#THE ACTUAL FORM OF HER DOESN’T EXIST EXCEPT FOR MY ART AND MY HEAD | Explore Tumblr posts and blogs

flightless-rising · 3 years ago

Text

Made a new Flight Rising iceberg and also wrote an explanation.. man, this took way longer than it should have.

Anyways, I hope you enjoy :D

Iceberg explanation

( If there are any mistakes please let me know and I’ll edit this asap. Also, English isn't my first language so please forgive me for any grammatical errors)

EDIT 28/06: Added some new info! Thanks to everyone who tagged and responded with new stuff to add, I really appreciate it!

The Sky

Naomi

Back in the day, whenever you bought or sold something on the auction house a message would show up in your inbox confirming the transaction. These messages were sent by one of the dragon couriers: Pearl, Spitfire or Edgar.

On January 2016, a strange glitch occurred that replaced the images and names of couriers with the ones of a female fae named “Naomi”.

It goes deeper than that, though: if you looked up her name in the user search menu, a clan would pop up with over 15 million dragons.

It was quickly discovered that all exalted dragons had somehow become part of her clan. Naomi herself apparently didn’t exist, and clicking on her page redirected to an error page. This was later fixed and the original Naomi page can be now visited.

What exactly caused this glitch is still a mystery and today Naomi is still a well-known piece of Flight Rising history.

Missing Tidelord

In the official lore, the deity of the water flight disappeared in early 2018, as described in the short story “Hear Today, Gone Tomorrow”.

In the follow up story (Mixed Elements) posted in April of the next year it is confirmed that the Tidelord is still missing, but alive. This coincides with the fact that the Tidelord account hasn’t made any forum posts aside from festival announcements.

Emperors

Emperors are a type of unobtainable dragon that are formed when several Imperial corpses are left in close proximity to each other, which then fuse forming a multi-headed chimera.

Emperors are described in the lore as having an animal-like behavior and destroying everything in sight. They are extremely difficult to kill, which is the reason why in-universe Imperials have such strange burial rites.

An emperor named Luminax is first described in the Raising a Family short story, and their sprite can be seen walking around on the world map.

The Surface

Old color wheel

Originally, there were only 67 available colors for dragons. On June 8th 2016, 110 more colors were added, meaning that currently there are a total of 177 colors available.

When making a custom progenitor dragon, it is only possible to choose among the 67 original colors because it would be otherwise unfair for those who made their account before the new colors were added.

Imperial breed scrolls

Imperial breed change scrolls are one of, if not the most, rare type of item on the site. They were given only to those who pledged 30 dollars or more on the original Flight Rising kickstarter.

At the time, this was the only way of obtaining an Imperial dragon, which meant that the breed as a whole was pretty valuable. Now that Imperials are abundant this is no longer the case, but First generation Imperials are still extremely sought and probably the most expensive type of dragon on the site.

There were also other items that were only given to Kickstarted backers, namely Skycats, Bonefiend, Golden Idol and Cogfrog familiars, and those are also pretty much impossible to obtain.

Baldwin breed change

When Baldwin was introduced in 2015 he was originally a Pearlcatcher. On September 14th of 2016 however his site art started to gradually change, until his transformation was completed five days later.

In-universe, Baldwin started to change after a lightning strike hit his cauldron during an experiment, which made him slowly mutate into the breed we now know as Bogsneaks.

Trans Fiona

When Fiona was added as a trading post dragon people speculated that she was trans, because the female pose for Skydancers only displays two antennae, while the male one has four.

Since Fiona has four antennae in her site art, many wondered whether it was an oversight or actually intended. Aequorin later confirmed in a forum thread that Fiona is indeed trans.

Boolean

Speaking of rare items, the Boolean familiar was only given to a handful of Flight rising beta testers and as such is extremely rare and valuable.

Plaguebringer coli team

On the Plaguebringer’s page she is listed as being part of a coliseum team.

As of now we have no clue as to why this is, and even more strangely she is the only deity that does this.

Boston & Hope

This story is a bit complicated. I’ve scoured the forums in search of info but it seems like there are still some pieces missing. I’ll try my best to explain anyway.

So, for a long while the Lightweaver was the only deity that had other dragons aside from herself in her lair: these dragons were a Spiral named Boston and a Tundra named Hope. Strangely, they were both Earth dragons and apparently have been there since the beginning (?). When asked why (this happened back when deities would interact on the forums) the Lightweaver responded that they were having a dinner party together.

In August 2014 during a pretty heated dominance battle between Shadow and Light Boston and Hope disappeared from the Lightweaver’s lair.

The Shadowbinder now had them, and both their elements were alsochanged to Shadow. The two deities acknowledged this and changed their broadcast messages accordingly.

If I had to guess this was some kind of inside joke that the admins had, although some people got angry that the Shadowbinder now had both Hope and Boston. Some time later(?) Boston was returned to the Lightweaver and for some reason his element was changed to wind.

I don’t have any more info on the matter but if some of you do I would appreciate it if you tell me.

Shallow Waters

Eyepocalypse

On June 8th 2018 eye type variants were introduced. This update was pretty controversial for a bunch of reasons, and the topic is still discussed today. The majority of people(?) seemed to be upset by the fact the “best” eye types (primarily goat, primal and multi-gaze) could only be displayed on dragons that were born with them, and the fact that every dragon born prior to the update couldn’t have these eye types at all displeased a lot of users.

Another problem was the fact that most of the non-special eye types (i.e the only ones that could be applied to already existing dragons using a vial of Scattersight) were not clearly visible on the grand majority of adult dragons.

A smaller(?) complaint was that two of the primal eye types, Shadow and Plague, were seen as kind of disturbing by some people.

Three years later staff attempted to fix this issue by adding Eye type vials for every available eye type. This resulted in a market crash for special eye typed dragons, as now these eye types could be applied to any dragon. The value of Scattersights also tanked, and the people bought them and hadn’t used them yet lost money as now they were infinitely less useful.

EDIT 28/06: Goat isn’t actually obtainable via breeding, faceted is. Bad mistake on my part.

Also, Scattersights were given away freely by Galore on Flight Rising’s fifth anniversary in 2018 and could not be bought afterwards. I admit that I thought people could be able to buy Scattersights due to how upset people were that the value went down, but whatever.

Courier Breed

The courier dragons (Edgar, Spitfire, and Pearl) are part of an exclusive dragon breed that is currently unobtainable. Even though their eye color still reflects the flight they were born in, in-universe they are considered to be “neutral” and they are granted free access to all domains. This raises the question as to which deity created them, as every other dragon breed (Bogsneaks being the only exception) has been created by one of The Eleven.

Multiaccounting

According to the site’s terms of service, no one is allowed to have more than one account. This is pretty standard for pet sites, as having multiple accounts grants unfair advantages and can mess up the site economy. This doesn’t completely stop people for having more than one account, and the practice as a whole is called “Multiaccounting” or “having multis”.

Some people only do this to have multiple clans or reboot their account without deleting their old one. They mostly do no harm but it is reasonable that the site wouldn’t allow this because of how easy it is exploit.

The real harm of multis comes from a practice called “funneling” which is when someone creates multiple accounts only for the purpose of giving items to their main account. This practice violates the game’s rules and can result in a ban. Funneling is not limited to multiaccounting though, and having an account only to feed another is against the site’s rules whether or not the account in question belongs to another person or not.

Some people fear of being banned for multiaccounting even if they haven’t done so, especially if they share a computer with other people.

Purble

“he purble” is probably among the most famous Flight Rising memes.

In 2016(?) a rant was submitted to the original Dramarising blog by a very angry user that wanted to buy an XXX Purple Ridgeback back when triples were pretty expensive, but got beat by someone else.

I’m not going to copy paste it here because in my opinion it’s one of the funniest Flight Rising related posts ever and I don’t want to spoil the experience of reading it for the first time. You can find it pretty easily by searching it up.

Tert Picking

This is something that refaced recently, even though I’ve seen people talking about this for a while. Some people vividly remember being able to pick their custom progenitor’s tertiary color, even though the developers have made it clear that such thing would be impossible. This is without a doubt just one of those weird situations where a lot of people somehow remember the same thing wrong.

Still, it’s fascinating just how many people claim to remember doing picking their tert.

Swiftwings

Swiftwings were a dragon breed that was scrapped in development. The design was rejected because it didn’t fit the 2 arms 2 legs 2 wings format that every dragon design had to follow before the introduction of ancient breeds.

The reason for this rule is that otherwise it would mess up apparel placement. Although the concept was scrapped, echoes of the design were scattered throughout the site: for example, the empty dragon slots that were present prior to 2019 had the silhouette of a Swiftwings dragon. They are also mentioned in the April Fool’s update of 2018.

“Real” Lore dragons

Most people don’t know that some of the dragons featured on the lore stories are actually real, and you can visit their pages. This is the case for Tetra, Cracklinne, Velya, Liefa, Garote and Mirth, which are currently chilling in Aequorin’s lair.

All of the other dragons in the developers’ lairs are not canon and are used to test bugs and features on the site.

The Middle ground

True deity names

When the site first started the deities used to have actual names instead of titles. Some of these names were based off of the site founders’s usernames on other sites.

The names are the following:

Amogayvhi - Gladekeeper Xhaztol - Arcanist Rhenik - Tidelord Akiri - Flamecaller Thrage - Stormcatcher Undel - Shadowbinder Jhortanas - Plaguebringer Ghurab - Windsinger Artaios - Earthshaker Rhiow – Lightweaver

As you can tell, Xhaztol, Akiri, Thrage and Undel are the usernames of some of the admins of the site, and the flight they are a part of corresponds with the previous name of their deity.

No leg coatls

On January 16, 2015 an iconic thread was posted in the flight rising discussion forum, which displayed a photoshopped image of a coatl with its legs removed. Quickly the thread devolved into a general photoshop thread were people took official site art of dragons and modified it.

The thread was eventually locked due to spam and quote pyramids, but spiritual successors of the original “phoatlshop” thread still exist today.

Dress slot unlocking

A thing that a surprising amount of people don’t know is the fact that when buy an additional apparel slot, the slot opens for every dragon in your lair and not just the one you bought it on.

This is something I also discovered very recently and it’s kind of funny that so many people that have been on the site for very long don’t know this.

Clanbound scatterscrolls

I think the wiki explains it best, so I’ll just copy paste this here:

“Tri-Color Scatterscrolls suffered from an issue where they would only scatter a random range from colors 1-47 (white through sunshine) rather than 1-67 (white through rose). They have been fixed and are now functioning correctly with a random range within the 67 color set. The affected timeframe was from August 15th, 2013 until September 22nd, 2013. The admins allowed users who were unsatisfied with their bugged Tri-Color Scatterscrolls to receive the same amount of them back in the form of Clanbound Scatterscrolls to try scattering their own dragons again with the full color range.”

Beta Mirrors

Ever wondered why they’re called Mirrors?

According to Undel, the main artist of Flight Rising, mirrors originally were supposed to have every part of their body “mirrored”, meaning they had two sets of eyes, two pairs of wings, two tails, and so on.

This design ended up being too cluttered and looked weird shrunken down. The name was kept the same, even though the only mirrored part of the design are the eyes.

Dragons are evil

If you read the “Beastclans on the rise” lore bit, the dragons come across as… very evil, stealing territory from the beastclans when they have been living on Sornieth way longer than the dragons have and killing them for loot.

Furthermore, in the Bounty of the Elements lore bit the Beastclan rebellion guided by Talona is seen by the dragons as unreasonable and wrong even when in canon Beastclans are framed as the innocent party.

The Depths

Scroll of Divorce

In the alpha stage dragons were supposed to be monogamous and could only breed with the dragon they were “paired” with. To break their bond you had to use an item called “Scroll of Divorce” which even featured broken marriage rings in the art.

If I had to guess, this item and the concept as a whole were scrapped because the idea of dragons having “weddings” and needing to divorce before breeding with another dragon felt kind of weird, especially in a game targeted towards teens.

First Festival

The first Holiday festival in Flight rising history was the 2013 Brightshine Jubilee. The items that were available for this festival only are incredibly rare, particularily the Light Sprite which is one of the most valuable items on the site. Apart from that and the fact that the skincent contest only had 6 winners, not much is notable about it.

Offsite drama

Flight Rising has had its fair share of drama both on and off site, but due to the fact that it’s against the site’s rule to discuss user drama on the forums most of the notable drama happened off site (mainly tumblr).

Egg rot

Egg rot was a very early mechanic that was pretty quickly removed from the site. If you forgot to incubate your eggs, they would “rot” and no longer hatch.

It’s the reason why in the nesting grounds the text reads “Eggs healthy” and also the reason why on the stats section of the Account settings it says “Eggs discarded”. The mechanic was removed because it heavily punished casual players and the frequent downtimes of the site meant that even if someone logged in every day they could still have their eggs die.

Also, the images of egg rot look extremely cursed.

Pablo

From what I could gather, Pablo is a dragon which became somewhat popular after user “Desmondtiny” wrote a very long and detailed backstory of them being the Arcanist’s lost boyfriend.

I’m pretty sure it gues deeper than that but I couldn’t find any further information. As usual, if you know something more let me know.

Latest News

On November 12, 2014, a glitch(?) occurred that let anyone post in the Announcements thread. Anything that was posted went directly to the front page, which resulted in quite a bit of chaos.

This was fixed only half an hour later, but the screenshots people have from that time are extremely funny.

Lameforger

On the 2014 Flameforger’s festival announcement Undel accidentally misspelled “Flameforger” as “Lameforger”, which prompted the official account of the Flamecaller to respond aggressively. Lameforger is still jokingly used by users, even after the typo was fixed.

Festival of one (1)

On the first day of the 2014 Greenskeeper Gathering a glitch occurred which switched the site banner for the Starfall celebration banner instead of the Greenskeeper one.

It didn’t end there, in the coliseum Magical shards dropped instead of Bladed Flatleaves, even though skin chests dropped as normal(?).

The weirdest thing about it all was Joxar’s Space inventory, which didn’t display any items at all and had glitched dialogue.

The event was nicknamed by the fanbase “Festival of 1” and even the deity’s official accounts acknowledged the incident.

Vape Juice

As far as I know the original forum thread as been lost, but the vape juice fiasco will always remain cemented in Flight Rising History.

A company called Vape Daugz was making vape juice with Flight Rising dragons plastered on their packaging, completely violating the site’s policy.

The company’s site still exists, and browsing through their products I found that the products that previously had Flight Rising dragons on them still exist, but now feature completely different packaging.

I have no idea whether they changed the packaging spontaneously or staff did something about it.

I think there’s a potentially interesting story buried down there, but we’ll likely never the truth behind the Flight Rising vape juice.

The Abyss

Humans

There’s been some speculation over the years as to whether or not humans are canon in the Flight Rising universe. Some people believe that the “Mages” of the second age in the official lore are actually humans, but we can’t be sure because they are depicted with long robes that cover their whole bodies.

The idea of humans existing in canon has spawned a couple of memes, most infamously Thomas.

Plague healers

Again, I think the wiki explains this one better:

“According to Aequorin, Plague healers are an interesting bunch because rather than administer treatments that counter illness, they use a mixture of magic and contagion that stress the affected dragon further, allowing them to reach a stronger, healed, and resistant state faster than other elements. Plague healers will treat physical injuries with sutures, bandages, and braces, but they won't clean the wounds or apply ointments."

Akitla

As described in the original thread, Akitla was a dragon that user “qunii” saw on the front page, but noticed that she wasn’t accompanied by the username of the person owning them.

After clicking on her, an error page loaded. It was discovered that putting her color combination or ID in the search bar would result in an error page. This was later fixed, and both Akitla and her mate were now displayed as being exalted to the Arcanist. T

here are some theories as to what happened to the Akitla’s user, some think that she belonged to a deleted account, others that it was the result of an incomplete account creation.

As with a lot of things on this iceberg, it will likely remain a mystery forever.

Arcane sprite book

“what is the arcane sprite reading??” is probably one of the oldest still active threads on the forums.

On September 25, 2013 user “Kaadashi” started a joke thread were they wondered what exactly is the arcane sprite reading, and playfully suggested that it could be erotic fanfiction. People went crazy of course, and started to wonder what kind of juicy secrets were hidden within the pages of that book.

I don’t want to say too much because I really don’t want to spoil the experience of reading through this very cursed tread.

Sunshine

Sunshine is one of the most… interesting lairs on the site, and certainly one of the most well-known.

They(?) have a lair (almost) completely full of triple basic sunshine dragons, most of which are Tundras. So far they have collected about 320 triple hundred Sunshine dragons, almost all of which are also named “Sunshine”. They’re not all the same, some of them have apparel, some of them are gened and some have unique art and descriptions.

They’re dedicated and I respect that.

