, so she ignores it. So she scares people with her over-attachment. So they try to send her away, because whatever is going on with her, it's not safe and it needs to stop. So she decides she would rather die than leave.

Theadora is only "the bad guy" because she's the one that reminds everyone that the fantasy of this perfect house must break eventually. The Doctor will have to go back to his university that doesn't take him seriously and his wife who takes him too seriously. Theadora will have to go back to her shop with her rotating friends who aren't as close as she'd like, but whom she can't force to stay. Luke will have to go back to his place as the unwanted, failing heir and Eleanor --

Well. Eleanor doesn't leave Hill House.

Everyone gets so mad at Theodora because of Ellie's investment in her. Because Ellie is lonely, and sad, and relatable. The first time I read Hill House, some of Ellie's lines made me want to cry they hit so close to home. All her assertions that when she spoke to people she said too much and was too stupid, she would be better tomorrow. All her quiet chastisements that she needs to be more interesting. All her attachments and how scared she is of being spurned. All her wonder when she looks around at the world and tries to imagine a better life. But it's not Theodora's fault that Ellie doesn't get that. It's Ellie's fault for becoming too attached to something that isn't there, and it sucks, and if this were a story with a happy ending, she would realize that and grow past that, but she doesn't. That's not how the story is written.

On one of the nights when the haunting happens, Ellie and Theo are sharing a room. They are laying in bed and holding hands while the house comes alive around them. Knocking on the walls. Slamming doors. Claws, and whispering, and scraping and screaming. Ellie and Theo hold each other's hands tightly. She hears the torturous sounds of a baby in the other room, a child in pain, screaming for its mother, and she's terrified and she's holding tight to Theadora's hand.

And finds, when the haunting stops, that Theo was out of reach the whole time.

Ellie asks, who's hand was I holding?

[The Haunting of Hill House is a metaphor.]

One of these days I'm going to sit down and write the Haunting of Hill House remake in my head, that I am just egotistical enough to believe I could do well. I would find a more modern metaphor first. Something to do with the loneliness of an infinitely interconnected world. Something to do with how boxed in we all feel, how trapped, and how so many people blame it on computers, even though they should be able to connect us more.

I would build a Hill House where the four characters meet on a forum, the first time they've found someone with similar interests. They would meet in person for this haunting expedition. They too would take in the oddness of a house that rights itself on its own, pretends they were never there. They two would fall in love with each other, and bond, and find community in a group of people who are constantly isolated and are glad to finally find someone they relate to.

They too would have to dear with the objective, lonely horror of realizing this doesn't magically fix their problems. That they were alone in the rest of their lives not just because the world isolated them, but because they're bad at forming connections. They would get catty, and disagree, and worry about the lives they need to go back to, and complain about spouses and partners. And one of them, as is Hill House's tithe, wouldn't be able to cope.

One of them, as is Hill House's tithe, wouldn't be able to leave.

Anyway, not sure where exactly this rant was going. Uh. Nice Sunday we're having anon. Got any niche special interests you've been meaning to unload recently?

[oldfashionedbooklove]

tell me about your favorite lm montgomery novel please <3

Okay this is SO hard because her books are amazing but I just have to admit Rilla of Ingleside is my favourite, which is saying a lot because I LOVE HER BOOKS, okay! I adore the Story Girl duology and I absolutely love the Anne series and Jane of Lantern Hill.

But Rilla. This book is a heartbreaker. And it’s so beautiful.

I don’t know if I can fully express how much is to be found in this book. I have been reading it yearly for many years, and always come away with new thoughts. As I grow older, and see more of the world, I relate and understand more, and another level of the book is discovered.

The setting—a small P.E.I. town carrying on through WWI. I’m pretty tough when it comes to war books, but I have to take breaks from this one because it is so raw and real. The agony is intense. I cannot even cry over it—my heart hurts too much for tears. This shows exactly what the Great War was for people. You sway back and forth, feeling the dread and terror. You know how it ends but you are broken anyhow. And when the end comes, you too can only rejoice softly. You feel as if you have paid part of the price yourself.

“‘We’re in a new world,’ Jem says, ‘and we’ve got to make it a better one than the old. That isn’t done yet, though some folks seem to think it ought to be. The job isn’t finished—it isn’t really begun. The old world is destroyed and we must build up the new one. It will be the task of years. I’ve seen enough of war to realize that we’ve got to make a world where wars can’t happen. We’ve given Prussianism its mortal wound but it isn’t dead yet and it isn’t confined to Germany either. It isn’t enough to drive out the old spirit—we’ve got to bring in the new.’”

The characters in this book—they are alive. Splendid Jem, brave and merry and true; Jerry, steady and dutiful; Walter, sensitive and courageous; Carl, cheerful and fearless; Shirley, honest and reliable; Nan and Di and Anne, all heart-wrung and smiling; Gertrude, tragic and grasping for hope; the Doctor, determined and self-sacrificing; Susan, simple and true—and Rilla, who starts out a silly, frivolous girl and ends a strong, mature woman. Then there are all the minor and side characters—the Merediths, Cousin Sophia, Jimsy, Ken, Irene, Whiskers-on-the-Moon & his family, Mary and the Elliotts, Norman + Ellen, and everyone else. They’re all so alive, so real, so funny and terrible and beautiful—I swear Glen St. Mary exists and all the inhabitants thereof.