EDIT 28/06: Apparently some people seem to think that the sunshine-dedicated lair is based on a meme concerning the announcement of the color wheel expansion, which became so discussed that the itself site broke. The two things are unrelated however, as the Sunshine lair has been around for much longer.

The announcement of the color wheel expansion was cryptic, with only a few post showing off differently colored coatls and then 3 pages of reserved posts, with no explanation whatsoever.

Simple Farmer

Another very famous thread is the “I am but a simple farmer” thread started by user “someKindOfGenius”. It’s not really about anything specific, it’s just a rather silly thread were people photoshop flight rising dragons onto various crops.

Still, this thread is iconic so I had to include it.

Dragon Deaths

Way back in 2014 former flight rising programmer Thrage revealed on a forum thread that way back before the beta, dragons could actually starve to death if left unfed.

Yep.

Obviously they had to remove this mechanic because it would have been extremely harsh to casual players and make people frustrated with the game.

Zalvador

User “manojalpa” became fairly well-known for the extremely dark lore they(?) had written for their Clan, it was so dark in fact that every single one of their dragon’s bios had to moved to their tumblr where they couldn’t be easily seen by the site’s mainly underage usebase.

Their lore centered around their progen dragon, a tundra named Zalvador, which behaved and had the same powers as a flight rising user: buying dragons off of the action house, having “breeding projects”, exalting dragons, etc.

These things seem pretty normal when done by a player, but when taking them as actual real things that happen in universe… yeah, it was way too morbid for the site.

The Pit

Black linen neck wraps

For some weird reason, the apparel piece “Black linen neck wrap” when put on a male pose Coatl wraps around the dragon’s throat instead of it’s neck. It’s kind of subtle and hard to see, but if you compare it with the female pose the difference is clear. This is probably just an art error, although it’s weird that it hasn’t been fixed yet, since linen wraps are a very old piece of apparel.

Another weird thing about linen wraps in general is that the wing wraps just sort of… go through the membrane? This is not possible. These dragons are in pain.

Icewarden ears

Another very remarkably popular thread is the Icewarden ears thread.

In 2014 user “Llanai” simply makes note of the fact that the Icewarden has teeny tiny ears.

As we have come to expect from these threads, it quickly devolved into nonsense.

Forbidden Snapper lore

Snappers used to have a way different lore section that was changed because it deemed too similar to the lore of another petsite.

This is what the original section read:

"Snapper dragons do not sleep, but exist in a constant state of reverie. They receive and catalogue all experiences and stories told within their dreams. This persistent state of awakened dreaming awards them the longest memory of any dragon species. They are living encyclopedias, and any dragon who is seeking difficult-to-obtain information will have the most luck unearthing it from a Snapper clan - provided they have the patience for it. If you want two dozen quick answers, talk to a spiral. If you want a fully developed answer, camp out around a Snapper. These dreamers move at their own pace, which varies from dragon to dragon. For some, the awakened dream can prove to be more interesting than their surroundings. This leads to a focus upon the dream, and the waking world as filtered background noise. Interacting with these sleepwalkers can be a trying and repetitive task. Other Snappers may be fairly lucid, with a focus upon their surroundings and the constant hum of the dream pushed aside."

Bee movie script

I’ve seen this story around the forums a few times but I’ve never been able to learn the details.

From what I’ve heard someone copy pasted the entire bee movie script into their clan bio in a drop down text format, which completely broke the page for anyone who visited it. This was fixed, apparently, although I have no clue as to who this user is.

EDIT 28/06: Zeus

Zeus is an XXX gold g1 permababy imperial that used to belong to user "happywing".

Their account is now locked because Zeus was created with the use of a duplication glitch on an imperial breed change scroll, which is obviously not allowed (although I've heard some people say that the dragon was hacked in altogether). Before the account was locked, people speculated that Zeus was the most valuable dragon on the site, because an XXX g1 imperial is impossibly rare.

Wegg shaming

On July 2017 user “Dreamnorn” made a thread were they(?) claimed to have a dream where everything was the same except people used the term “wegged” when two dragons would lay only one egg in a nest.

Ex. Aw man! I’ve been wegged again! = Aw man! I bred two dragons and they only had one egg!

The dream ended up being prophetic, as the term catched on and people started to use it unironically.

The practice of “Wegg shaming” I think refers to the trend of people posting pictures of the dragons that “wegged” them in order to “shame” them.

Plague nest skull

The site art of the plague nest features an unique dragon skull that doesn’t match with any currently existing dragon breed or creature: It appears to have two sets of eyes, like a mirror, but also long and curled horns.

It’s probably just for decoration and it likely doesn’t have any significance whatsoever, but personally I believe it would be pretty cool if when they eventually release plague ancient it at least somewhat resembled this skull.

EDIT 28/06: On second thought, the skull doesn’t seem to have two pairs of eyes, It just has the generic shape of a carnivore.

Rock bottom

CAPTAINPLANET

…this is CAPTAINPLANET. Somehow, user “Decres”' managed to overlay a Fae skin on top of a Tundra, creating this horrifyingly fascinating abomination.

I have no idea how she did this, and she seems pretty adamant to tell.

EDIT 28/06: People have pointed out that this skin overlay glitch was actually somewhat common (although I still haven't found another dragon like CAPTAINPLANET). What you had to do was breed change a dragon while attaching a skin to them in another tab.

This glitch has been patched and such thing is no longer possible.

Lair 46264

A cursed lair.

Dreams

I’ve seen a lot of people, both on forums and on Tumblr, sharing dreams they had about Flight Rising.

A lot of people dream of just being on the site, while occasionally weird things happen.

I’ve read of people who dreamed the distribution of a new breed, buying an exclusive item, a new Fiona feat or Swipp trade, or just browsing the forums.

The most common type of Flight rising-associated dream I’ve seen however is being caught multiaccounting and having their account banned.

I’m no psychoanalyst, but I think it’s pretty clear that these nightmares stem from the paranoia of being banned from their beloved petsite instead of showing any actual intention of doing the “crime” in question.

Anyways, I think it’s fascinating how so many people dream about this site, and it reminds me of the dreams people claimed to have about Mario 64 where completely new levels were added or a scary monster appeared.

Dragon Slime

Dragon Slime was an infamous thread which was supposed to be start off point for an ARG.

It was deleted because it was considered too “spammy” and also because ARGs are banned from the forums. The thread has been lost, unfortunately.

EDIT 28/06: Thanks to @randompurple-fr for providing screenshots of the dragon slime tutorial! You can find them here

Cucumber

Cucumber is the only dragon ever to have been exalted with a skin, which is something that should not be possible. This raises some questions as to what exactly did the person that exalted them do to achieve this, but we have no way of knowing who Cucumber belonged to.

EDIT 28/06: Actually, we do know who used to Cucumber belonged to! Its owner was Osiem: an official flight rising artist. I couldn’t find the thread where they(?) acknowledged the glitch though, if someone has it please let me know!

#flight rising #fr #flight rising meme #iceberg meme

851 notes · View notes

latetaektalk · 4 years ago

Text

(he)art thief | jjk [i, preview]

“jungkook is charming, kind, smart, and funny. jungkook is the guy to fall in love with. he is perfect in every sense, except that he is also a member of a notorious heist group and only getting close to you to steal from you. but what does he do when he starts to fall for you? who does he choose? his brothers or you?

genre: heist! AU, thief! jungkook, art curator daughter! oc, ocean’s! AU, fluff, angst, sexual themes/implied smut (in later chapters)

pairing: jungkook x female reader

estimated word count: 35 to 40k

warnings: cursing/swearing, a bit of alcohol consumption

a/n: this is loosely based off the ocean’s film! to be added to the taglist, shoot me an ask/message! also, gureum is jungkook’s dog! and thank you to movie club for helping me come up with this amazing title!!

coming sunday, may 30th 2021

Jungkook avoids playgrounds.

Does so because when he was at the tender age of just seven, he fell off a swing. He ended up in the hospital (his first but not last visit); seven stitches, his mother told him, but he could swear it was a million.

Needless to say, Jungkook has been avoiding playgrounds like the plague ever since.

But here he is, in the middle of one, dog leash in his hand, and heart pounding in his chest so violently it might just explode.

A mob of boys runs past him, all of them no older than six—which means that, for the most part at least, they’re harmless��but still, Jungkook flinches. It’s embarrassing, even more so because Gureum turns and stares at him. If one of them should flinch, it should be Gureum, with him being a dog and Jungkook a full grown adult, but God, today is just not his day. He’s stressed! Out of it! Nervous! A wreck-

“Did you just flinch?”

Jungkook feels his heart drop. Fuck, he thought he walked out of sight!

“No, I didn’t, Tae,” he hisses, pressing the earpiece further into his ear.

“You flinched! We can still see you- ah, okay, not anymore. But we saw that-”

“I don’t know what you’re talking about. I definitely did not flinch-”

“Denying it is pointless. We all saw it. Back me up here, Jimin.”

“You definitely flinched.”

Jungkook stops dead in his tracks, is about to walk back to the car and tell them that they must be hallucinating because he definitely did not flinch when-

“Can you see her already, Kook?” Namjoon asks and for a moment, Jungkook forgot why he is here, you.

He looks around himself, and it doesn’t take him long to find you, sitting on a bench, under a big tree, soft shadows dancing on your skin.

“Yeah, I-I see her,” Jungkook says under his breath.

“Okay, good. I’m gonna need you to focus up then,” Namjoon continues, and Jungkook nods like Namjoon could see him.

“Yeah, if you screw this up, it’s your fault if we end up in jail-”

“Tae!” Namjoon warns, and judging from the ‘ow’ that follows, someone punched him. Jungkook’s guess is Jimin.

“What? I’m just saying-”

“I knew I shouldn’t have let you come,” Namjoon mumbles and runs a hand down his face. “Hey, Kook, don’t listen to Tae, yeah? He’s just messing with you.”

“Yeah… I know,” Jungkook mutters, and he means it. He really does know that Taehyung is messing with him, but there’s a part of him that takes it to heart, that is worried sick about how he’s going to fuck this up and be the reason for why they all end up in jail.

“Don’t worry, Kook,” Jimin cuts in, taking the phone from Namjoon. “We’ve got your back. All you have to do is repeat after me, say what I say. You’ve got this. Remember what I taught you?”

“Always smile and laugh and never talk about yourself. Keep the conversation about the other person because people love talking about themselves,” Jungkook repeats, and looks at you again, heart heavy in his chest.

He shouldn’t feel like this, wishes he wouldn’t. But he can’t help it. This isn’t how he imagined he’d meet you. Jungkook thought he’d meet you at some fancy event, sipping expensive champagne, or at some luxury clothing store maxing out your parents’ credit card—after all, your mother is a world famous art curator. But instead you spend your time at playgrounds, babysitting.

There’s actually no reason for Jungkook to be this nervous. Jimin did practise with him this exact scenario, but he can’t help but think that with a flute in his hands and some alcohol buzzing through his system, he’d feel more comfortable. But here he is, in the middle of a sea of children.

“Kook, do you copy?”

“What? Sorry, I wasn’t…” Jungkook pauses. He shouldn’t admit that he wasn’t listening.

“Get your head in the game, please,” Namjoon tells him over the earpiece.

“Sorry, you’re right. I’m here,” Jungkook says and starts to walk again even though he still feels fucking lost as a goddamn adult at a playground. Gureum follows him when he tugs on the dog leash.

“Okay, good. Just- just try your best,” Namjoon says, voice a bit muffled. “You’ve got this.”

Jungkook could swear that there’s a waiver to his words.

“Don’t worry. We’re here,” Taehyung tells him before Jungkook can think about it too much, distracting him from the quiver he heard.

He stops behind a tree, close enough for Gureum to spot you, but not close enough for you to spot them. His knees crack when he kneels down to stroke Gureum’s ear.

“Hey, Gureum? I’m gonna unleash you in a second and then I’m gonna need you to run towards,” Jungkook points as discreetly as possible to you, “her, yeah? Just like we practised? Remember? Remember how you ran towards Seok and Yoongi? Do it exactly like that again, okay? If you do, I’ll get you your favourite treat.”

Gureum doesn’t run away instantly when Jungkook unclips him because he’s trained, but when he points at you and whistles, he’s gone.

You react surprisingly calm to a dog barreling towards you, barely flinching. You lean down and greet Gureum.

“Approaching target now,” Jungkook mumbles quietly and can only faintly register how Namjoon tells Taehyung to be quiet from now on, all of his attention on the mission now.

With the leash in his hand, Jungkook jogs towards you, heaving extra hard to sell the act of a dog-owner-who-has-been-chasing-his-dog-for-the-last-ten-minutes to you.

You look up to him when he stops in front of you, eyeing him. Jungkook stands there, bend over, his hands on his knees, breathing like he’s struggling to catch his breath.

“Uh…. hi,” you start, brows pinched together.

Jungkook puts on his most charming smile, ignoring his thumping heart to the best of his abilities.

“Hi.”

“Oh, we’re starting- okay, showtime: I’m sorry, are you okay? My dog- he just ran and I couldn’t stop him. I’m so sorry,” Jimin says in his ear.

“I-I’m so sorry.” There’s a quiver to Jungkook’s voice, and it isn’t on purpose. “Are you okay? He just ran and I-”

“It’s fine,” you tell him with a small smile, still petting Gureum who has clearly taken a liking to you. During practise with Seokjin and Yoongi, Gureum always ran back to Jungkook, but now he’s staying at your feet, relishing in your pets. “Is that your dog?”

“Yes, yes, it is. I’m so sorry. I just unleashed him for a second, but then he ran away and I couldn’t catch up with him. Are you okay?”

“Yes, and I’m so sorry. I just unleashed him for a moment, thinking it was okay, but-”

“Can you prove it?” you interrupt and Jungkook pauses. “I mean that it’s your dog. It’s just that he isn’t really reacting to you, you know?”

Jimin’s response comes a bit late. “Oh, yes, I can. His name’s Gureum and he is- what’s the breed of your dog again? I don’t remember. If you look at his collar, you’ll see I’m telling the truth.”

“Oh, yeah, I can,” Jungkook smiles, wiping the non existent sweat from his temple. “His name’s Gureum and he’s a white Maltese dog. If you look at his collar, you’ll see that I’m not lying.”

You actually look at the collar and part of Jungkook is offended that you don’t just believe him. Does he look like a liar to you? “Actually, I have pictures too-”

“No, no, it’s fine. I believe you,” you say before gesturing for Gureum to go back to Jungkook. He does, but somewhat reluctantly and Jungkook doesn’t know how to interpret this.

“Ask her if she’s okay again.”

“Are you really okay?” Jungkook says and offers you a smile the way Jimin taught him to. “I really am sorry about-”

“It’s fine,” you tell him and wave him off. “Nothing happened. Don’t worry about it. Just leash your dog.”

And then, you turn away from him. Jungkook stands there awkwardly for another moment before kneeling down to Gureum, absentmindedly petting him, mind filled with questions because what now? How does he communicate to the others that you turned away from him? That the conversation has ended and he has no idea how to start it again?

“What’s going on Kook? Is she smiling-”

“Ah, Gureum, no,” Jungkook cuts in. “Don’t turn away- I can’t leash you if you do that. Don’t turn away.”

“Oh, shit, she turned away, huh?”

“What now, Jimin?”

“Shush, Joon. Let me think, yeah?”

Jungkook fiddles with the leash like he has a problem clipping it, hoping that maybe you’re going to offer him your help. You don’t. And why would you? He’s an adult after all.

Before Jimin can come up with anything though, the solution to the problem presents itself. It comes in the form of a girl running and tripping right next to Jungkook and him catching her just in time before she can faceplant in the dirt and scrape her knees open.

“Oh, hey, careful here!” Jungkook brings the girl back up on her two feet. She stares at him with big eyes, and he recognises her from the pictures. It’s Siyeon, the seven year old girl you babysit regularly, the reason why you’re spending your afternoon at a playground today. ”You okay?”

“Kook, what’s happening right now?” Namjoon asks.

Siyeon looks at you, and you’re already kneeling beside her, fixing her hair.

“Siyeon, I told you not to run. See, you almost fell now!” You say it the same way a mother would, less strict though. “If he hadn’t caught you, you would have hurt yourself, wouldn’t you have? Now, what do you say?”

“T-thank you,” Siyeon mumbles, and Jungkook isn’t sure if she’s staring at her hands because she’s embarrassed or just about to cry.

“Who’s that? Who are you talking to? Who’s he talking to?”

“Was that a kid?”

“Are you okay?” Jungkook asks Siyeon, ignoring Namjoon and Taehyung to the best of his abilities.

“Y-yes, thank you.” She won’t look at him.

Jungkook smiles. “Well, I’m happy that you didn’t get hurt there.”

“Kook, answer please. Do you need help?”

“Should we interfere?”

Jungkook’s about to snap. Does it seriously sound like he needs help? He’s talking to a seven year old, for fuck’s sake! Sure, he didn’t practise this scenario, but God, he was capable of improvising!

“Thank you. She’s really clumsy,” you say to Jungkook.

“Ah, don’t worry about it. I’m like that too. After all, I let,” he looks down at Gureum and finishes his sentence by gesturing to him and then you. You laugh.

And that’s when Siyeon seems to notice Gureum for the first time, eyes growing big at his sight like she has never seen a dog before. A chance.

“His name’s Gureum. You wanna-”

“Do you think we should go over there? See if he’s okay?”

And with that, Jungkook snaps. Yoongi is going to give him an earful for destroying his oh so precious equipment, but he can’t do this any longer with Jimin, Namjoon and Taehyung in his ear. So in one smooth movement, Jungkook digs out the earpiece and crushes it between his fingers, hiding it in his hand.

“Sorry, a fly, I think,” Jungkook says, swatting at his ear, and before you can think about it, he moves on. “Do you wanna pet Gureum, S- Is it okay if I call you Siyeon?”

Siyeon stares at Jungkook like he can’t believe he just asked her that. It’s probably the first time an adult has asked her for permission to call her by her name, and she seems to appreciate it immensely because she beams at him and gives him a huge nod.

“Okay, Siyeon, do you maybe wanna pet Gureum? He doesn’t bite, I promise.” Jungkook can feel your eyes on him. He’s doing it, charming you!

Siyeon turns to you.

“Can I-?”

You hum. “If Gureum is okay with it-”

Siyeon kneels down. “Hello, Mr Gureum. Sir, can I please pet you?”

Jungkook melts, and so do you.

Receiving no response from Gureum, Siyeon looks back up to you. Jungkook quickly takes his paw and waves. “Hello, Mrs Siyeon, if you promise not to hurt me, you can pet me. I like it especially if humans pet me at the back of my head. Just, please, be nice to me.”

In all of the years he has had Gureum, Jungkook has never tried to imagine what his voice would sound like, but he knows for a fact that he doesn’t sound like a chain smoker. It’s a questionable choice, but he doesn’t regret it. Because not only does it make Siyeon laugh, it also elicits a chuckle from you.

You look at him with a grin. “I don’t think I’ve introduced myself yet, have I?”

“No, I don’t think so,” Jungkook says, and you two rise to your feet when Siyeon starts to pet Gureum and he doesn’t bite her.

“Well,” you stretch out your hand, “I’m Y/N.”

Jungkook swallows the ‘I know’ that wants to slip him and takes your hand. He has to stop himself from bursting with pride, only allowing his smile to grow into a blinding grin.

“Nice to meet you, Y/N,” he says, and he means it. It’s really nice to meet you. “I’m Jungkook.”

coming sunday, may 30th 2021

#jungkook angst #jungkook fluff #bts angst #bts fluff #jungkook x reader #bts fanfic #jungkook fanfic #bts x reader #jungkook #bts #linh.preview #(he)art thief

252 notes · View notes

skzflix · 4 years ago

Note

passstt can you do your best to explain the ‘universe’ in depth or at least so it’s understandable bc my ass is clueless 🙃

so, this is my dumb brain linking stuff so please please take this all as what it is — my stupid brain's stupid thinking. this is also the first time i've linked it all out in order. so bear with me. this is loooong. in this universe, we have like three parts: mixtape: on track — b me — mixtape: oh. and it deals with tangled romance and the consequences it has on friendships.

MIXTAPE: ON TRACK

so in mixtape: on track, the universe sets off with the boys in high school, final year, i think. minho and hyunjin are the leads in our whole universe. jeongin is like hyunjin's best friend in this au. they are film and art majors (?) and have this project i presume to make a short film (?). chan deals with the sound, jisung with the lights, changbin with the props, hyunjin with the videography, felix is directing and seungmin is the writer. minho is the main lead in this film and jeongin is a side character in this film.

insert female lead. female lead is close friends with both hyunjin and minho. it's pretty evident that minho and hyunjin likes her and hyunjin constantly does feel bad over minho and her getting closer, because well, he likes her. this feeling turns into a distaste soon enough (as seen in how hyunjin feels pathetic after the girl takes both the drinks from them + how minho shoots the goal while playing soccer and like hyunjin and minho have this weird cold gaze exchange. in both these situations, jeongin is around to help hyunjin. i'll get to this soon.) so like our boy minho and her clearly have sparks and hyunjin dislikes it. high school jealousy, if anything.

that's when hyunjin decides to take action and while shooting, when minho has to grab the female lead's hand, he butts in and holds her hand. all because he likes her and he's done being the second lead in this story. the mv ends here.

now, about jeongin, he did mention in one of his vlive that he was like a guardian angel and i do think he's like a friend that really really cares for hyunjin and doesn't ever want him to get hurt. so the whole mv wraps up in this plot of how hyunjin takes action right when minho and the female lead are slowly getting things going for them.

UNVEIL: B ME

and then we get the unveil track of b me, (how i wish they dropped the mv for this rather!). i'll make a list of stuff that happens in b me first and then tell you how my brain linked it up.

felix with the video camera + tape

jeongin distressed with bruised face

the members reminiscing what they once had before chaos struck.

a script that has even a fool knows (alternative title to on track) written (this was my cue to link them both?)

seungmin, chan and technically the whole cast looking distressed

jisung burning the film competition form (?)

changbin in the court sad and playing alone

biker!minho + biker!hyunjin (THIS ISN'T A POINT BUT THEY ARE SO HOT IN THIS AU SHUT UP RUE!!!)

minho meets with an accident + jisung rushes to his side

angry giving up skz moments

ot8 basketball happy memories

i'm going to sit here and draft this out so again, bear with me, soooo,

i presume the hyunjin grabbing the girl's hand, ofc, did not sit right with minho because technically, minho and her were a thing almost. and that ruined the friendship. this also caused the whole film shooting to turn chaotic, i presume because hyunjin's gaze in the on track mv seemed determined so i think he wasn't ready to back off either. the filming team clearly breaks apart because of this. the tension between minho and hyunjin is still very high. the team is frustrated. jisung burns the film competition form because what's the use of joining when there's no team? changbin is sad and angry and has emotions he is frustrated over (just like the other members!!) because they aren't together as a friend circle distinctly because of the feud between hyunjin and minho. they used to play basketball together (the whole of the ending part!) but not anymore.

now, we see how minho meets with an accident. i'm a bit confused with this part (this is why we need the mv for b me, jyp!!!!) but i'll state out everything i think.

a) jisung is to minho as to what jeongin is to hyunjin.

b) the accident could be solely accidental? maybe minho ran off in a fit after an argument with jeongin and hence why jeongin has the bruises and maybe in that heat, minho could have had the accident.

c) i presume jisung rushes to help him because human guardian angel of sorts of a friendship.

anyhow, i think the small clip of video tape that felix pulls out in the beginning is what they watch together. i do not think this has any correlation to the intense story besides adding the fact that they were reaaaaaaally close because they all look super happy in that shot, omg!!

MIXTAPE: OH

and now here we are, mixtape: oh. (watching and pausing the mv to go as detailed as i can with my storytelling.) this, since it was a mv, we get a story as solid as the first one (thank you, jyp. i hate you generally but thank you for this.)

so we have all the members in the drama club room. the same room we saw in the first mv i think. everyone's gathered back there, picking up their stuff because they have graduated, except for changbin and hyunjin who haven't come. jeongin searches and hopes expectantly for hyunjin to come. the blue certificate kinda thingy (I have no idea what it is. i don't read korean either and my google translate couldn't pick that up :((() is something of hyunjin's and i think minho did want hyunjin to come to this sort of reunion because he gets angry and picks up the blue thingy. he's either mad at that, or he is still mad at what happened in the past. i'm not sure. either ways, jisung is worried too as to what minho is going to do and over what he is feeling. oh, also, minho is in a cast, which means it does go exactly in the order i mentioned !!!

we then see hyunjin (shit, i cried again!) and he's painting an eye (is this a relation with some other skz song i will never know) and i think he took up art after dropping from film club so like he could distance himself from the rest of them, because well, he was 1/2 of the reason why this all happened.

we have the members reminiscing again, thinking about the good times and bad ones too. jeongin is in a tunnel (the boy is always in a tunnel. is this again a link to other mvs i do not know) and changbin goes to the drama club room all alone after everyone leaves and like i think he removed the sign of the drama club room and in my head, it's a symbolism for how everything has finally ended. all the memories they have had had finally ended with their graduation, of sorts, in that moment for him. jeongin, who is in the tunnel calls for hyunjin, like a last thread of hope he clings on to, expecting for him to finally meet them and come back to them. hyunjin doesn't pick up the call.

minho is still packing things up and as he looks through stuff he sees a calender with their anniversary date marked and he remembers of the team together once again. everyone really badly misses the old days. we see jeongin who goes to buy that drink again that he stole from hyunjin in the on track mv and he remembers felix in that moment.

felix who is in the library is with a cake. so i presume it is his birthday because he lights the candle on the cake up eventually. i think he did want to celebrate it with the team as a whole but because of the fall he can't. he opens a book and see the quote, "dreams come true to those who really want them," (we see this on the jisung bus stand shot too btw!!) and he goes on to make a wish on his cake and ie think he wished for them all to be together once again, living the happy memories again. hence the beautiful shots in the end I AM IN LOVE.

so i had this sorta ex lmao who told me this beautiful metaphor once when we broke up about how i left him on the bus of our memories and it was only i who got down and that our timings didn't match. and i think my brain instantly correlated those two, oops. so like the bus is a train of thoughts, a passageway for them to remember the happy memories. changbin remembers the happy memories he had as he looks through hsi phone with the basketball in his hand. jisung also enters the bus and remembers the moments they shared. oh, also changbin leaves when jisung enters. the timings don't match.

TIMESKIP. because this is based off kdramas for sure and what are kdramas without timeskips lmao.

minho's arm is healed. (he's also wearing such a pretty fit i want to steal!) minho goes and tried to meet hyunjin at his art studio because he wants to give it a try, this whole friendship again, i think, but hyunjin isn't there. so he leaves him a note and the certificate (??) blue thingy (?? what is it someone help me!) hyunjin comes back to see them both. this is what happens in the mv, in correlation with the other mvs.

they could clearly make another part of them actually getting together. but personally, i think they do and like felix's wish comes true because the directing is such that they end it with felix opening his eyes. (i also don't want to think of a sad alternative where felix opens his eyes only to remember reality is still the same and the feud still exists. i refuse. in my head, the next part has them coming together just like that in the snow!)

but yes, if you've reached till here, thank you for reading my incoherent mess of thoughts. ily and i hope you have a good day! 💕

#✉️:asks #skz theory #stray kids #skz #this is not proofread and is just a mess BUT HERE THANK YOU 💕

124 notes · View notes

manifestoonmoralmanlove · 3 years ago

Text

What will be in my bag? Pre-ordered Manga. Straight and Lez edition.

Here’s a list of English-released manga I’ve currently got on pre-order, and manga series I ordered before but won’t be continuing with the series.

As a note: Some of these titles have been released but I have not received them yet due to a issues with covid backlog effected how things are released. I personally find that if you pre-order it tends to get you manga quicker. It seems there is more pressure to keep up with the new release schedule than chip away at the backlog.

I’m starting with the stuff I’ve already read some of and confirmed enjoyment, then stuff I’m shooting in the dark for, and finally series I have tried recently and have discontinued.

Heteros

My Androgynous Boyfriend

Story & Art by: Tamekou Publisher: Seven Seas

It is rare for straight shit to end up in my library but My Androgynous boyfriend is an exception that will surprise no-one since it’s pretty queer adjacent. This story is mostly a couple being lovey-dovey between jokes about sexuality and gender but (so far) isn’t problematic at all. The female lead is quite enjoyable as she’s well-balanced and has agency throughout. There’s even ace representation! It’s very low-stakes, wholesome, and sweet so far. (Volume 3 is set to release in November.)

My Excitement Level: The gentle about to sink into a bubble bath variety

Yuri/Lesbian

Even Though We’re Adults

Story & Art by: Takako Shimura Publisher: Seven Seas

Takako is also the creator of Sweet Blue Flowers and Wandering son. I have dipped by toe in to both those series. I overall find their writing kinda meandering and tepid (might just be me) but technically pretty solid. I am hopeful for this series since it features adults....if the title didn’t make it obvious. I was intrigued by the one character being married but the man finding out about the affair quickly and reacting more realistically and interestingly than the average male love interest in a Yuri. I also found myself relating at bit to Akari’s angst about being unlucky with relationships with women. I also do enjoy the artwork! This one is the most likely of my followed series to be dropped at some point. (Volume 2 of this manga was set to release in June this year.)

My Excitement Level: Cautious Optimism

For more click the jump!

Kase-san and Yamada

Story & Art by: Hiromi Takashima Publisher: Seven Seas

This is a series I keep going back to. While it is the very typical low-stakes bubbly, cutesy School age Yuri...it is a very good version of that. Just warm bubble bath vibes. (Volume 7 is set to release in February of next year. I think it was originally supposed to be released this May but was bumped back.)

My Excitement Level: The gentle about to sink into a bubble bath variety

NOW ONTO THE SERIES I HAVEN’T READ BUT I’M TAKING A CHANCE ON!

Adachi and Shimaura

Art: Moke Yuzuhara Story: Hitoma Iruma Publisher: Yen Press

This, as I understand it, is a slow-burn romance about two delinquent girls. I have heard good things about the novel and the anime series! However I prefer manga to novels and don’t have a funimation account so I went to snag it in manga form. (Volume 1 was set to release in February this year and 2 in September)

My Excitement Level: Cautious Optimism

The Girl I want is so handsome!

Story & Art by:Yuama Publisher: Seven Seas

The premise is a young lady has a crush on a handsome older girl who’s oblivious to her advances. When she tries to confess she instead gets roped into being the club manager of the basketball team that her crush is a part of. So it feels like it may end up cycling through 2 jokes and be so deep in the stereotypical manga bullshit you can easily-predict its beats volumes in advance. HOWEVER that is also a premise that is similar to Monthly Girls' Nozaki-kun which is legitimately a hilarious series. Also I fucking love butch/stud/masc-presenting women/AFAB people. So I’m willing to risk “The same Anime bullshit” for good jokes and a cute lezzy romance with a beautiful butch. (Volume 1 is set to release of December of this year.)

My Excitement Level: Pretty nervous actually. I hope it works out!

Monologue Woven for You

Story & Art by: Syu Yasaka Publisher: Seven Seas

A woman gives up on a career in theater gets tangled in a relationship with a woman passionately pursuing theater. Since it is set between college age women, and appears to be about more personal and mature themes I am interested. (Volume 1 I BELIEVE is supposed to be released in February of next year.)

My Excitement Level: Cautious Optimism

Mizuno and Chayama (No page yet so far as I can tell.)

Story & Art by: Yuhta Nishio Publisher: Yen Press

Two daughters of feuding families meet in secret. This is by the same author of After Hours. I read a bit of After Hours and found it fine but boring since it seemed without conflict. Conflict doesn’t seem to be in short supply with a story like this! While I enjoy the sugary-sweet high school lesbian romances...those are not in short-supply. So I am always hungry for something darker, meatier, more mature. (Volume 1 is set to release next February)

My Excitement Level: Cautious Optimism

5 Seconds Before The Witch Falls In Love

Story & Art by: Zeniko Sumiya Publisher: Seven Seas

It appears to be a playful fantasy about a Witch and Witch-hunter who’s antagonism turns romantic. This may end up one note and stupid...but I’m always hear for queer romances set in high-fantasy and I haven’t read a Yuri where rivals turns to lovers. (Volume 1 is set to release next February)

My Excitement Level: Low-key

Catch These Hands! (No page yet so far as I can tell.)

Story & Art by: Murata Publisher: Yen Press

A former delinquent runs into her high school rival. After losing a fight to her she agrees to her terms...her terms being to go out on a date with her. I mean the title alone makes me want to pick it up! It may run afoul of bad anime humor, but I’m hoping with the fact that it’s full of gay adult delinquents that it’ll be a little different. (Volume 1 is set to release next February)

My Excitement Level: Medium-key

Series I have discontinued:

I’m in love with the Villainess

Art by: Aonoshimo Story by: Inori Publisher: Seven Seas

A woman gets reborn into her favorite Otome game but she wants to romance the villiain! I had heard a ton of great things about the novel but I picked up the manga version. (If the novel is totally different I can’t speak to it.) For me, the writing is ham-handed, the jokes flop 90% of the time, and the fact the lead’s only personality trait seems to be ~obsessed with a bully~ really dampens this title. Her advances are so aggressive and unwanted I honestly started feeling bad for a spoiled rich bully. I will say it’s saving grace is the fact that the lead is masochistically into the villainess’ tsundere abusiveness. For me I hate tsundere romances if framed like, “I like you DESPITE your insults.” It is only tolerable if it’s instead, “I like you cause you tell it like it is. I’m a dirty little pig. Please step on this bad little piggy!”