The story follows the Great War, from the first days in August 1914 to the bitter Summer of 1919, where peace has come but normal will never return. As a child, this story was simply World War One—a faraway, long-ago grief and horror and agony. Now, in 2024, as a woman, I have experienced a slight taste of what the people of 1914 felt, and it has humanized the story of the War. This, more than any other book I have read, brings the War and the world of 1914-1918 to life, showing how they were people just like us. The heart is wrung by their suffering, and there is no escape, for the war must drag on for long bitter years. And the price! Walter has become the face of unknown, forgotten heroes, and Jem has become that of the scarred heroes who returned. Every November we grieve the young men who never came home, and for the ones who came home missing a part of themselves, physical or otherwise. I have wept thinking of the children of Rilla, Ken, Faith, Jem, and the others—children who fought in WWII and whose parents were forced to relive the horrible conflict of mankind.

“It has been such a dreadful week,” she wrote, “and even though it is over and we know that it was all a mistake that does not seem to do away with the bruises left by it. And yet it has in some ways been a very wonderful week and I have had some glimpses of things I never realized before—of how fine and brave people can be even in the midst of horrible suffering.”

And yet the book overflows with humour—real laugh-out-loud scenes and witty, clever banter on princes and politics. It is another aspect of the humanity—the part that cannot fully let go of laughing despite the drain. Another angle is the shrewd commentary on principalities and powers, nations and cultures, is thought-provoking, as is the remarks that show us how the war truly changed the world.

“There was a time,” she said sorrowfully, “when I did not care what happened outside of P.E. Island, and now a king cannot have a toothache in Russia or China but it worries me. It may be broadening to the mind, as the doctor said, but it is very painful to the feelings.”

But the biggest things to me is the SPIRIT of this book. The spirit of perseverance, endurance, courage, and love. Of course, man is man, and there is suspicion, contempt, and a feeling of superiority—but this is not exclusive only to Anglo-Saxons. As someone who isn’t Anglo-Saxon myself, and actually of mixed cultures, I can attest every nation is guilty of such. World War One was a battle of good vs. evil—not of man vs. man, but Idea against Idea—the idea of civilization against militarism. Perhaps not on the part of the leaders—but when one studies the writings, letters, poems, and speeches of the everyday folks caught up in the war, one sees this distinction plainly. It was not a war of European against European, Anglo-Saxon against German—it was a war between an old, terrible Idea of Prussianism (Frederick the Great, anyone?) and the Idea of Respect and Peace.

“And you will tell your children of the Idea we fought and died for—teach them it must be lived for as well as died for, else the price paid for it will have been given for nought.”

May we never forget.

A REMARK: I discovered that Rilla of Ingleside was abridged by about 4,300 words (~14 pages), so I searched for an unabridged copy. I definitely encourage you to take the extra trouble to find an *unabridged* copy. It is SO worth it! I’ve read both versions and the unabridged is so much fuller, with a great deal more humour and fun.

I just have to pick out my favourite quotes, too…

“We all come back to God in these days of soul-sifting,” said Gertrude to John Meredith. “There have been many days in the past when I didn't believe in God—not as God—only as the impersonal Great First Cause of the scientists. I believe in Him now—I have to—there's nothing else to fall back on but God—humbly, starkly, unconditionally.”

“‘Our help in ages past’—‘the same yesterday, to-day and for ever,’ said the minister gently. ‘When we forget God—He remembers us.’”

Below her [window] was a big apple-tree, a great swelling cone of rosy blossom.... Beyond Rainbow Valley there was a cloudy shore of morning with little ripples of sunrise breaking over it. The far, cold beauty of a lingering star shone above it. Why, in this world of springtime loveliness, must hearts break?

And I can’t leave without some humour:

“‘The Germans have recaptured Premysl,’ said Susan despairingly… ‘and now I suppose we will have to begin calling it by that uncivilized name again. Cousin Sophia was in when the mail came and when she heard the news she hove a sigh up from the depths of her stomach, Mrs. Dr. dear, and said, ‘Ah yes, and they will get Petrograd next I have no doubt.’ I said to her, ‘My knowledge of geography is not so profound as I wish it was but I have an idea that it is quite a walk from Premysl to Petrograd.’ Cousin Sophia sighed again and said, ‘The Grand Duke Nicholas is not the man I took him to be.’ ‘Do not let him know that,’ said I. ‘It might hurt his feelings and he has likely enough to worry him as it is.’ But you cannot cheer Cousin Sophia up, no matter how sarcastic you are, Mrs. Dr. dear. She sighed for the third time and groaned out, ‘But the Russians are retreating fast,’ and I said, ‘Well, what of it? They have plenty of room for retreating, have they not?’ But all the same, Mrs. Dr. dear, though I would never admit it to Cousin Sophia, I do not like the situation on the eastern front. [But] Grand Duke Nicholas, though he may have been a disappointment to us in some respects, knows how to run away decently and in order, and that is a very useful knowledge when Germans are chasing you. Norman Douglas declares he is just luring them on and killing ten of them to one he loses. But I am of the opinion he cannot help himself and is just doing the best he can under the circumstances, the same as the rest of us.’”