Our Teachers are Dating

Story & Art by: Pikachi Ohi Publisher: Seven Seas

Well one reason I stopped the series is that cover you see up there. The sex in this series is fade to black but FOR SOME REASON the 3rd cover has them both butt naked. But on a less superficial note, the story is about two teachers who start dating. And while cute at points, I was just underwhelmed. I think a part of it, is the fact that this behaves like a stereotypical high school romance...and while set in a high school...these are grown ass women not 15 year olds. So I have less patience with the, “Gosh when will I get to kiss my girlfriend?” bullshit. I mean, I would hesitate to call it bad...but it’s just not a good version of it’s brand of bullshit.

Breath of Flowers

Story & Art by: Caly Publisher: Tokyopop

Absolute train-wreck, this is hands down the worst Yuri I have ever bought. The story is nonsensical and all over the place. There is a love rival who’s trying to break the two of them up so she can get with Gwyn...but then switches mid-gear to put in a lot of effort to bring them together intentionally...but she also still wants to hook up with Gwyn...it’s very ???????????? The main conflict of Gwyn is hiding their gender so they can play basketball on the boy’s team (not well explained) is built up hugely and resolved with a hand flick. There is a melodramatic moment where a school nurse says more or less, “GIVE IT UP YOU’LL NEVER BE A BOY!” And it’s like “OH SHIT! The fact that Gwyn is on the basketball team is cause he’s a transboy trying to live life as a boy! Oh gosh it makes so much more sense now!” But the author seems to not even know that trans people exist cause the story bumbles along as if that scene never happened. The closest we get is at the end Gwyn is like, “Look I’m learning to do make-up on myself to make you happy lawl!” Which is I GUESS supposed to be, “NO NO DON’T WORRY ALL OF GWYN’S GENDER STUFF WAS JUST THERE TO MAKE THE MAIN CHARACTER SEXUALLY CONFUSED WHEN SHE DISCOVERS GWYN’S TRUE GENDER! HER TRUE GENDER IS 100% CIS WOMAN CAUSE SHE DID MAKE-UP ONCE! IT’S FIIIIIIIIIIIIIIINE!” Like whaaaaaaaaat? And it ends on a very random scene which doesn’t really fit in with the rest of the story. Ugh just very bad do not interact!

A White Rose in Bloom

Story & Art by: Asumiko Nakamura Publisher: Seven Seas

At an all girls catholic school a young woman falls for a mysterious foreign student. I grabbed this cause it’s gay and I overall like Asumiko Nakamura’s work (she also does Doukyusei, double mints, and others.) However I was just not grabbed with this title. I just felt like I wasn’t getting what was making the MC pants on head obsessed with Steph. Also the lead’s mother tells her that she’s getting divorced and therefore will no longer have money to pay for the university and she’s framed like a super bad person for this. Like I get why the MC (a teenager) would think that something like that is THE END OF THE WORLD! But I remember them really framing the mom like a selfish bitch for this...when like...it’s well established that her mom and dad’s relationship has been toxic for YEARS and that they TRIED SO HARD to fix it. OH WELL! This might be good but it just didn’t grab me in the 1st volume.

I’ll make a post on the BL titles later! Take care and Stay Rotten!

#preorder #my androgynous boyfriend #kase-san and yamada #even though we're adults #Adachi and Shimaura #the girl I want is so handsome #white rose in bloom #our teachers are dating #breath of flowers #catch these hands #I'm in love with the villainess #Mizuno and Chayama #monologue woven for you #5 seconds before the witch falls in love

26 notes · View notes

gretchensinister · 4 years ago

Text

Little Souls and Careless Gods: An Exploration of Worldbuilding in Toy Story

Sid did nothing wrong.

Or, let me clarify. The things Sid did wrong were: taking his sister’s toys and modifying them without her permission. That’s it.

Hi, my name is gretchensinister and I have a lot of thoughts about the worldbuilding in Toy Story.

I should admit at this point that I haven’t seen Toy Story 4, only talked about it with someone who has, so if some of my questions are answered by that movie or if it torpedoes some of my speculations, that’s just—that’s just an imperfection of this essay.

I barely know where to begin, but, I started with Sid, so I’ll keep going with Sid. Sid is a kid. Sid is a jerk to his younger sister, but she’s freely yelling across the house tattling on him, so it doesn’t seem like she’s suffering irreparable damage from this. Other things Sid does: wins a squeaky toy for his dog in a claw machine game, blows up toys with fireworks, takes toys apart and joins them to other toys to make new toys. Burns a toy with a magnifying glass.

None of these things is an immoral action, for a person who, through all lived experience (until the toy attack) understands that toys are objects. It’s not bad to give your dog an object to chew on. It’s not bad (morally) to blow up an object with a firework. It’s not bad to take objects (that are yours) and make them into new, different objects. It’s not bad to burn an object with a magnifying glass. From the toys’ perspective, Sid is a sadistic mad scientist type, but from everything he could possibly know, his “torture” of Woody is messing around with an object! His object! That he got from a claw machine! The pretend torture as a choice of play is worth questioning, but it’s not so uncommon as a media trope that an average kid would never have seen anything like that in an action-adventure context. And it doesn’t predict how Sid will treat actual living beings!

(As an aside, I’m firmly of the belief that if you own an object, you should feel free to do whatever you want with it. Set it on fire, take it apart to see how it works, use it as raw materials in a craft project, etc. And yeah I would make exceptions to this rule for like, privately owned culturally significant art or scientifically significant artifacts…but if they’re that significant…they shouldn’t be privately owned.)

So yeah. Sid gets traumatized because he treats objects like objects, and the objects don’t like that. Because they’re actually alive and have now promised to constantly surveil him.

And let’s be clear: Andy doesn’t know toys are alive, either. He never does. He just has a different play style than Sid, and more of an interest in keeping his toys intact. Andy has no empathy with Woody and Buzz, because he is not aware that they are beings that he could empathize with.

All right. Beyond Sid, what I really want to talk about is the nature of a toy’s mind/soul in the Toy Story universe. I will call this the toy’s animus. Much like with the soul and mind of a human being, the animus raises several questions. How is the animus created? Where does the animus reside? Is the animus a tabula rasa, or does it possess innate knowledge? Where does this innate knowledge come from, if so? Is the animus mortal or immortal?

The Toy Story universe offers various pieces of evidence to answer these questions, and they are all extremely worrying if toys and humans are both morally significant beings, though humans do not know this about toys.

Is a toy mortal or immortal?

In the Toy Story movies it is clear that toys believe they can die. Sufficient destruction of the body would cause a toy’s death. Sid’s plan to blow up Buzz Lightyear with a firework threatens his life. In Toy Story 3, the toys in the trash incinerator clearly believe that burning/melting will kill them. But, short of catastrophic destruction of the body, toys are immortal. Jessie suffers, but does not die, from withdrawal of her owner’s love. Stinky Pete was never played with by a child, and he’s alive as any other toy. Additionally, human-mimicking toys are not killed even when damaged in ways that would kill a human, though this does affect their ability to communicate. In the tea party scene in Toy Story, the headless dolls wave when they are referred to. (This raises more questions—how does a headless doll experience the world? They can still hear, but how? Also, why doesn’t the headless teddy bear move? Perhaps they simply don’t want to get involved in whatever’s going on with Woody and Buzz.)

I think, according to what we see in the movies, the animus is divisible, and each part of the divided animus contains only a portion of the cognitive ability of the whole. Moreover, the animus is not centered in the head, but rather dispersed throughout the body. I would further argue that splitting the body/splitting the animus, is traumatic, even when reversible. Consider that Buzz’s mental breakdown coincides with the detachment of his arm.

What does this mean for Sid’s creations? Well, it would explain why they don’t talk. The baby-doll head with the spiderlike erector-set body (aside: is this a reference to The Thing (1982)?) really has no reason to be mute, if a toy simply must have a mouth to speak. Its form is unconventional, but, I would say, still “complete.” But if the head only carries an incomplete animus, and the erector set parts carry no animus of their own (an assumption which will be questioned later) then the whole toy would not have enough animus for verbal communication.

Janie the doll and the pterodactyl, with their switched heads, suffer significant disruption of their animi. Would their fractured animi eventually merge to form a new animus for each new body, with a different personality than Janie or pterodactyl? What part of the “Barbie” personality lingers in the animus of the toy crane with Barbie legs?

There is an exception to the concept of the fractured animus, however, and that is Mr. Potato Head. Mr. Potato Head exists in several parts to begin with, and mere separation does not fracture the animus. Curiously, though, some parts of Mr. Potato Head do not appear to contain any part of his animus, such as his plastic potato body. He retains all of his personality and ability to communicate when he has to put his features on a tortilla (?—don’t remember this part well) even though he is from an era of Mr. Potato Heads where his features are only meant to be put in the plastic potato body, not random foodstuffs. (Another question here: what would happen if an even amount of Mrs. Potato Head and Mr. Potato Head features were put on one plastic potato body? Do both animi retain coherence?) It is impossible not to wonder how far apart the features of Mr. Potato Head could be spread and the animus remain whole. At least as far apart as different buildings, as shown in Toy Story 3, but how much farther?

Creation of the animus and innate knowledge.

We are now about to embark on the specific topic that fills my thoughts now when I think about the Toy Story universe. I believe I will first fix myself a vodka cranberry (note: not just vodka and cranberry juice. To make it properly you must also add a splash each of orange juice and lime juice) and read a synopsis of Toy Story 4. Forky’s creation is a deep source of trouble here, and I must fortify myself to face it.

Where do I even begin? Okay. Bonnie, a kindergartner, creates Forky from items salvaged from the trash and names him. He comes to life after being named. According to the synopsis Forky then suffers an existential crisis because he believes he his trash and not a toy. So in this case, the animus appears to arrive after naming, and the animus is not a tabula rasa. The history of the materials appears to have some effect on the animus? (What this might mean for Rex or the plastic army men is especially concerning here.) It doesn’t make sense for Bonnie to think of Forky as trash, so this conviction has entered Forky’s animus from somewhere other than his creator. Also Bonnie has created sentient life without being aware of doing so, probably before being able to write a full sentence.

That’s troubling enough, because, to the eyes of adults or even older children, Forky is garbage. I project Forky’s lifespan of play to be that of months. And he won’t get passed onto other children. Depending on how Bonnie’s community disposes of trash, he may linger with an intact animus, at a landfill, for longer than Bonnie’s own life. It boggles the mind. (And invites hoarding in the empathetic.) However, despite all this, I would be cool with it if this was the only way toys became animate: being owned/named/played with by a child. That could be a complete worldbuilding conceit.

But that’s NOT how animi are generally formed in the Toy Story universe. Let’s back up to Toy Story. Buzz Lightyear has a personality and memories of his history as a space ranger right out of his box. And as we see in Toy Story 2, every Buzz Lightyear comes with that same initial personality. A commercial in Toy Story shows aisles upon aisles of Buzz Lightyears. Something has enabled the creation of thousands, if not millions, of identical animi. There is no direction this can go that isn’t kind of batshit.

Buzz Lightyear and the story that forms his memories were designed and created by adults. It was someone’s (and probably a team’s) job to design a toy that would be popular for a specific demographic, with (if I remember correctly) a cartoon that elaborates on the story and can basically serve as a long-running commercial for the toy. There were probably team meetings, and focus groups, and brand analysis to come up with the name “Buzz Lightyear.” And in such an endeavor, while I would like to imagine that there were some truly creative people involved who cared about the design and story, the people involved would not be the ones playing with the toys as toys want to be played with. And this is where every Buzz Lightyear animus comes from? But how? A manager or director approves the name and then…what? Is there a wellspring of animus that forms? Is it tied to the prototype? The factory workers in Taiwan don’t care about Buzz Lightyear the way Bonnie cares about Forky, and yet their actions in completing Buzz Lightyears call the animi to the plastic bodies. (And the animi are there, without a child’s touch. Stinky Pete was aware in his unopened box. Other toys opened a new Buzz Lightyear and got a living Buzz Lightyear.) And even leaving aside how the animi get into the Buzz Lightyears, the fact is that with millions of Buzz Lightyears out there, we have to conclude that the process that created his animus/animi is orders of magnitude more powerful than what Bonnie did to make Forky. Even assuming some personal care held by Buzz’s designers towards their design, it gets weird. The imaginations of adult toy designers are that much more powerful than a little girl creating and naming her own toy? NOT the way I would expect such a story-world to be set up, but the evidence is there.

And what if the designers of Buzz Lightyear weren’t particularly passionate? What if their boss just said “space is popular now, make me a space toy” and that’s the only reason why they did? That could very well be the case for a different type of toy in the series: the claw machine aliens. Those toys were not designed as a soulful passion project. I’m trying to write this to not be mean to designers who work in not-so-great places, but seriously. We have all seen generic toys in claw machine games before. They were not made to be immortally loved. (And yet! This is what the animus of a toy inherently desires!) Now, the claw machine aliens do seem to have much less backstory than Buzz Lightyear, and have personalities (or maybe just personality)/culture based on the nature of the claw machine. That makes sense, since they wouldn’t have been given a backstory with creation. The point is, though, that they still have animi. In the process of creating these cheap, cheap toys, by the dozens and hundreds and thousands, somehow their bodies were invested with full, identical animi. Adult, corporate creation somehow gives more life to toys than individual, child-led creation.

There are more questions to ask. If adults still have the power (and MASSIVELY MORE power) to invest toys with animi that they also possessed as children, then what can be invested with an animus? What are the limits of toy-ness in the Toy Story universe? Is it the name? I don’t think it’s the face, because there’s Woody merchandise in Toy Story 2 with Woody’s face on it that doesn’t talk. And I think that some faceless toys are shown to move independently/have an animus (possibly including things like LEGO—are the bricks a hivemind? Do the minifigs live inside sentient structures? Can they communicate with these structures? Also, if so, the erector set legs on Sid’s spider baby toy should have added to its total animus. But that’s not the corporate intent, so they’re still voiceless.). Christine (1983) could fit into this universe if the name is of primary importance (movie backstory for Christine, not book). But this would also mean that literally every boat and ship was sentient, but secretly so.*

If the name isn’t the important thing, is it the intent that the object be played with as a toy? In this case, that would mean that Bo Peep’s animus was not mass-produced, as she was originally part of a lamp if I remember correctly. Child-created animi would therefore be more common among non-toy objects than manufactured toys. I also want to bring The Brave Little Toaster (1987) up at this point. In this movie a group of appliances behave similarly to Toy Story toys in some ways, including being played with by their owner and then missing his attention to a high degree when he goes to college. However in this film all appliances and cars have animi, and I personally do not want my vacuum cleaner to feel any kind of way about me, or ever think I have played with it, because I hate vacuuming and would neglect it to death if feasible. (That being said…roombas in the Toy Story universe can hardly avoid being invested with animi, I imagine, no matter the details of the worldbuilding structure.) I bring this up, though, because Wikipedia notes that the original members of Pixar worked on The Brave Little Toaster. Toy Story was released in 1995 and was Pixar’s first feature length film. There is a connection, is what I am trying to say.

I think I have to go with: intent of the object to be a toy and/or being played with as a toy invests a toy with an animus. If it was the naming, then many, many public statues would be as alive as Woody and Buzz, and the people of Denver I’m sure have enough to worry about without Blucifer (Jiménez, 2008) galloping around. Bizarre to say that the least troubling option places mass production on a higher level of investing power than a child’s imagination. And I mean what I say about the mass produced animi being somehow more powerful than child-created animi.

Let’s go back to Sid’s creations. What is wrong with them? Why aren’t they able to communicate like Forky? Possibility 1: Sid just doesn’t have the creative power that Bonnie does. I don’t like this because, as I said at the beginning, Sid is not doing anything wrong by making these chimera toys. He’s treating objects as objects, and the difference between Sid’s chimera toys and Forky is that Forky’s component parts were not originally part of mass-produced toys. So, (from a worldbuilding/Watsonian perspective), I have to go with possibility 2, which goes like this: mass-produced toys are imbued with animi because they are toys. Sid’s chimera toys suffer from their animi being fractured when he alters them. But these fractured, mass-produced animi retain enough coherence and power that Sid, a child, cannot replace the fractured animus with whatever he imagines for his new creations. He’s an imaginative kid! But the corporate animus cannot be expelled. The factory animus is the underlying animus and cannot be removed once the toy is a toy. It can develop with memory and experience, but it will always be the toy making corporation that brought the spark of life, not the child that actually plays with the toy.

And this actually corresponds to Sid’s toys’ decision to rebel and help Woody and Buzz. Their animi are more loyal to the corporate intent that first created them. Sid made them into something new, presumably plays with them, and yet they are not Sid’s. They are meant to be read as broken and tortured (Sid has changed them from their factory-created wholeness), not as new beings. A factory-created, owned object, is meant to be held with the same level of care and maintenance of coherence as a living being in the Toy Story universe. What a child imagines about their own toys has less creative power than a distant designer who’s been told to come up with something appealing to put in a claw machine. Children only have animating power for their toys when they make them out of raw materials.

On the one hand, it’s tempting to say that of course the toys aren’t Sid’s, they’re their own people—isn’t that what having an animus means? But Woody, for example, find it very important that he’s Andy’s toy—a possession—“a child’s plaything.” Andy writes his name on him and this is very important to Woody, enough a part of his identity that when Andy’s name is painted over by the restorer in Toy Story 2 the scene reads as an erasure of something important to him, not as a restoration of his autonomy. Time and again we see that toys want to be owned by children.

This is another place where things get weird. First, I raise the question: What do toys need to keep animus and body together? Not much—only a certain baseline of bodily coherency. They don’t need to take in anything from their environment. More interesting, though, is that they don’t need anything from the children they bond to. Shelved, boxed, and forgotten toys suffer, but they don’t die from these states. No toy will ever find a toy’s corpse the way a human could find a human corpse—whole in every way except for the absence of the animating spirit.

So: toys as entities need little. The next question is then, what do toys want? Toys want to be owned and played with by a child (I say child and not children, because the communal state of the daycare in Toy Story 3 is clearly not desirable to the toys). Woody relishes his place as favorite and most played with toy at the beginning of Toy Story. In Toy Story 2 Jessie grieves when her child outgrows her. Stinky Pete was ignored by children for years, causing him to develop the abnormal belief that it would be better for the Woody’s Roundup toys to be preserved in a museum.

(At this point, I spot another thread to follow. It seems that for a toy, the most important relationship in their existence is meant to be toy + owner. In Toy Story Woody is very invested in making Buzz understand that Buzz is a toy and not a space ranger—Buzz is supposed to stay with Andy. In Toy Story 2 the consequences of not being owned by a child are grief and violence. But at the end Woody tells Buzz he’s not worried about Andy outgrowing him, since they’ll always have each other. Now, Toy Story 3 builds up Buzz/Jessie and in Toy Story 4 Bo Peep returns and Woody leaves Buzz and the other group of Andy’s toys for a life with her, but Woody also leaves the toy + owner life to be with Bo. Toys aren’t made to have an independent existence, yet this is how they end up, also acting as matchmakers to help lost toys find new owners and enter into new toy + owner relationships? THERE IS A WHOLE OTHER ESSAY HERE.)

To stay within just one rabbit hole here, however, I must focus on this: Toys want to be owned and played with by a child. They bond with child owners who do not deliberately alter their bodies (I add this because again, Sid’s toys do not appear to be bonded with him). But within this framework, there must be essential pain within a toy’s existence. Toys are immortal unless destroyed. Toys will experience actual play with a child for, let’s say, ten years, maximum, and that’s if the toy is given to the child when the child is very young and the toy is more classic/versatile than most. That’s way shorter than the best human friendships and familial relationships, and at least human beings can often reasonably hope to have lifespans that are of comparable lengths. Oh yeah, and among human beings people are usually AWARE of the relationship that’s taking place. So toys want to form deep bonds with their children and want to have these relationships last. But the relationships can’t last. I’ll gladly state that play, in some form, is necessary for humans to thrive throughout their lives, but the kind of play that the toys in Toy Story find ideal is a childhood phase of play that that most people naturally outgrow. And even if a human did engage in play ideal for toys throughout their entire life, toys are immortal unless destroyed. All toys will lose their owners, and usually after a pretty short handful of years.

The aftermath of the owner + toy relationship is always painful for the toy. What are the options? To remain owned, but not played with: perhaps the “best” option, but it still leaves the toy with only a memory of a full life. Is a shelf life really a life? This is what was facing Woody, I believe, if Andy had taken him with him to college. Another option: to be outgrown and forgotten. This is what happens to Jessie, and it is a deeply, deeply painful experience for her. She develops claustrophobia from being stored in a box. To be donated or sold at a garage sale: also a source of trauma and panic for the toys, but still better than the worst fate, to be thrown out. But toys that have been separated from their previous owners are so often grieving and/or bitter in the Toy Story series.

This is troubling, to say the least, but it also loops back to questions about the animus and memory. Toys are not tabula rasa. Buzz has a strong personality and memory set from his unboxing. Mr. and Mrs. Potato Head do not need to court each other. Tour Guide Barbie will act as a tour guide in the absence of children. But with time, and accumulation of true memories as a toy, the toys will develop their own personalities, even if the animus starting point can often remain a strong influence. In Toy Story 3, however, we learn that certain toys, such as Buzz Lightyear, can be returned to the original animus state through a factory reset. I hardly know what to do with this. It wasn’t a permanent reset; Buzz’s memories and the personality he’s developed do come back. (But now he also has access to a “Spanish mode” that is…sexier (can such a word apply?) to Jessie than his English mode. Also other toys can put him into his mode against his will. There are so many worms in this can. Sexualization of Latinx people, can a toy expect bodily autonomy from other toys, etc.?) But not every toy has a reset button. Woody doesn’t. Slinky Dog, Rex, Mr. Potato Head, etc. don’t. Does the threat of a reset only affect toys with bodily components that could be considered brain analogues, i.e., microchips? But the animus is not the “brain” and neither does the “brain” store memories/personality. I really, really don’t know what to do with this, except it seems once again to assert the ultimate strength of the adult/corporate-created animus.

The point is, toys can lose their memories, but when we see that in the movies, it leads the toy to go back to their earliest state.

Now: a mystery. In Toy Story, Woody has developed enough memory and personality that he is well aware of being a toy and is involved with the life of Andy’s room in ways that neither his sheriff role or Andy’s imagination reasonably encompasses. (Consider the “Plastic Corrosion Awareness Meeting.”) All right. This would be of no concern if Woody was a generic wild west doll, but he’s not. He was made to represent a character on the Woody’s Roundup TV show in the 1950s. He would have had an animus strongly imprinted with that backstory just like Buzz Lightyear had his strongly imprinted space ranger backstory. Well, then maybe this means that Woody just never lost his memory. That would be the best explanation. That’s why he has a personality mostly free from this imprinted backstory, having been Andy’s favorite toy for some time. But Woody has lost his memory. In Toy Story 2, Woody learns (learns!) that he’s a representation of a TV character. He meets Jessie and Bullseye and Stinky Pete without knowing who they are at all. Woody has somehow completely forgotten his origins. He experienced memory loss that brought him farther away from his animus starting point.

Okay, so there are multiple kinds of amnesia for toys; I was wrong in my earlier assertion that memory loss tends to the origin animus. But I want to keep poking at Woody’s memory issues because of something else that Woody’s timeline leads me to conclude: Andy is not Woody’s first owner, OR Woody was boxed up and forgotten for DECADES before Andy. Actually, he’s probably spent a significant amount of time in storage or on a shelf regardless of whether Andy is his first owner or not.

Toy Story was released in 1995. If the story is set in the present, then Andy is very close to my age. Now, Woody is “an old family toy” according to Toy Story 2, and Al, as a toy collector, was so thrilled and astonished to find a Woody at a garage sale that he stole him when he learned he wasn’t actually for sale. This leads me to the conclusion that Woody toys aren’t in continuous production. Woody was probably only manufactured during the height of Woody’s Roundup’s popularity, in the 1950s. So there’s two options for Woody’s ownership history. I’m also going to presume in both cases that Andy’s father was the parent that previously owned him, though there’s no reason why his mother couldn’t have been the owner.

So, option one: the young parents/young grandparents option. If Andy’s grandparents had his father when they were about twenty, and then Andy’s parents had Andy when they were about twenty, then Andy’s grandfather could have gotten Woody at ideal playing age and then later passed him down to Andy’s father and then Andy’s father would have passed him to Andy. I don’t think this is the case, though, because Woody still has his incredibly rare hat and a functional voice box. If Woody had been played with by a child at ideal playing age at the height of the popularity of his character’s show, I think it’s likely that he would have gotten played with so much (and taken to places so much) that he would have lost his hat and his voice box would have worn out. Woody didn’t start off life as a collectible, and play causes wear and tear on toys. And if Woody was originally the grandfather’s toy, then he would have gone through another round of play with Andy’s father. Woody’s condition is too good for that. Unless, that is, Andy’s whole family is made up of people who are unusually careful with their toys? That’s sort of an intriguing idea, since it means that Sid’s actions look even more horrifying by contrast, and generations of “ideal owners” for Woody obscure the bizarre nature of the life of a thinking, feeling toy. However, the Toy Story universe keeps raising questions in Toy Story 2-4 about what it means to be a toy, so there doesn’t seem to be a motivation in the series for such obscuring. This is despite the fact that Woody’s amnesia does obscure some things about the nature of a toy’s life, at least in the original Toy Story. (I know the Doylist perspective answers all this easily—this isn’t what the audience is meant to think about, Woody’s backstory as a toy from a 1950s TV show isn’t important in Toy Story, and in fact this backstory didn’t exist until Toy Story 2 was created.)

Regardless, I don’t think the young parents/young grandparents option is the right one. Instead, I choose option 2: the slightly older parents option. Woody’s Roundup is a TV show from the 1950s. It was popular enough to lead to a lot of merchandise, not just the dolls of the main characters. Brief research shows that in the 1950s television Westerns were incredibly popular, and there were Westerns made for kids and Westerns made for adults. The question I’m trying to get at here is trying to figure out how Andy’s grandparents would have known about a kid’s Western show. But, it’s really not that difficult. In this timeline I’m building now, Andy’s father would have been born in the 1950s, making him in his early-mid thirties when he became Andy’s father. Given this timeline, it’s overwhelmingly likely that Andy’s father has siblings, including older siblings, that might already watch Woody’s Roundup. Or, even if Andy’s father was the oldest child, it’s also overwhelmingly likely that Andy’s grandparents’ friends had plenty of kids of their own and probably talked among themselves about what kids liked. The significant thing in this timeline is that Woody would have been given to Andy’s father when Andy’s father was very young. Perhaps too young for a Woody doll, but perhaps also with the assumption that Andy’s father would grow into the doll. So Woody is unboxed and waits on a shelf for a couple years while Andy’s father grows a little. My theory is that Woody’s Roundup was no longer on television by the time Andy’s father was at the right age to start playing with a doll of Woody’s type. This would have two consequences. One: Andy’s father would have been unguided by the TV show in regard of how to play with Woody, meaning that Woody would have formed many memories unrelated to his original animus in this early stage of his life. Two: even though Woody was played with, he never was Andy’s father’s favorite toy, which is why he was able to be passed down to Andy in good condition (and still with his hat).

In this option 2, which I feel is more likely, Woody has probably spent at least 25 years on a shelf or in storage. So why is this important? I think it’s important because Woody doesn’t act like he’s been through the decades-in-storage experience, or the experience of having an owner outgrow him. He sympathizes with Jessie after learning her story, but he says nothing about having experienced anything like it himself. And as far as the movies are concerned, his worries about Andy outgrowing him are new worries. But they can’t be new! He’s already been outgrown at least once before! I mean, with Andy he’s a favorite toy, so that’s a unique owner + toy relationship status that he (probably) didn’t have before. Maybe that amplifies what he’s going through this time?

But there’s another aspect to Woody’s experiences that I want to touch on. All the other toys he would have known as Andy’s father’s toy are gone. There are no other “heirloom” toys in Andy’s room, or at least there is no evidence of this. All of Andy’s other toys seem to have been purchased just for Andy, and purchased new. There is no reference to garage sale trauma, previous owners, or anything like that. And as we’ve seen from other toys throughout the series, toys remember that kind of thing! But Woody doesn’t. His animus is one that shows years of experience building over his character backstory, but he never acts like he’s experienced being outgrown or losing all his toy friends.

Or at least he never says anything about such experiences.

I think it makes sense to read Woody’s amnesia as genuine. But I also think it would be reasonable to read his character as one that has undergone traumatic experiences and has responded by burying them so deep within his mind that he has no conscious access to them, even though they influence his current personality and life. (It’s impossible to know, but do toys in every household respond to birthdays and Christmas with such intense monitoring—with the desire for even the slightest early warning of replacement? Woody is the one who worries most about these celebrations, extremely anxious of his own status as favorite toy.) That the ending of Toy Story 4 removes him from the cycle of ownership and outgrowing can’t be ignored. Better to not have an owner than to experience losing an owner again, and again, and again?

But I do think there is one other possibility: Andy’s ownership of Woody caused him to lose all his memories of Andy’s father. A child may not be able to give a manufactured toy a new animus, but by possessing a toy in a play relationship (as opposed to a collector relationship) a child may be able to overwrite any memories of the toy’s previous owner. The process doesn’t happen instantaneously, as Andy’s toys don’t immediately forget him upon being transferred to Bonnie, but it would certainly explain why Woody makes no reference ever to a previous owner, even though he was most likely manufactured at least 35 years before coming into Andy’s possession. However, Jessie’s story argues against this. While she is happy among Andy’s toys, there’s nothing to show that she is forgetting her own past.

The possibility of a new child owner driving out all thoughts of the previous one is interesting, as it puts some degree of power over the toy’s animus back with the child. However, in the Toy Story universe, it’s clear that if this is the case, it’s not an instantaneous process. And if it’s not an instantaneous process, then it becomes overly complex. What memories would be driven out? For toys less adventurous than the main characters of the Toy Story movies, their whole lives are centered on their owners. They live in their child’s room/house. Anything that took place there would have to be forgotten to not bring up thoughts of the previous owner, including conversations with other toys that were friends of that first toy. At this point we approach a state of complete memory loss before the claim by a new owner. A gradual process would at least allow continuity of personality, since new memories under the new owner would be continually being made. But then, some new memories would have to fade, also. For wouldn’t a toy talk about their past while they could still remember it? And wouldn’t their new friends maybe bring up their past in conversation sometimes? They might even talk about the process of forgetting. That process would be noticed and known among toys. No, after thinking about it, I would say that there is no inherent forgetting process. Memories will mostly tend to stay, with whatever pain and joy they bring. And there will never be any transition process that is easy for the toy.

Woody’s amnesia remains his own, and remains his best defense against the trauma of being outgrown and shelved or stored for many years.

Toys have a strange and painful lot in life, semi-immortals being made to be silent companions to the briefest stage of a mortal lifespan. They live because they are made for children, but for most, in this world of mass production, children do not create them. Their animi are the spawn of creators who have no intent to create thinking, feeling beings. Escaping the stamp of such thoughtless creation means living long enough to know the deepest loss a toy can experience. Sometimes the only way to move forward from such loss is to forget. And yet, there is little will for most toys to move beyond this cycle. Toys overwhelmingly retain their roles as objects. I’d like to say that maybe this means that play is worth it, that temporary joy is worth it. But maybe it’s just the nature of being a toy. After all, if there’s any intent in their creation, there was the intent that they should be objects.

*I would never leave a dangling asterisk. My previous point was about ships and boats, but, if seagoing vehicles live because they are named, then there’s no reason why land vehicles would not do the same. It might be possible to argue that the Cars universe came about after some cataclysm wiped out humans and left only named vehicles behind.

Other avenues of investigation that were beyond the scope of this essay:

1) The situation between the Diamonds and every other gem in Steven Universe is highly analogous to the situation between humans and toys in the Toy Story universe, save for the crucial difference that the Diamonds have no excuse to not know that the other gems are complete feeling, thinking beings and to treat them as such. It was actually parallels I saw between Spinel + Pink Diamond and Jessie + her owner that got me thinking about aspects of the Toy Story universe in ways that I know are meant to be ignored. Also Pink Diamond bringing all those little pebble people to life just by crying on them. That’s a lot of responsibility coming from a solitary expression of emotion!

2) I’d be curious to know if a hugely popular series based on the agency of objects has had an effect on fan culture at all. Or it might at least be a way to examine actions taken on behalf of characters. Fictional characters, after all, don’t feel any kind of way about the situations and relationships people envision them in. They’re mental objects like toys are physical objects. In the real world is anyone going to argue that putting the faces of dolls or action figures together and making kissing noises is something to worry about? Is anything about putting a naked Barbie on top of a naked Ken a harmful act? In the real world I would say no. Also, with full awareness that this is a can of worms, what is the impact of such things in the Toy Story universe? Obviously this wouldn’t be addressed in any canon. But the Toy Story universe is supposed to be like reality with one big secret so there are kids that are definitely using their toys to play out love stories and stories including a vague understanding of sex. And another aspect to all this…if you’ve seen Booksmart, consider one of the characters’ uses of her childhood stuffed animal. I understand that this is not uncommon.

All right. I think I’m done now. And that I will probably go get another drink.

(I had a few baby dolls as a child that included their own toys as accessories. H—how would THAT work?)