[its-in-the-woods]

Coyote Head - Part 11 - Screams in the woods

master list

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8, Part9, Part 10,

Pairing: Cooper Howard x Lucy Maclean 

Includes many other characters from Fallout

Synopsis: Lucy reaches for him, “Don’t let go!”

MINOR GET OUT. Rating/Warning:  Animal/people death, dead animal mutilation, general horror, religious themes, Alternative Universe, Slow Burn, Death, Aging, Family Feuding, Older Man/Younger Woman,

Note: that I will not be spoiling any of the reading. So you have been warned. I will keep my tags relevant without spoiling what is happening in the story.

**Strap in and get ready for a ride kiddos**

Harris and Margie are looking between Cooper and Lucy, the Bible between them. Lucy had brought it over to show them and ask questions about the names on the front page, but she was now being stonewalled. The whole thing felt ridiculous, Lucy was still doubting the validity of any of what was happening.

“I don’t know about these names,” Harris said, looking over the names, his glasses making his eyes look huge. The large man had been on edge since they arrived, his shoulder scrunched body tight.

Lucy blows some air out through her nose, “You said you were lookin’ for the bible, the night me and Cooper got attacked.”

Margie glares at Harris, “Harris, for Saint Peter’s sake, just tell the girl what you know. Or I will piece together what I can, and give her what I know.”

Harris sighs, Cooper looking at Lucy trying to figure out what the heck was going on. Lucy shrugs at him, fiddling with her cup, her fingers itching for a cigarette. It had been a bad idea to start that up while all this stress was happening.

“Margie, you know I was never close with my Dad. Anything he knew about the bible was passed to Tim. Not to me.” Harris was still trying to skirt the subject, fingers twisting around each other as he looked at everyone. 

“Oh, horseshit!” Margie hollered, the little woman’s face going red, as she glared at him. Lucy was taken aback by the sudden outburst. “Fine. Fine.”

Margie stood up grabbing a black jar and pouring a tall glass. “None of you get any, 'cause I sure ain’t in the mood.” 

Harris, Lucy, and Cooper both cringing back as if being scolded with a belt. Lucy’s heart pounding as she tries to keep herself composed, hoping against hope she gets some answers. 

“Now, the MacLean’s have always had secrets. Their crops always good, and cows are always plump. Back in the day before vaccines, they barely ever lost a child. Heck, I barely ever saw any of them get sick.” Margie took a sip of her black drink. “Now we all had theories, all wondered what they were doing. They never cut back more forest than they needed, and always leased at low rates. Yet they wanted for nothing.”

Margie takes a moment to look at everyone, at the table, before she continues. 

“Then Albert died, and Tim took over. What Harris won’t tell y’all is that the whole family had been practicing devil magic.” Margie states no venom behind her words. “Bring offerings to this forest spirit, god, whatever. Not for me to judge.” 

Cooper fiddles with the edge of his cup, his shoulders moving forward, as he makes himself smaller. Lucy felt her stomach twist, she had never been religious, but calling it devil magic seemed too harsh. Even with the Anton Lavey quote in her Grandpa’s handwriting. 

“Whatever Tim did, it worked. But your Grandma was raised in the church. I loved Shirley and she put up with a lot of stuff. When Tim wanted to bring Hank into the fold.” Margie looked over at Harris.  “She said no. Said all of it had to stop, wasn’t going to be a part of it passing down.”

Harris shifts, taking his glasses off and putting them on the table. “As soon as Tim stopped, things started to go south. It wasn’t instant. It was little things, minor flooding in a field that had never flooded before. Seeds not taking as well as they should. Losing more calves than normal.” 

Margie nods, letting out a sigh, she got up and brought some glasses over. Pouring small amounts for each, before sitting down, still glaring at her husband as he speaks about his family.

“We wrote it off as a bad year.” Harris sighs, fiddling with the cup but not taking a sip. “But it kept getting worse, and worse. Blanche kept telling Harris that he needed to start doing the offering again.” 

Lucy took a sip of the black drink, it was bitter, but also strangely sweet, most likely gooseberries. 

“Shirley kept saying no, and then Blanche died.” Harris swallows, “Found her lying right by her chickens.” He finally takes a drink, wincing at the sweetness. “All her chickens were gone, and the thing had taken her eyes.” 

Cooper looks pale as he stares down at his cup, Lucy finishing hers in a quick swig. She rubs her hand along his knee hoping to help ease him. The thought of her great grandma laid out dead by her prized chickens was horrid.