#I've been out of school for YEARS and yet I was still compelled to write a long and slightly deranged essay in mid-December #Toy Story

155 notes · View notes

timeclonemike · 3 years ago

Text

Axiom Verge 2: Here We Go Again

So Axiom Verge 2 came out not long ago, but I don’t have a Switch and I don’t trust the Epic Games Store. Rather than wait and possibly get spoiled, I bit the bullet and watched a Let’s Play.

Consequently I can now build on this post. Cutting for length and spoilers right about here.

The Filter: The biggest revelation that AV2 provides is a refinement of the multiverse theory, plus defining some terms from the original game. Trace’s note next to his wheelchair mentions going upstream to the Filter or beyond for answers. As it happens, “upstream” refers literally to the Worldstream, and different universes are connected to each other in a serial fashion. The terminology used to describe the connections is upstream and downstream, with upstream leading towards the Source Worlds that are the progenitors of all other universes. Likewise, the Filter refers to worlds in the worldstream that function as firewalls and safety mechanisms to keep disruptive influences from downstream worlds from traveling too far up, since disrupting one world can damage all of the worlds downstream from that world.

We even get to see the Worldstream or some analog to it when Indra (the protagonist of Axiom Verge 2) travels to the Filter world upstream of Kiengir (which is either upstream of or parallel to Earth) and the background of the rooms is a MASSIVE fractal pattern originating from / coalescing into a singularity off in the distance.

There are also some notes from Trace to Dr. Hammond, his research partner in the cutscene for the first game who took Trace’s revolutionary theory and turned into a way to make Faster Than Light communication and computing technology. Dr. Hammond also finds herself in a unique position to test one of the possibilities implicit in Trace’s theory, namely if the existence of an afterlife is somehow accounted for in the multiverse. One of the notes in the first game says that different instances of a person across the multiverse can survive events that their counterparts do not, but that the survivors have no idea that they even have a counterpart who died.

What happens in the second game is more about what happens to the ones that didn’t make it, because Dr. Hammond is communicating with Indra through the prototype superluminal communicators (called ansibles) scattered here and there, but Indra can also find Hammond’s body and a suicide note in some of Kiengir’s ruins. Dr. Hammond refers to where she is as a sort of “detention center” that she needs Indra’s help to escape from, and this help involves hacking the control computer in the Filter world. An earlier message at an ansible mentions data throttling, which seems to refer to the memory limitations of the ansible prototypes themselves; they can only send so much data over their operational lifetimes.

Except there’s Trace’s original paper and the axioms he starts with, where reality is described as algorithms running a universal / multiversal simulation, and cognition is a sub-algorithm within the parent algorithm. Put it all together and the game all but states that there is an afterlife, but it operates on the same rules as life - it’s an adjacent or related universe to our own and minds / spirits / souls / cognitive algorithms can migrate between those universes under certain conditions even if the material body they used to pilot is no longer functional. At least, that’s what normally happens, but for some reason the transmigration of souls was limited or stopped or throttled. It’s semi-implied but never explicitly stated that there’s a trans-universal system in place to keep the Worldstream stable, and the Lamassu computer network that controls Kiengir is part of that network, and the fact that realities are starting to glitch and break down further implies that this system is damaged or overwhelmed.

Trace’s Motivations: Trace never shows up in the game, and only gets mentioned here and there in a few notes. The game takes place in the 2050s and Trace’s lab accident was in 2005, with Dr. Hammond starting Hammond Corp and making money hand over fist in 2007 by selling the world zero-latency computing technology. Hammond’s suicide note explains that Trace was already exploring the Breach before she started her company, but she hasn’t heard from him in decades and the entire antarctic expedition was just so she could try to find him again. She mentions a few things in passing that come up in the first game, like a device called a Scry that can locate anything in the multiverse, and the term PatternMind which Trace was but Hammond was not.

By itself, this would seem to imply that we don’t know anymore about what Trace saw or experienced that turned him from a pacifist to somebody willing to commit genocide. But there’s another factor in play, one that has nothing to do with Trace at all at first glance.

At a certain point in the game, Indra gets stuck in her alternate drone form until she finds the right upgrade to become human (well, humanoid) again. She can still communicate with people, such as the survivors from Hammond Corp’s expedition and one of the Kazakh members of a Russian expedition that came through the portal and decided to settle a world upstream of Kiengir. However, coming back to revisit those areas and talk to those survivors later may result in them not being in the same spot anymore. Instead, there’s a sort of flying enemy that looks like a miniature version of the first boss of Axiom Verge. People who examined the game’s code found that there is actually an “infection” mechanic involved based on time elapsed since Indra comes in contact with the survivors.

That the survivors turn into the types of monsters we see in Axiom Verge 1 is significant on its own, but it takes on more importance when we consider the endgame cutscenes. The Kazakhs have settled and colonized an upstream world, while a few of them are staying in an adjacent world where time passes differently; this is explicitly so that they can observe and track the changing of society over long spans of time and direct its evolution. After beating the final boss, Indra decides to team up with Drushka, the leader of the Kazakhs and a name mentioned in one of the notes found in Axiom Verge 1, in order to further her own goals.

Here’s the thing: What we see of the world that Drushka is standing watch in, called The Emergence, looks so similar to what we’ve seen of Sudra as to be almost identical. Given how time is explicitly stated to pass at different rates in different parts of the Breach compared to the worlds in the Worldstream, it isn’t out of the question that the Kazakhs were the ancestors of the Sudrans. The only problem with this theory is that long before anyone from earth showed up in Kiengir, the Lamassu had upstream technology brought in to allow the locals to defend themselves, as part of its broader directive to safeguard the Worldstream from disruption. Some of this technology included Rebirth Chambers - Indra even accesses the Filter through one - which was later destroyed to prevent too much cultural contamination. That technology had to come from somewhere, so either the Kazakhs inhabited a world adjacent to Sudra or downstream from it so there were similarities in art and culture and architecture, or the Rebirth Chambers and other advanced technology were themselves brought to Sudra from upstream worlds and simply shut down rather than completely destroyed after the Sudrans nearly wiped themselves out.

In either case, the important part is how Indra is subtly implied to be some sort of nanotech Typhoid Mary. She might be the actual source of the Pathogen that wipes out Sudra, not Athetos. In hindsight there is a hint to this effect in the first game because after Trace starts getting sick and hallucinating, there is a Rusalki called Ophelia that saves him. He doesn’t have any symptoms for the rest of the game, implying he is cured. If it was something unique to Trace that made him immune, he wouldn’t have gotten sick in the first place and neither would Athetos. Same with him getting better, if Trace could do it so could the original. So it had to be something unique to Ophelia that she couldn’t - or wouldn’t - do for anyone else.

And during Axiom Verge 2′s credits, we see a detailed close up look of Indra’s nanotech-enhanced body. The face and head look a LOT like Ophelia. Not conclusive by itself, but too similar to be completely shrugged off as coincidence.

And that has got me thinking.

I ended my first post pondering what Trace could have found in the Breach or while traveling the multiverse that caused a pacifist scientist to turn to genocide to achieve his ends. It’s possible that nothing could, because he didn’t. Maybe Athetos didn’t release the pathogen on Sudra, the Rusalki did; it’s shown in the notes that they resented the way that the Sudrans crippled them and reduced them basically to talking heads, but still had some influence over what was going on either through manipulating the priests or through exchange of data that the Sudrans were unaware of or incapable of understanding.

Athetos refers to the Rusalki as masters of war just before the final battle of Axiom Verge 1. He might have shown up at Sudra thousands of years prior to the events of the game as Trace, gotten healed, traveled up to the Filter to try to learn more, and then come back after the flow of time had changed to find a civilization on the verge of collapse from a virulent contagion that turned people into monsters. Trace may be a pacifist, but he will still use the Axiom Disrupter and all of its bells and whistles to protect himself in game. It’s entirely possible that the original realized that the Rusalki were trying to escape Sudra and would cause devastation throughout the Worldstream, and he applied his knowledge to create weapons and tools to turn himself into a one man army once he realized he couldn’t cure the pathogen. (Or maybe he did try to come up with a cure, and the Rusalki’s retaliation / interference was what made him realize what was actually going on.)

He doesn’t say any of this before his boss fight because he realizes that Trace and the Rusalki have the advantage now. Trace can keep coming back using the Rebirth Chambers, so Athetos has to come up with contingency plan. The secret ending shows Trace in a Dream Algorithm set up by one of the Rusalki, but Athetos shows up and shoots him, telling him it’s time to wake up. During his boss fight, Athetos shows the ability to manipulate the environment to a certain degree, spawning in new enemies and replacing power cells for the Breach Attractor when Trace destroys them. It’s not clear if this is a result of Sudran tech of being a PatternMind, but whatever the reason, it’s possible that Athetos was doing all of it to buy time.

Time for what?

To hack Trace’s Nanogates so that the Rusalki couldn’t control him anymore.

Trace keels over not long after the final battle, but Athetos showing up with a gun implies that Athetos was able to at least get a Trojan Horse into the nanogates that would wake Trace up when the remote overrides were disabled. Then Trace could wake up, find all his equipment again, and take the fight to the Rusalki before they could cause too much damage to the Worldstream, possibly including Earth.

The only truly glaring flaw in this theory is that it doesn’t account for why Indra would side with a bunch of genocidal robots, one way or another; she refers to the storage bay in Axiom Verge 1 as where “our bodies” are kept, and these are massive war machines, while her humanoid nanotech form is about human sized. The Lamassu refers to some fairly devastating war machines from upstream worlds and the Rusalki might just be those machines; she was heading to the world they were stored in because it might have the technology to restore one of her Apocalypse Arm upgrades - the child Damu that controls her drone body - to a flesh and blood body that can live a normal life.

There is a big gap between trying to help this kid she found and teaming up with sentient weapons platforms to devastate the multiverse. At least as big as the gap between Trace being a pacifist and Athetos committing genocide.

Like so many sequels, Axiom Verge 2 has raised even more questions than it answered.

#Axiom Verge #Axiom Verge 2 #Analysis

19 notes · View notes

bumirang · 3 years ago

Text

Turtle, Duck, Dragon, Horse: Ch. 8 excerpt

It’s a chilly afternoon when Bumi sits in on Hana’s worst training session since she arrived at Air Temple Island.

Under Jinora’s supervision, she and six other novitiates were walking the circle in a coordinated effort to create a sphere of solid wind nearly twice her height. Intimidating, but she’d managed it before. She actually wasn’t doing too terribly, until she caught sight of him out of the corner of her eye. Maybe it was excitement or performance anxiety or just the distraction, but that’s when it all went wrong. She immediately fell out of step with the others, but the more she tried to correct for it, the more unstable their formation became, until the sphere was a roiling squall-ball they were struggling just to contain.

Master Jinora stepped forward and summoned a gust with thought alone. “That’s, uh, impressive, but if you’ll slow down and back away, I can safely disper—”

Then it exploded, with a roar like a thunderclap in reverse. Thankfully, they were shielded from the worst of it by a barrier whipped up by their teacher, but it was a close thing.

Hana’s ears are still ringing when she makes in Bumi’s direction, ignoring the accusatory glances from her fellow novitiates. It’s obvious to all of them who messed things up, but they can’t prove anything, so whatever. Bumi, in contrast, just waves happily, absentmindedly petting Bum-Ju on his shoulder.

She stops five feet away from him and plants her hands on her hips. “What’re you doing here?”

“Hi to you, too,” he replies, slightly offended.

“Sorry, that sounded… I mean, did you need me for something?”

“Nope.”

“So, what, you popped by to watch me be a screw-up?”

“Well, I like to get a feel for where the newbies’re at. Didn’t think you’d be out with ‘em.”

She deflates a bit. “You saw how hopeless I am. I’ll be stuck with the newbies forever at this rate.”

“Nooo, no… Your bending’s just, uh, chaotic.” His smile is wide but not very convincing. Oh no. He’s trying to be nice. Her face burns at the realization. Pity is the last thing she wants from him, of all people.

He continues, “Form was great, though. Right, buddy?” He glances at the dragonfly-bunny, who shrugs. “Yeah, he thinks so, too.”

“…Thanks.” She stares past him, at the ground, wishing she were anywhere else. At the same time, Bumi’s easily her favorite person on Air Temple Island, and it’s usually such a treat being the focus of his attention. If only she could be anything other than a pathetic misfit in his eyes.

He puts a hand on her shoulder. “Hey, kid, don’t get hung up on it. We’ll figure it out.” His voice has gone all serious, worried.

“You don’t have to… be nice to me.”

“…Huh?”

“Because you feel sorry for me. I don’t want…” She feels her eyes flood with hot tears. In a panic, she slaps a hand over her face, harder than she intended. “Ow.”

Bumi clears his throat and calls over her head, across the courtyard, “Hey, Jinora, gonna steal Hana for a bit!”

“Oh, we’re all done!” she calls back, sounding less rattled than she probably feels. “No theft required.”

“Great! Seeya at dinner!” His hand slides down to Hana’s arm, sending a wave of goosebumps shivering along her shoulders and neck. She almost jumps when he mutters into her ear, “I know a good place to talk. No lookie-loos.”

Then they’re hurtling through the air, and she forgets about her shame for a sweet thirty seconds. His grip on her arm is firm, but she latches onto him anyway. Just survival instinct, she reminds herself, as she hears him laugh with her ear against his chest. He wraps an arm around her then, and she feels safer than she ever did on the ground.

Bumi sets them down in a little grassy clearing on the eastern edge of the island. It’s not far from one of his favorite places to have class, but without any obvious paths to it, you’d have to survey the island from the air to even know it exists. Or just know its layout like the back of your hand. It’s late afternoon, leaving most of it in the shade from nearby trees. What sunlight there is glows gold on dead grass. Framed by two stunted trees jutting from the cliff’s edge is the skyline of Republic City, painted gold as the grass. Bumi pulls a little ta-dah pose in front of it, which gets a smile out of her.

“That’s more like it,” he says, wearing his own smug grin. “Now what was that about you not wanting me to be nice?”

“I just meant…” She grasps at the air, like the words she needs to complete her thought are buzzing around her. “I don’t want you to feel like you have to go out of your way. For me.” It seems like a moot point now.

“Why not you?”

“I’m not cut out for this. You’re wasting your time.”

He laughs softly to himself and crosses his arms. For a moment, Hana’s terrified that he might be mocking her, but when he looks back up at her, his eyes are kind, and a little sad. “I know how ya feel,” he says with a shrug.

“How could you poss—”

Bumi just raises an eyebrow at her, and she slaps her hand over her face again. It stings worse than the first time, but she figures she deserves that.

“Fu— Nngh! I’m such an—” Hana drops down onto her haunches, holding her throbbing face in both hands. Maybe with enough pressure, she can shove the tears and snot back where they belong. “I’m sorry. Please don’t be mad.”

She hears him sit down across from her. “M’not mad, kid. Like I said, I’ve been where you are. More or less.” She steals a glance at him, seated maybe a foot away and wearing the city itself like his own personal aura. “I see you busting your ass to do what comes so easy to others, and I know what that does to ya. Shame and doubt. Anger. A lot of anger. It can make ya feel worthless…”

She nods and eases into a cross-legged sit, mirroring him.

“S’not true, though. Everyone’s worth something. You’re worth a lot. Trust me, I’ve got an eye for talent.” Bum-Ju, who’s been hovering at a respectful distance, picks that moment to park himself on her head. “See? So does he.”

Hana wipes her runny nose, trying to hide it at first, but Bumi’s expression is so genuinely affable that she feels silly for thinking he might judge her. He’s on her side. A goopy face won’t change that. For lack of better options, she wipes up with a sleeve.

Hands dry, she reaches up, tentatively, to pet the dragonfly-bunny. “Is it okay if I…?”

“That’s up to him.”

The spirit doesn’t flee at her touch. In fact, he leans into it. She gasps as she runs her fingers through his fur, which is easily the softest, silkiest texture she’s ever felt, like yarn spun from cloudstuff. To her surprise, he gives a happy little chirrup and plops into her lap, landing on his back.

“He says to tell you he wants belly rubs.”

“Heh. Okay.” Petting Bum-Ju is supremely soothing, like lemonade on a summer’s day. His quiet little chirps merge and blend into a purr, and she smiles again. How could she not?

“It… It’s humiliating. I knew training wasn’t gonna be easy, but this is like being a little kid all over again.” She runs a finger along the edge of one of the spirit’s strange insectoid wings. Like the fur, it doesn’t feel entirely substantial. “I was supposed to be an earthbender, y’know.”

“Yeah? Says who?”

“…My dad.”

“Hah! Ain’t that always the way?”

“Heh…”

“You don’t give me earthbender vibes at all. You’re too… squishy.”

Her head shoots up to glare at him, and she notices how the sunlight’s shifted since they arrived. Twilight’s creeping up fast. “Did you just call me squishy?”

She’s caught him off-guard, and he blushes at the unflattering implications of such a word choice. “That’s to say… Well, the way rocks aren’t, right? Does that make sense?”

“No…?”

“You’re, I dunno, airy.”

“So I’m squishy like air…?”

Bumi runs a hand through his hair in actual frustration. “Forget I said you were squishy!” He looks relieved when she giggles and clues him into her teasing.

“My point being,” she continues blithely, “I may be the worst airbender here, but I had no earth talent whatsoever. Dad was not pleased. I never even wanted to do it, except to please him.”

“Sorry.”

“I have a little brother, though, and he’s brilliant with earth. Stone, glass, metal. You name it. Guess it worked out for Dad in the end, but I always… Even though it was crazy, I always wanted to fly. Not in an airship, but like the birds do. It never seemed fair.” She winces at how naive that sounds. “After Harmonic Convergence, I thought, y��know, finally. This is who I’m supposed to be.” Sympathy fills the lines around Bumi’s eyes and mouth, and she looks back down at the fuzzy spirit in her lap. She gives him some experimental chin scritches, which seem to go over well. “But it’s been more than three months now, and I’m still… I’m just a screw-up.”

“You’re the best teaching assistant I’ve ever had.”

Hana blinks. “Aren’t I the only one you’ve ever had?”

“Nah, I used to spend summers teaching new recruits arts ‘n’ crafts.”

“That doesn’t make any sense.”

“Says somebody who has no idea how boring it can get on a tour of duty! Keeping your hands busy staves off Sea Madness. And fistfights… Well, that is until somebody badmouths another guy’s macramé. I’ve been called as a witness at some crazy court martials, lemme tell ya.”

“I… Wow, okay. I guess you’d know.”

“And before I forget, let’s get one thing clear,” says Bumi, leaning forward and pointing right in her face. “I like being around you. Aren’t we friends?”

What’s the appropriate response to that? “You… friend… with me?” Well, it’s definitely not that. “I guess I didn’t… I thought you were just trying to figure me out. What’s wrong with me, I mean.”

“That, too, but hey! We have fun, right?”

“Yeah?”

“There ya go! Friends!”

She laughs. She can’t help it. Seeing the way Bumi’s face lights up only makes her laugh harder. Bum-Ju launches clear of her lap as she doubles over. Collapsed on the grass, she finally admits, “Okay! We’re friends! I guess!”

“So…” Only when she sees his shoulders relax does Hana realize how tense he’s been this whole time. “You always wanted to fly, huh?”

“Oh, yeah. More than anything. Thought I could grow up to be a bird if I put in the effort, but I was forced to develop an overactive imagination instead.”

“Sounds like a fun story.”

She pushes herself back into a sitting position and picks bits of grass out of her hair. She could do with a trim, now that she’s thinking about it. “Not a whole lot to tell. I was basically a toddler, and I don’t remember much.”

“Yeah?” Bumi’s grinning at her. He grins a lot, to be fair, but he has a different style for every occasion. Goofball, smart-ass, encouraging, nervous, and so on. This is a pure look of amused contentment, just for her. It makes her feel all gooey inside, but in a nice way, no snot involved.

“Hm. Well, okay. Mom did tell me about one time she found me eating worms out of the garden.”

“Hah! What’d it taste like?”

“Slimy dirt, probably? I only know it happened from Mom. Like I said, toddler.”

Bumi scratches his neck and looks off to the side, like he’s debating something with himself, then says, “I jumped off cliffs a lot.”

“Wow. Dark.”

“Into the water! Got pretty good at climbing. Diving, too, but that’s just, y’know, falling with style.”

“Umbrellas.” He looks at her expectantly, eyes glittering like chips of ice. They might be the palest she’s ever seen, and if they aren’t the most beautiful, they’re definitely in the top five. That’s a strange thought. Despite his age, he’s actually quite handsome. In fact, the wrinkles themselves emphasize his features in a way she didn’t realize she appreciated until just now. They tell a story of a life well-lived.

A quirk of his eyebrows reminds her that she’s in the middle of a conversation, during which she’s just said “umbrellas” and stared at him for ten seconds.

“W-well. Um. I saw this character in a storybook who flew around with an umbrella, so I found the biggest one I could and ran down the street, screaming my head off the whole time.” Hana feels herself blush at the admission. “That part seemed important for some reason. I was, like, five.”

“How’d that go?”

“As I recall, I broke the umbrella, and several people called the cops. They thought I was escaping from a murderer or something. Can’t imagine why.”

Bumi just laughs. Hana revels in it until he quiets enough to keep telling him embarrassing things about herself.

“Then there was the time I spent a month collecting loose feathers around my neighborhood and stuffed them all in my shirt,” she says, with a bit of added pantomime. “Was gonna jump out the apartment window, but I chickened out.”

“So… it worked?”

“Shut up. You are horrible, and I hate you now.”

“Minus 57 points for disrespecting your elder.”

“Hey, it’s not my fault they dress me like a giant baby.” She tugs at a corner of the scarlet shawl sewn around the shoulders of her standard-issue Air Nomad pajamas. They both snicker.

Then Bumi sits up straight like he’s been struck by lightning. “I got it!”

“Hm?”

“A wingsuit. Try one on!”

“That’s not really allowed unless you’ve qualified, though.”

“Eh, if you get in trouble, I’ll smooth it over,” he says with a little hand wave. “It could be just the confidence boost you need to get over whatever mental block is tripping you up.” He gestures at his own outfit. “Think about it. The right uniform can totally change how you see yourself. And I should know.”

“That’s a good point, but…” Hana shrugs and makes various non-committal noises. What she doesn’t mention is her discomfort at the snugness of the wingsuit’s fit. As ridiculous as the pajamas look on her, they’re at least loose and comfortable. Squeezing into a skintight flight suit to practice—probably clumsily as ever—is just another humiliation waiting to happen. It does give her an idea, though.

“Remember when I told you how I’ve had a bit of Kyoshi Warrior training?” she asks with a little smirk.

“I remember you not flipping me, even after I asked nicely.”

“Well, I might still have my fan lying around somewhere…”

#text #bumi ii #lok bumi #lok fanfic #fanfic #tddh #oc hana #hana #hanumi #yes i'm shipping bumi with my oc fight me

16 notes · View notes

prometheanglory · 4 years ago

Note

hi! who’s shiori if you don’t mind telling us?

shiori would be my old enstars oc! shiori abe, if we’re being specific — he was the leader of my old fan-unit, maboroshi !

content warning ⚠️ : briefly mentions suicide

hello. hi :-) welcome to the ramble pit. i only have old art of him but here’s the most recent-ish?

a soft-spoken and gentle boy of... notably astonishing stature, despite his incredibly feminine face and delicate build (being 194cm). he has a very lonely and melancholic atmosphere about him — few people talk to him and seldom does he talk to others if he doesn’t have to. shiori is of a notably toothless disposition — he doesn’t seem to have much room in his body for any aggression or anger at all. i would even go as far as to say that he has a very defeated mindset (or maybe a far too willing sacrificial lamb).

in typical enstars fashion... nothing about any 3rd year student is clean and simple, shiori is no exemption ! his entire premise is centered around grieving and learning to let go of the dead (be it himself or others.)

the dead being referenced is best summarized as the ‘past’ for shiori. maboroshi is not actually his first unit — he was a formed member of a two-man unit called ‘fantôme’ with another fellow student, ren satou. fantôme is no longer an active unit, seeing as shiori would later disband the unit after ren’s passing.

ren is actually meant to be that student referenced in knights’ starfes event (the one that confessed to naru, before subsequently becoming incredibly disillusioned in eichi’s war and taking his own life)

it is critical to shiori’s character to mention the presence of love. he loved ren, romantically and platonically to the point where he was entirely willing to be crushed alongside him in fantôme’s final stand against eichi’s new system (granted, he knew that ren didn’t feel the same type of love back but shiori wasn’t seeking romantic reciprocation from ren — he just wanted to love ren.)

fantôme is actually based around the phantom of the opera... except i take it and i spin it on it’s head 🤪 erik who is transfixed with christine is played relatively straight (at first) by ren who is one of the first people to ever validate shiori’s beauty — however the plot would later be turned on it’s head as the tragedy unfolds. ren and shiori ultimately switch roles in who is the phantom and who is christine. where christine dignifies the innocent monster that is erik by extending her love to him, ultimately gracing him with humanity... the same is not applied to ren and shiori. shiori exists as the innocent monster that was not granted the mercy of death, and instead he must grow to learn even the most crippling aspects of what it means to have a heart so human.

maboroshi is actually a relatively new unit... and is still pretty underground (nice pun)... they have a rather traditional and supernatural feel to them — a recognized charm point of their shows are their distinguished elegance and grace!

the unit is comprised of: shiori abe, yasu hisakawa, and michi kurama.

the entire.... ‘why was maboroshi formed’ is kinda long and im now realizing how much of a spider web my entire maboroshi plotline was but 🤪 TEEHEE the summary of it essentially is michi (who’s greatest flaw is in the fact that he is such... a charismatic trailblazer that he continuously tramples other people and leaves them broken) ends up trampling his own friend (the only friend who had managed to cling on for this long to michi... in other words, yasu).

yasu is... ironically, best known for how little of a presence he has — michi, wataru, and shiori are the very very few people who have ever managed to remember yasu extensively. when he is trampled by michi, he begins to crumple under the pressures of eichi’s war; he is being pushed to the same edge as many other unfortunate students of yumenosaki academy .

shiori is brought back to yumenosaki with a desperate plea from michi to please save his friend — michi can’t bring yasu to listen to him alone, and michi isn’t at all capable enough of talking to him. in the end, it results in the very shaky foundations of maboroshi, a trio of three boys who have always existed outside of the image of what it means to be a sparkling idol and have been left for dead in eichi’s war for perfection. it seems they all have a lesson to learn in reanimating their corpses.

that wasn’t short at all. but anyway. theres probably more to talk abt concerning shiori (and maboroshi as a whole... and then some) but i have weasel brain and a plate of corn dogs so ✌️ until next time

#v speaks #answers #LMAO TY FOR ASKING... i was abt to ask where u knew shiori from but then i realized.#everyone give a round of applause to masen for making me unearth this big ass premise that i cant even formulate the words for

26 notes · View notes

henshengs · 4 years ago

Text

About Rule 63 fanworks

I was asked yesterday to elaborate on my genderbend opinions, as a trans person, which I’m happy to do, and I’ve thought about it a bit today to make sure I’m not saying something off the cuff and not thought through. Still, this is a sensitive, complicated topic, and I’m open to discussion on it.

This also got long, so I’m putting it under a cut.

So, obviously I can’t speak for all trans people. No minority group is a monolith in our opinions and this is particularly the case for the transgender community because our experiences are so very diverse and individual.

I am very rarely hurt or offended by genderbends/genderswaps/rule 63 fanworks. I know people for whom this is not the case, and I believe the pain involved is very real. The thing is... living in this world is inherently kinda painful when you’re trans. This world’s not built for us. All kinds of random things can cause me pain throughout my day. Store mannequins. My own reflection. Lesbian poetry. Pictures of other trans people. When something triggers my dysphoria or feelings of alienation, I have to stop, acknowledge the feeling, and then consider whether the thing is, outside of hurting me, contributing to the ignorance of and hatred of people like me by its very existence.

I don’t think the basic act of asking, “What if this character who is a cis man, was a cis woman instead?” does that. I think if anything, it opens the door to then ask “what if he was a trans man? Or a trans woman? Or nonbinary?”

Asking “what if this story was about a cis woman” lets cis women talk about their experiences and see themselves in stories, something I think is valuable! and also can lead to stories exploring sexism and misogyny, things which affect all trans people too!

In the rest of this post I’m going to use the terms “rule 63″ and “genderswap” to refer to the act of creating a fanwork changing a cis/presumed cis man to a cis or not-specified-to-be-trans woman, because this is the vast majority of the work under that label, because most fictional heroes and iconic characters are cis men, and because people who create cis man->trans woman or cis woman->trans man content, in my experience, usually use terms like “trans headcanon” instead.

(A lot of rule 63 fanworks don’t explicitly specify that the now-female character is cis. We can presume that most artists aren’t even thinking about the possibility of the character being trans, but we can presume that for 99.99% of all art, anywhere. It’s not a unique evil of rule 63.)

The claims that rule 63 is inherently transphobic, rather than just something where it’s good to be extra careful to avoid transphobia, as far as I’ve seen, use two arguments: A) that making the character a cis woman is wasting an opportunity to make them a trans person, and this is transphobic, and B) that rule 63 fan art is gender essentialist and cissexist, because it ties gender to physical characteristics.

Argument A doesn’t hold up for me,

because couldn’t one then say that reimagining an abled white cis character as an abled white trans woman is racist and ableist? that reimagining them as an abled trans woman of color is ableist? No transformative reimagining can cover every identity. We say “write what you know” and talk about Own Voices, and that includes cis women who want to write about the experience they know.

It’s also not fair to tell trans people that we must always think about trans experiences, even in our fiction. A lot of the time we don’t want to have to write or think about dysphoria and discrimination and we want to live in the heads of cis characters or even just characters whose AGAB is not mentioned!

And it is also, imo, not a great idea to pressure people who may not be educated about trans experiences to write about trans characters just because they want to explore sexism or write about lesbians.

many, many trans people first begin exploring their gender identity through creating cis rule 63 content, because it’s ‘safer’ than directly engaging with trans content.

With argument B, I agree that a lot of rule 63 art looks like this

and this sucks. To me, though, it’s important that it’s not the genderswap aspect that makes it suck. Artists who do this are also designing original characters with sexist, gender essentialist designs. Artists who don’t draw sexist art in general, also don’t draw sexist rule 63.

(yes, I know She-Hulk is not a rule 63 of regular Hulk. But you guys know the kind of art I’m talking about.)

I’ve also noticed a genre of fanfic that’s like, “if these characters were girls, they’d be sensible and conflict avoidant and none of the plot would happen!” or “what if these violent, tragic male characters were Soft Lesbians who braided each others’ hair” and again, I assume these authors write canonical women the same way. The genderswap part isn’t the bad part, the sexism is.

Non-sexist rule 63 actually, in my opinion, fights gender essentialism and cissexism. When a character is exactly the same except for the ways a gender essentialist world has shaped and pressured them based on their AGAB, that’s a strong statement on the constructed nature of gender!

But the argument that making /any/ change is gender essentialist, is... I understand where it’s coming from. I am a trans person who presents androgynously and I am a hypervisible freak because of it. I would love to live in a society where visible gender markers weren’t a thing! Unfortunately, we don’t live in that society. We live in one where we are constantly under pressure to conform to one of two profiles. There are almost no gender non conforming male characters in popular media. And changing a gender conforming cis man into a gender conforming cis woman seems to me to be a neutral action at worst. Not to mention characters from historical canons, who would be under a ton of pressure to conform.

For physical body type characteristics... 65% of all speaking roles in Hollywood are cis and male. It’s harder to get statistics on other forms of media, but it’s undeniable that overall, most stories are told about cis men who do not have breasts or wide hips. Changing the story to be about a cis woman who has those features is introducing more diversity!

I typed “rule 63″ and “genderswap” into the tumblr search bar today, and I saw a lot of art of women with a variety of aesthetics and body shapes and characteristics, who looked like people I’d see out at the mall.

Again, I sure do wish we lived in a post gender society. But we don’t, and in our society, everyone, myself included, looks at a picture of a person and gender categorizes them based on appearance. It is not wrong for someone to draw “Geralt the Witcher as a hot butch woman” and give her some physical markers generally agreed upon to denote ‘butch woman’ rather than ‘gender conforming man’ to tell the viewer that that is what they have drawn. Just as it is not wrong to draw “my OC who is a hot butch woman who fights monsters” and give her those markers.

Finally, both arguments against genderswaps are, in my opinion, flawed because they implicitly posit the act of creating fanworks of the original, cis male gender conforming character design, as neutral. I think this is incorrect. I think that if you’re going to argue that drawing a cis male character as a cis woman is transphobic, you have to also argue that drawing the character as a cis man is transphobic. But I’ve only seen people do this when a trans headcanon becomes extremely popular in a fandom.

Again, I’m just one person. I’m also biased, because firstly, as I mentioned, rule 63 doesn’t usually trigger my dysphoria; secondly, I almost always come down on the side of “don’t limit what people can explore in fiction; ask them to explore it more sensitively or with more content warnings instead.”

I definitely encourage creators to seek out and listen to a variety of trans opinions. But this is mine: I love rule 63, I make a lot of it myself, and I think if no one created it we’d lose something awesome.

At the end of the day, what I really want is more trans content*, but I’d rather have cis rule 63 than just stories about cis men.

Also: I personally have nothing against the terms genderswap or genderbend. I don’t think it reinforces the gender binary to acknowledge its existence by saying you’re ‘swapping’ the character from being cis with one AGAB to being cis with the other. But I can definitely see the argument against it, so I don’t blame anyone for going with rule 63 instead.