“So, Tim decided it was time to start up again.” Harris says, “Shirley was beside herself, thought her husband had lost it. “

“But it worked,” Lucy spoke, “Things got better, crops grew, cows birthed easily, no one got sick anymore.” 

Harris nods, finally sipping the drink, “I didn’t want to believe it either. How could bringing a loaf of bread, or bundle of herbs, make the ground seem so much richer.” 

“Why didn’t you tell Lucy?” Cooper interjects, fingers running over the rim of the glass in several circles. 

Harris leans back, taking another small sip of the liquid, Margie pouring everyone a little more of the makeshift brew. 

“Tim said it ended with him.” Harris finally spoke, “When he came to tell me he was dying.” The man looked out into his yard, eyes glassy as he spoke. “He was different, it was the first time I’d seen him look so content with life. Tim kept going on and on about how it was finally going to be over. That he would finally be free, the whole family won’t have to worry anymore.”

“We should have told you Lucy, should have been more forward about the whole situation. But Tim was adamant it was over,” Margie adds, Lucy feels a cold spread of anxiety spill from her ribs out into her stomach. 

“But then we found the coyote head, us being attacked in the trailer,” Lucy states, “But you still kept it from me.”

“I didn’t think you’d be ready for this, especially after what happened. We wanted to give it some time. So you could heal before we dropped the family past on you.” Harris replies, reaching to squeeze Lucy’s hand. She pulls away, a feeling of betrayal still sitting tight in her chest. 

“You’ve barely been here two months,” Margie states trying to calm the room. “We know now, and we can help make it right.”

Lucy shakes her head, “We don’t even know what we need to make right.” She slides her chair backward. “We are going to go help John this afternoon. After that, we should all sit down and go over the journals and bible together, maybe?” 

Harris’ brows furrowed, “Lucy, I don’t think it’s wise to go in there. I know you want to help-”

“It’s my land, my property, my problem,” Lucy states as she stands up, “I am not sitting on the sidelines anymore.”

***

Lucy, Cooper, John, and Bert stand at the edge of the forest, Lucy had done up a crude map of the trails she could mostly remember. She had photocopied them so each person had one, radios, and compasses were passed around. Each ATV was checked over making sure fuel tanks were full. Guns carefully strapped into place, along with extra clips. Lucy hoped they wouldn't need them. On top of that they strapped on crates with rope, knives, tools, and first aid kits, along with anything else they might need. 

“So we each take a trail, stick to the path, mark it as we go so we can find our way out. The yellow fence line is parkland, we won’t go past that. Barbwire is either John’s land to the west or Cooper’s to the east. If you make it that far there should be gates that you can use to circle back up to the road. See anything-” Lucy stops her speech for a moment collecting herself. “I mean anything, weird, strange, cow, whatever, you radio. There is no point in any of us getting hurt. Sunsets around nine, but we should try to get out by no later than eight.”

The men nod, at her words, Lucy surprising herself by how calm and level-headed she felt. Not to mention the men listening to her, and not arguing with what she had to say. It felt odd being the one in charge, but this was also her land. It didn’t feel like hers, it didn’t feel like anyones, but if there was anyone who needed to be held accountable for it it was Lucy. She was tired and scared, but she was not going back down, not now.

“The radios we have should cover the whole area without an issue, if you run into issues and can’t get a hold of us come back here,” Cooper adds, making sure everyone nods. “All the families have been told if they don’t hear from us by nine to send emergency crews in.”

“What’s the worst that could happen?” Bert chirps, looking out towards the gaping mouth of the forest. 

Lucy inwardly cringing, she and Cooper had decided not to fill in the others about the supernatural possibilities. Having people scared would help no one. Lucy wasn’t even sure she fully believed any of it. Was something really haunting the woods? Was her grandfather really feeding it? Had it taken her Dad? 

“It’s just precaution,” John adds, peering towards their destination and waking Lucy from her musing. “Never know, better safe than sorry.” 

“Well, let’s get going.” Bert smiles, jumping onto the four-wheel, he starts it up and takes off towards the trees. 

Lucy feels her heart clench in her chest, a low ringing buzz just above the sound of the engine. She takes off after Bert, heading down southeast, Cooper goes directly east, Bert goes southwest, and John goes west. The trees had fully flushed out, leaves defusing the light, and the trails were clear despite having not been used much. She rode at a good clip, fast enough to keep moving but slow enough to take in what was around her. 

The radio sits on her handlebars crackled occasionally, Lucy wanted to stop every time it made a sound, but made herself continue. Every shadow, discoloration, and movement had her head turning. The further she went, the darker the place seemed to get. The hair on her arm starts to stand up, even under the heavy sweater. She couldn’t help but look over her shoulder, feeling like something was following her. Something was watching her, just on the other side of a tree or bush. 

Lucy stops as the radio crackles, her heart pounding in her chest, waiting to hear anything. When nothing came Lucy went to start up again, when a twig snapped to her right. Head turning almost painfully fast to look that way, nothing. Another snapped behind her, hair prickling at the back of her neck. Turning slower this time, Lucy nearly screams, as a black shadow slinks away behind a tree. 

Her hand is on the radio now, tensed up in a panic, her shoulder gathered up against her ears. With no other movement, she goes to turn the machine back on when it crackles.

“This is John, did someone else go directly west?” John’s voice crackles across the forest. Lucy grabs her compass from her pocket seeing that she is still pointing mostly southwest. 

“Lucy here, I am heading southwest,” Lucy replies, Bert comes over the radio saying that he is also mostly south. It was a tense moment before Cooper replies that he had turned so that he was going northeast. 

“Alright, umm, guess we’ll call that weird then. I am gonna start heading up the northwest side towards the gate.” John radios, before it goes silent again. She couldn’t help but hear the hesitation in his voice, whatever was out there had spotted them.

Lucy takes one last look around her, eyes narrowing in on the grey flesh of a stripped tree stump. She gets off her ATV and walks towards it, her heart thudding against her ears. The image of a fresh coyote head on top of stripped wood flashed in her mind. As she walks up to it she can see bones lying around. If you weren’t looking for it, it would have just blended into the forest. She stops a yard or so from it. The tingling feeling of anxiety rushes down her neck like cold water. 

Turning around in a full circle Lucy could just see further another stump. She would bet money that it was also surrounded by bones. Walking quickly back to her ATV she pulls out the map and marks it approximately. How many were out here?  Was this like the stumps that were in the bible? The illustration had shown sigils or ruins, but now they were worn from years of wear.

She turns her ATV on and continues southeast, eyes peeled for any other out-of-place signs. As she drove she would stop and note down other stumps, if she went and stood at one looking west she could see all of them in what was becoming a half-moon shape. Four total, Lucy’s gut feeling was there would be thirteen, one for each month. Placed on purpose, spaced evenly, all surrounded by bone. Every single one made her skin crawl and made her wonder if she was losing her mind. 

The radio crackled again, Lucy stopping immediately and listening. More crackling, muffled noises, then nothing. Her heart lurched, stomach twisting as she waited for any word. 

“I think-” Interference, “A cow,” It was Bert, “Least what’s left off it.”

“Where are you?” Lucy asked, already turning the machine around so that she could head in the right direction. She’d start to head west and hope that she could find Bert.

“If you head to the main trail-” Static, Lucy fires up the ATV keeping the radio turned up. “Southwest-” Lucy strained to hear, “-go directly south.” His voice seemed softer and softer and Lucy roared towards him. “next fork - west“

“Roger, roger,” We are heading your way, Cooper's voice rang over the radio. She felt her heart clench knowing that he was not far away, it was both comforting and concerning. 

“Shouldn’t be far,” John added, Lucy's heart thundering in her chest, fingers aching from holding onto the handlebars so tightly. She kept looking over her shoulder, searching for something in the woods she couldn’t see. The bumps and jumps of the machine propelled her forward. The trees opened into the middle clearing, Lucy skillfully following down southwest. Behind her she could make out the roar of another engine, looking back she could just make out Cooper’s white hat. 

It was a comfort knowing that he was close behind her, hitting the fork she went south. Her radio crackling but nothing, she continued along the path ducking past brushes as they slapped towards her. Mouth dry as she tries to urge the thing forward. A burst of static echoed louder than the previous almost stopping Lucy. 

“HELP,” 

Lucy grabbed the walkie doing her best to continue to drive one-handed. “BERT.”

“It’s here,”

“What what is it,” John calls out over the radio. “I am not far, Bert. Hold on.”

“Oh god,” 

“Oh god.”

Lucy clipped the walkie back on, riding as fast as the old ATV would go, she could hear Cooper not far behind her. As she hit the fork to head west a scream rang out, Lucy felt her ears ring. Her eyes blurring as the world spun, she blinks several times trying to make her eyes work. 

“Bert, Bert,” Cooper called over and over, Lucy hearing his voice behind her and in front of her as they roared towards their destination. 

Lucy spotting John flying up coming to join the west trail, his hat had been lost somewhere along the way. Lucy slows down to let him go ahead, Cooper now only a dozen yards behind her. Bushes and trees slap her face as they road toward Bert should have been.

As they came up over a hill Lucy had a split second of red lights warning her as she skidded to a stop just beside John. The man was off his ATV, gun in hand as he made his way over to the empty four-wheeler. Lucy parked hers, grabbing her gun and extra clip in her pocket. Cooper is skidding to a stop a moment behind them, the three of them gathering at the empty ATV.  There are skid marks behind the machine, a few scuffs in the ground, and his gun was gone. 

“Bert,” Lucy calls out, his name echoing through the tree, her voice bouncing around like she was in a funhouse. “Bert! Come on, answer us!”

“No sign of the Bert, or the cow,” John says, looking around the place, all of them naturally staying close to each other. Lucy faces one way, and Cooper faces the opposite of her. A perfect triangle as they move. “No sign of anything really.”

Cooper moves over, Lucy watching him as he walks past the ATV. Her eyes spotted what he was looking at, another stump, stripped of bark. Some of the symbols were more pronounced on this one, almost looking fresh.

“Is that another stump?” Lucy asks, moving towards where Cooper is now crouching down. He’d take out a knife to uncover some bones that lay covered in dirt around it. Lucy reaching out to trace over the ruins, the ringing in her ears stopping as she followed them all over the stump.

Cooper looks up, his hazel eyes barely visible under the shadow of his hat, “I saw some when I was driving around. All had bones around them like this.”

“W-w-what are those?” John’s face was pale, his hand fiddling with the stock of his gun. He had walked over to stand near the other two. 

“I am not sure. I don’t remember seeing this many before.” Lucy replies, trying to keep her voice level and calm. Her mind played over all the different illustrations of symbols, people standing around a stump. The face of the coyote flashed behind her eyes. 

“But these are old. Like really old.” John points out, jumping when a twig breaks, his breath is ragged as he looks around. 

Lucy and Cooper both stand looking towards the noise, Cooper swiftly pocketing the knife to replace it with the rifle. They all stand for a moment, the silence swallowing them. 

“Bert! Bert!” Lucy calls out again, hoping that it was him walking back towards them. “Where are you? Call out so we can come get you.”

John was now backing up towards his ATV, Lucy could see that he was shaking as he looked out towards the forest. It felt darker, much darker than it should have been for mid-afternoon. It was as if all the light was slowly being sucked out from around them. 

“Somethin’s wrong,” Cooper murmured, making Lucy jump as his hand clasps her shoulder. He was starting to push her towards the four-wheelers, she could feel her heart start to hammer in her chest. 

“We should call Harris,” Lucy says the dread had now seeped into her bones. Cooper was right, Bert wasn’t replying and there was no sign of him.

“No signal this deep in.” John replied phone in a shaky hand, “Probably thirty minutes from anywhere that would have a signal.”

Another twig snap had them all whirling, again facing nothing but trees and bushes. 

Lucy

Ringing splitting Lucy’s head as her name came spilling from every direction. Double over she covers her ears, trying to get it to stop. Cooper is in the same position, forehead creased as he groans. John stares at both of them as he stands perfectly still, eyes wide, phone dropping to the ground as his mouth falls open.

Cooper

John swings around, clearly hearing what they are. Lucy slowly tries to right herself, her eyes blurry as she tries to focus. Cooper leaning heavily against the stump, the forest is spinning past them. She falls and hits the ground, her body screaming at her to keep moving but it feels like someone has put a lead blanket across her body. 

“John,” Lucy croaks, trying to get his attention. He looks like he is miles away, a small pin prick in the distance. “Go, get Harris.”

John is stooping down behind herm helping Cooper up. “No, I am staying with you.” He is beside her now, his hands under her arms as he hoists her against the machine. 

Lucy - Cooper - John

They all stood now, heads as clear as possible the sound of their names coming from all directions. The echoing impossibly around them as if it was coming from hundreds of different voices, tones, and places. The place is so dark they might as well be in a cave, not able to see more than a few yards ahead of them. The wind picking up moves trees above, sending shivers across all of them, the only noise beside their panting breath. 

“That-what- what the fuck,” John states, eyes wide as he looks around. Lucy barely kept herself standing, her legs wobbly as the voice kept screaming their names

“Lucy!” Bert’s voice carries, this time sounding less like static ringing and more human. 

Lucy moves towards it, her feet moving without thought, Cooper immediately grabbing her arm. “Lucy, we can’t. We don’t know what that is.” 

“It’s Bert,” Lucy protests, trying to move away from him, Cooper’s grip only tightening further. He was right, she knew that, she knew it didn't sound right. Yet she wanted to go to them, she needed to go to them. 

“Lucy, think about this. We need to stop and think.” Cooper demands, somehow breaking through the fog. “We gotta stick together. Can either leave and get help, or we all go look for Bert.”

A screech breaks through the air, right in front of them as John’s body falls forward, something grabbing his ankle and starting to drag him backward. Lucy is stunned for a moment before she jumps forward, gun abandoned as she chases after John. His face rubs against the dirt hands desperately trying to grab onto anything and everything he can. A shot rings out in the air, Lucy instinctively duckling down. Her knees hit the ground and she rolls for a second before she is back up. John continues to scream as he grabs for purchase onto a tree.

Lucy reaches for him, “Don’t let go!” Her hands find his, his eyes wide as he screams.

Part Twelve

~*~*~*~*~*~*~*~*~*

*I I know I know cliff hangers, but what's a horror read without a cliff hanger?

*want to be on the tag list? add your name below

@toogaytofunctiondangit , @hiddlebatchedloki @whatsorceressisthis @dichromaniac @autumncryptids

@therealcozyaxoltol

[the-moral-of-the-rose]

If anybody wanted to write a crossover between L.M. Montgomery's books, here is a little help with the ages of the characters (@no-where-near-hero maybe it will be a tiny help for your fanfic):

Anne Shirley - born on 5th of March 1865

Gilbert Blythe - born in 1862 or 1863

James Matthew "Jem" Blythe - born in July 1893

Walter Cuthbert Blythe - born in 1894

Anne "Nan" and Diana "Di" Blythe - born in 1896

Shirley Blythe - born in 1888*

Bertha Marilla "Rilla" Blythe - born in 1900*

Gerald "Jerry" Meredith - born 1894

Faith Meredith - born 1895

Una Meredith - born 1896

Thomas Carlyle "Carl" Meredith - born 1897

Jims Anderson - born in August of 1914

Emily Byrd Starr - born on 19th of May 1888

Ilse Burnley - born in 1888 (probably)

Perry Miller - born in 1887

Frederick "Teddy" Kent - 1887 or 1888

Dean Priest - born in 1865

Patricia "Pat" Gardiner - born in 1913

Rachel "Rue" Gardiner - born in 1919

Winnifred "Winnie" Gardiner - born in 1910

Sidney "Sid" Gardiner - born in 1912

Joseph"Joe" Gardiner - born in 1908

Hilary Gordon - born in 1911

Elizabeth "Bets" Wilcox - born in 1913

David Kirk - born around 1893

Jane Stuart - born in May 1918 or 1919

Valancy Stirling* - born 1883**

Barney Snaith - born 1877**

Cecilia "Cissy" - born 1886**

Olive Stirling - born 1884**

Gay Penhallow - born in 1904***

Nan Penhallow - born in 1904***

Roger Dark - born in 1890***

Donna Dark - born between 1894 and 1896***

Virginia Powell - born between 1894 and 1896***

Peter Penhallow - born between 1888 and 1890***

Margaret Penhallow - born 1872***

Brian Dark - born 1916***

Hugh Dark - born in 1887***

Joscelyn Penhallow: born between 1889-1892***

*In both Anne of Ingleside and Rainbow Valley Shirley is two years older than Rilla. But in Rilla of Ingleside, he turns eighteen few months before Rilla... it is pure chaos. Rilla was supposed to be nearly fourteen, according to the RV, in 1914, but she is nearly fifteen in RoI. So I apologize, but I had a lot of trouble here...

**The Blue Castle is the most difficult to place in time. It is set several years before it was published, and in my own opinion: before Tangled Web and Pat of Silver Bush. Why? Because of this reference: "This was before the day of bobs and was regarded as a wild, unheard-of proceeding—unless you had typhoid." (The Blue Castle). Bobs were already "in fashion" at the beginning of Pat of Silver Bush (so, in 1919, when Pat was six years old: it was said that Winnie wanted to have her hair bobbed) and in Tangled Web (which is set in 1922). Yet, the cars, motorboats and movie theaters were a rather common occurence in The Blue Castle's times. But... there might be an explanation. Valancy doesn't live on PEI, which might have been a little "behind" the rest of Canada, as far as modern technology went. It is my own personal opinion, but I think that it might be set just before the war, at the same time as the end Emily's Quest. I know that the clothes seem more "modern" in TBC, but Emily wore "a little sport suit" and dress that was described as followed "there was so little of it". Teddy and Perry both had cars, as sone of Ilse's cousins. I would say that the Blue Castle book might be set around 1912-1913. Still, the timeline is extremely elusive. Please, let me know, dear Blue Castle Book Club's members, what is your opinion? I think I have read some amazing discussion about TBC's timeline a long time ago, but if I remember correctly, everyone was certain that this novel was set post WWI (me included, until this very moment when I tried to place Pat and Tangled Web and remembered the "bob" quote). So I choose 1912 as the beginning of TBC, when Valancy was twenty-nine.

*** the ages of characters in Tangled Web:

"They were first cousins, who were born the same day and married the same day,--Donna to her own second cousin, Barry Dark, and Virginia to Edmond Powell--two weeks before they had left for Valcartier. Edmond Powell had died of pneumonia in the training camp, but Barry Dark had his crowded hour of glorious life somewhere in France." (Tangled Web).

"Virginia Powell, whose husband had been dead eight years and who was young and tolerably beautiful" (Tangled Web).

"Valcartier, Quebec was the primary training base for the First Canadian Contingent in 1914."

- from: https://www.warmuseum.ca/firstworldwar/history/going-to-war/canada-enters-the-war/training-at-valcartier/

So, from this I assumed that Virginia's husband died in 1914 (so Tangled Web is set in 1922-23). Gay is 18 at the beginning, so she would be born in 1904. If Donna and Virginia were 18-20 when they got married, they would be 26-28 (so still "young"). at the beginning. Peter was 14 when Donna was 8, so he'd be 32-34 at the beginning of the book (same age or a bit older than Roger). Hugh was 35 at the beginning. I guess Joscelyn was a bit younger- most of LMM's heroines are at least two years younger than their love interest. I'd say she might have been 20-23 when she got married, so she'd be around 30-33 at the beginning of the book. I would say Brian is about six years old - he doesn't seem to attend school yet, but is big enough to be sent to the harbour. Margaret Penhallow was about fifty at the beginning of the book.

So sorry that this post was rather long, but it was a great fun to write (even if it took me A LOT of time). Thank you for reading. Please, let me know if you agree. Any feedback will be very welcome!

[burningvelvet]

Ranking all the Brontë novels + briefly reviewing The Professor

I finally finished The Professor by Charlotte Brontë, which means I HAVE COMPLETED ALL THE BRONTË NOVELS, which means I can now rank them. This is a rough order, but brief explanations will be given...

As an aside, bc I don't want to make a separate post for my review of The Professor, but I did note several strong similarities to Jane Eyre (the female lead's description, her elvish comparisons) and The Tenant of Wildfell Hall (Hunsden/Huntington as the cynic, although the former is mostly good and the latter mostly bad). Really all the Brontë novels are very similar so there are tons of more common themes I could mention but won't. Also, more references to Scottish besties Walter Scott & Lord Byron!

Now for my official Brontë Book Ranking (which may be subject to change over the years...)

7. Shirley - I would like to revisit this one. There are some great gems in it, and I'm fascinated by the Luddism subject matter. It is also a strong contender for the most feminist Brontë novel and has probably the most in-depth female relationships which does count for something. But it's SO UNNECESSARILY LONG! And often boring! And it took me the longest to finish. So it has to be last.

6. The Professor - this one benefits from not being Shirley. It's also a good attempt at a first novel I think. It has some gems, but it's often boring like Shirley is in my opinion. I thought the main male, Crimsworth, was a bit more exciting to follow than any of the men in Shirley. I actually think Crimsworth is a pretty inspiring figure and I enjoyed his observations and his anti-work rhetoric. Like most Brontë protagonists, he's a teacher who experiences classism, poverty, and oppression, and manages to overcome these things through frugality, faith, love, hope, etc.

5. Agnes Grey - it's hard to get through at times but it's generally worth it and has a strong pay off. I think Anne's writing style is generally enjoyable. It's has a lot of the horror of Wuthering Heights and the lighter parts of Jane Eyre but it lacks Charlotte and Emily's stronger passions and has more of Anne's calm reasoning, faith, and stoicism. That makes it sound more boring than it really is maybe. I also think it's fascinating for being largely semi-autobiographical like Charlotte's works can be. We get to "know" Anne more than we do in Tenant I feel, and I think she's pretty admirable. The bird scene was based on a real experience she had as a governess, and she wrote most of the novel as a rebellious act in her room right after work. All teachers and childcare workers – and really all women and members of the working-class – should take this novel as the cautionary tale it was written to be.

4. Villette - this is the weirdest Brontë novel. Some interesting scenes and characters. Charlotte's last novel shows far more writerly evolution than in Shirley where she was again trying for more progressive social commentary (and mostly succeeded I think) but often fell back into the more sedate or conventional nature that parts of The Professor has (saving Crimsworth's sometimes strong, sassy, rebellious attitude). Villette was written in a strange period of grief for Charlotte and it shows. Villette is basically Jane Eyre's weirder older sister.

3 and 2 are almost tied for me. I have also written about 3, 2, and 1 so much on my blog that I probably won't go into as much detail as I have with the others.

3. The Tenant of Wildfell Hall - shockingly underrated. Hard to get through, but so is Wuthering Heights which it's pretty similar to at times. Radically progressive and daring, it is a strong contender for being the most feminist Brontë novel and the most oriented toward social justice (although they really all are). Brilliant use of mystery and gothic allure with a social realism that was too ahead of its time to fall into the common traps of that genre. Has everything you could want in a Brontë novel.

2. Wuthering Heights - a bomb in your face. Full of passion. Grand drama. What can I say? It's infamous for valid reasons. Never a boring moment, which instantly pushes it to the top of the list for me who am easily bored. I have elaborated on this work very often on my page so I don't feel the need to reiterate everything here but I will say that this novel has basically everything you could want.

1. Jane Eyre - has all the gothic mystery and passion of Wuthering Heights but focuses on fewer characters whose arcs thus feel more personable and fulfilling in my opinion. We get to know Jane and Rochester much more fully than almost any of the other Brontë characters I feel. And it is my love for the characters that really makes this one my favorite Brontë novel as well as one of my favorite tales of all time (whereas Heights is notorious for its unlikeable characters which actually repel many readers from enjoying it). No wonder it's the most adapted and tied with Wuthering Heights for being the most famous (although I think it may have surpassed Wuthering Heights in pop culture at times). I also think there are a lot of really meaningful themes, morals, and subjects that are explored in this novel, which again can be said of all Brontë novels, but it all feels so much more full in this one. The plot itself is also the most well-crafted in my opinion, and it has one of the greatest twists in all of literature/media imo.