If you made it this far, thanks for reading; I hope you have a nice day, and have fun creating and consuming the fanworks your heart desires. I’ll end by linking this comic, which is just eternally relevant.

(*by which I mean: trans content created by other trans people, that matches my hyperspecific headcanons, likes and dislikes, and doesn’t set off any of my often changing dysphoria triggers. See what I said at the start, about transgender existence being constantly mildly painful. There are many awesome aspects to being trans! This is one of the less awesome.)

#rule 63

61 notes · View notes

shireness-says · 4 years ago

Text

A Fate Woven in Thread and Ink (2/5)

Summary: Two people are trained from childhood for a magical competition they don’t fully understand, whose stakes are higher than they imagine, all to be played out in a magical traveling circus. Falling in love complicates things. A CS AU of the book “The Night Circus”.

Rated M. ~16.5k. Also on Ao3. On Tumblr: Chapter One

A/N: I’m back! Thanks for your patience in waiting for the latest chapter of my @cssns piece. My apologies for the wait; these chapters are slow in coming due to my own overthinking and perfectionism, what I know where everything is going and this Will Be Finished.

Special thanks to my betas, @snidgetsafan and @ohmightydevviepuu, and to @eirabach for the absolutely gorgeous art she created for this chapter. Seriously, it’s like she climbs right inside my head to see what I’m picturing. Give her a BUNCH of love for all this.

Tagging the interested parties (and let me know if you’re one of those!): @welllpthisishappening, @thisonesatellite, @let-it-raines, @kmomof4, @scientificapricot, @thejollyroger-writer, @superchocovian, @teamhook, @optomisticgirl, @winterbaby89, @searchingwardrobes, @katie-dub, @snowbellewells, @spartanguard, @phiralovesloki, @profdanglaisstuff, @winterbythesea

Enjoy - and let me know what you think!

~~~~~

Henry is six the first time he visits the Circus.

It’s a special treat for an orphaned boy like him; the nuns who run the Storybrooke Children’s Home, just outside of Portland, Maine, aren’t much given to frivolous entertainments like this. But a generous monetary donation had been made to the home when the Circus had set up just over the next hill, and tickets for all the children along with it. The nuns may not be much for frivolity, but they’re not ones for waste, either, especially where gifts are concerned. The next night, Sister Astrid and Sister Theodora collect all the children who want to go, and bring them to what, to Henry, feels like a whole other world.

Henry is a boy the adults already say lives in his imagination too much, and the magic of the Circus only enchants him further, calling to him in a way he doesn’t yet have the words to understand, let alone describe. There are trapeze artists who soar through the air, and jugglers, and lions and tigers and wolves so tame that they’ll take treats from his hands. Kindly confectioners slip him pieces of praline and boxes of popcorn to snack on through the night with a wink and a smile. It’s treatment such as he’s never experienced before, and it’s easy to wonder if he’s just wandered into some kind of dream.

(Even at six, Henry knows better than to disrupt such a lovely dream.)

It’s easy to get separated from the rest of the children in the dazzle of it all, and Henry finds himself wandering the curved paths alone as the clock strikes one, when the others in his group are preparing to return to the Home. Not that he knows it; he’s far too occupied by staring wide-eyed at the black and white tents where they soar to meet the stars and peeking beyond their entrance flaps.

That’s how the lady finds him - gawking with a craned neck at everything around him.

“Have you lost your group, young man?” she asks with a gentle voice. Henry likes being called young man; it makes him feel important.

“It’s okay,” he tells her earnestly. “They like to go faster than me. I can do it by myself.”

“I’m sure you can,” the lady laughs. She looks really pretty; her hair is yellow and curly and she wears a poofy white dress with black swirly bits and a black, long-sleeved jacket, the lack of color making it obvious she’s part of the Circus somehow. If this was one of the fairy tales Henry likes so much, she’d be the princess in hiding; here, at the Circus, that just might be true. “I was just planning to walk to the front gates. Would you care to escort me, young sir?”

Henry eagerly takes the hand the lady offers. “I’m Henry,” he tells her as they walk. “What’s your name?”

“It’s very nice to meet you, Henry. My name is Emma.”

“That’s a princess name. Are you a princess?”

“No,” she laughs, “but thank you very much, Henry. I appreciate the compliment. Are you enjoying the circus?”

“Yeah!” As they walk, Henry eagerly tells the lady - Emma, his new friend - about all his favorite bits - the animals and the dancers and especially the magician. Emma has a funny little smile when he talks about that, but Henry doesn’t think to ask about it.

When the front gates are finally in sight, Henry tugs on Emma’s hand. “I like it here,” he whispers. “Do I have to go?”

Emma crouches down, her skirts pooling around her and threatening to envelop him too. “Yes, Henry, you have to leave for now.”

“But why? I want to stay here. I could stay with you!”

“Oh, Henry, I’d like that so much,” she tells him, pulling him into a hug. “You need to go for now, until you’re older, but the Circus will always be here for you, okay? You’ll come back.”

“Do you promise?”

“I promise.”

Henry dreams of the circus that night, and for many nights after, though the visions his mind conjures up never quite match the mysticism of the real thing.

A week later, the Circus is gone.

(But here, in a small room in a cold, gloomy children’s home - a young boy remembers.)

———

Belle, unsurprisingly, proves to be a determined and reliable correspondent. She’s like his little window into the Circus, even when he can’t be there himself, as is so often the case - especially in those first few years. Five years pass of letters and far-too-rare visits, and yet Killian never feels left in the dark. That’s the magic of what Belle can accomplish with her words - let him feel as if he is present even when he can’t be.

Her missives contain the important things he asked for, of course - reports of new tents and changes in operations and unusual things his opponent, Miss Swan, is doing. They’re useful words, words that help him plan his own next moves. More than that, though, her letters are filled with wonderful little mundane details that make him smile. Belle tells him about the latest book she’s read and how fast the Zimmer twins are growing up and particularly funny anecdotes she’s heard. There are complaints about the weather, and discussions of the interesting or ominous things she reads in the cards. Always, always, there are chronicles of all the many places she has seen as the Circus crisscrosses the world, recountings of wondrous sights and marvelous people. Belle had wanted to see the world, and she’s getting to, five times over. It’s everything she deserves, only wrapped in an unusual and often demanding package.

“It’s not too much, is it?” Killian asks on one of the rare instances their paths cross - in Paris, this time, where Killian has come on an errand for Jefferson, sitting in a little cafe in the shadow of Notre Dame. “I never want to ask more of you than you can manage.”

“Don’t be silly,” Belle says, waving off his concerns like the steam from their coffee. “They’re merely letters, Killian. It’s no great bother - especially for something I’d be doing anyways. I’d be writing to you regardless, Killian - you’re my best friend in the world, and I’ll be terribly put out if you ever stop writing me back.”

And that’s that.

(Most days, Killian believes that Belle is a much better friend than he could ever possibly deserve. He makes a mental note to say something of the sort in his next letter back to her.)

(Of course, he forgets - but then again, he can’t imagine she doesn’t already know.)

———

As a child, growing up knowing she was destined for some magical contest, Emma had always been told that she’d understand what she needed to do once her competition actually started. As an adult, now smack in the middle of it all, she finds that is decidedly not the case. Emma does her best, but it still feels like she has no idea what in the world she’s supposed to be doing.

The Circus is meant to be a canvas for her abilities, hers and her opponent’s; that much is obvious. What exactly that means is… more up for debate. Emma tries to take on more of the Circus in little pieces, bit by bit, so that more of its operations run on magic than on man power. It’s more enjoyable to try and come up with new attractions, drawing upon her imagination to come up with something new. It’s not a particularly quick process - Emma spends a lot of time planning each idea, to make sure she doesn’t miss anything, and it means that she can only create maybe two new tents each year. It’s worth it, though, to wander through the finished product, and see the way her most fanciful ideas have come to life.

(“You need to be doing more,” Regina always scolds her on those rare occasions she makes the effort to visit her student. “This isn’t playtime. You can’t just make the effort when you feel like it, silly girl. Don’t you want to win this?”

“Of course, Regina,” Emma always says, making whatever promises she needs to in order to appease the other woman - all the while knowing that she will continue to act in her own way.)

(For Emma, the best thing about the Circus may be the separation from the woman who took her in. Regina does not often make the effort to check in on how her student is doing - and Emma more than likes it that way.)

There are traces of her mysterious opponent’s work, too. Sometimes it’s in the form of dramatic new attractions, things that push the bounds of possibility and perception; sometimes, it’s with more mundane things, like a wine-sampling tent tucked along a path that Emma is certain never existed before.

His or her greatest feat, however, is on the members of the Circus themselves. As the years pass by, Emma can’t help but notice that time doesn’t affect everyone who brings the Circus to life, with the exception of the Zimmer twins. It’s been more than half a decade, but Granny Lucas is still as hale and hearty as ever. Not a single face has gained extra creases, or a single head extra grey hairs. Something this unknown competitor did has stopped the clock for all of them within the iron fence, even as the grand timepiece above the front gates ticks on.

It’s an impressive piece of magic - one that must take a considerable amount of skill and effort. It’s the first time Emma wonders if maybe this is a contest of endurance, rather than skill.

Regina won’t tell her, however, and Emma puts the matter out of her mind while she turns her attention towards the night’s performances and the germ of an idea blooming in her head. Something fantastical. Something striking - and icy.

There’s always room for imagination and for creation at the Circus, after all - and despite her opponent’s impressive efforts, that’s exactly what Emma is counting on to one day prevail in this competition.

———

The Zimmer twins are special, Emma discovers, and not just in the way anyone who has loved a child claims them to be exceptional. In Ava and Nicholas’ case, it’s true.

There had been something in the air the night the circus opened, the night after the twins were born - something crackling and pervasive and magical. Emma has suspected for years - since that very moment - that the energy was something created by her still-unknown opponent. It’d been like a wave, rippling through them all at once and creating unknown effects. She thinks this might be one of those - powers growing in two children who, by all indication, shouldn’t have received them.

It’s especially noticeable to Emma, who not only has the ability to sense the powers running through their veins, but spends a considerable amount of time with the six-year-old twins. Ava and Nicholas grow up like the beloved niece and nephew of everyone involved with the circus, as though everyone communally agreed to test the proverb it takes a village. While the circus is open to visitors, and the children’s parents responsible for their little cart of carved treasures, everyone else watches the little boy and girl in shifts when they’re not performing - and Emma quickly becomes a particular favorite. She’s never been sure why; maybe they sensed the magic in her own veins, even as babies, and latched onto it. Maybe they simply like the way she thoughtfully humors every flight of fancy. Whatever the case - Emma knows her life would be far less interesting without the two in it.

Ava has magic that likes to shake out and twinkle at the edges of her soft hair, similar in a way to Emma’s own powers. Unusual things happen around her, if you’re paying attention; lost things are more easily found, snacks and sweets turn up in unlikely places, and on one impressive occasion, a pair of fluffy orange and white kittens crawled out from beneath her bunk.

“I can fix that,” she tells Emma innocently one day as Emma moves to throw a vase of wilted flowers out. She hasn’t prodded Ava about her powers before - it doesn’t seem the time to bring to the forefront all the things she can likely do, not when she’s still a little girl, not when Emma’s own childhood was largely sacrificed because of her own powers - but it’s a hard opportunity to pass up. It’s worth demonstrating to Ava, anyways, that her powers are simply a part of her, and nothing to make a fuss about.

“Can you show me?” Emma asks. It’s impossible not to smile when the little girl nods eagerly and furrows her brow in concentration, staring fixedly at the wilted daisies. Slowly but surely, the browned tips disappear, the petals straightening from their shrivelled state and the flowers once again lifting upright to seek the sun.

“That’s very well done, Ava,” Emma makes sure to tell her.

“I know,” Ava replies seriously with all the intensity of a child her age. “Can you do that too?”

“I can.” Emma doesn’t tell people about her magic, usually, but Ava seems like a necessary exception - to let the little girl know she’s not entirely alone in her special, unusual skills.

“I thought so,” the little girl nods sagely. “I could feel it.”

It doesn’t surprise Emma in the least.

Nicholas knows things that he shouldn’t - knows things that no one should know. Somehow, the stars speak to him in a language only he can understand. Nick sees things to come and things that have already happened, and sometimes divulges them readily and at the most unlikely times.

“Is the scary lady with the dark hair your mama?” he asks one day out of the blue, startling Emma before she collects herself.

“No. She was my teacher,” Emma explains.

“Oh.” His question asked, Nick happily goes back to playing quietly with his wooden lion. He’s less prone to chatter than his sister, happy to keep to his own thoughts when Ava isn’t pulling him into some other adventure. Emma rather wonders if it’s not because he has all the things he sees in the stars to keep him company.

“Is there a reason you asked?” she inquires as casually as she can. “Did you… was there something you saw?”

“She hurt you,” is all he’ll say. “Before you were here.”

Something from the past, then - not so immediately alarming, though a sign she’ll need to be vigilant about hiding certain portions of her memories that young, impressionable and trusting minds shouldn’t be seeing.

“It’s alright, Nickie,” she tells him. “She isn’t around to bother me very often.”

He nods decisively. “Good.”

As he turns his attention back to his wooden lion, bringing a tiger in as well, Emma reaches out for the magic constantly humming about her and draws it into herself, directing to play through her mind and cast something almost like her invisibility cloak around her more traumatic memories to keep Nicholas from seeing.

“Is there anything else?” she prods, mostly to test and see if the charm is effective.

Sure enough, the little boy’s face twists into a frown. “I don’t know,” he grumbles. “I can’t see.”

“Ah, well,” Emma replies in a purposefully light tone. “Maybe some other time.”

(She is not entirely sure she means it.)

Truth be told, Ava and Nicholas and their wondrous gifts are a beautiful mystery. All Emma knows is that it’s her responsibility to protect them from more sinister influences, the way she wishes someone had done for her. They deserve that. She deserved that. And she’ll be damned if they’re turned into pawns the way she was.

There are many good things to come out of the Circus - friendship and wonder and home - but Emma thinks the Zimmer twins, and the powers they should be able to wield for good without the interference of people like Regina - are one of the best.

———

There are attractions at the Circus unlike anything you’ve seen before, that you think may only exist within these iron gates. The Circus is a place where the otherworldly and impossible come to life.

This tent contains one such wonder, advertised with simple but mysterious words. This marker swirls and glistens in the moonlight, coaxing you inside to discover its secrets.

Stepping through the tent flap, brisk air tickles at your face - the first sign of what’s to come. Twisting through the interior are all manner of transparent structures, arranged in neat beds. The Ice Garden - just as promised. Each creation appears impossibly delicate and fragile, and by all logic, should be impossible on a warm summer’s night. There are lilies and roses and daisies, sculpted topiaries, winding vines, flowers that remind you of an illustration you once saw of tropical flora. A raised bed of cacti and succulents sprawls along one wall. Opposite, an apple tree, laden with fruit, arches gracefully at the edge of a silver-stoned path. There are little crystalline plaques, too, for all the plants whose names you’d never begin to guess: Shooting Star. Gayfeather. Anemones. Candelabra Primrose.

Every inch, every label, every petal, is made of ice.

Even at the Circus, such a thing should be impossible, This tent may be slightly, inexplicably cooler, but it’s by no means chilled enough to maintain this icy wonder. Though you know you shouldn’t touch, you can’t help but graze your fingers along an icy petal, just to make sure it isn’t cleverly blown glass. It’s a joyous mystery when they come away cold and wet, the sculptures revealed as ice in truth.

There’s no explanation for the Ice Garden - how it can exist at this edge of the Circus, seemingly unburdened by the laws of nature.

The longer you spend in the sparkling, colorless chill, the more you come to realize that beauty doesn’t need an explanation anyways.

———

Killian -

I know it’s not quite the update you were asking for, but I still feel compelled to share - something wonderful and charming and amusing, and so delightfully human. I couldn’t quite resist writing to tell you.

I could be wrong - but I believe a little fanclub has sprung up to trail the Circus. You’ll think it silly, Killian, but I am starting to recognize faces here - not of Circus members (I am not nearly so unobservant, or so rude not to recognize them by name after all these years!) but of visitors. There are a handful I could swear are coming over and over again. I’ll have to ask, next time I notice.

(Not that I can begrudge them of such - I certainly would be doing the same, in their shoes! It’s just that the fortunes get rather repetitive. I should probably let them know that the stars of fate do not change nearly as quickly as they seem to believe…)

There’s a certain awe, or maybe more like peace, that they wear on their faces as they move about the grounds that’s unique from all the other looks I see - almost like they’re coming home. I certainly know something about that - I think so many of us do. It’s wonderful, really - the way these visitors love the Circus so much that they feel compelled to return time and time again, joyously retracing the same paths over and over. It’s clear they love this place the way we do. Isn’t that just what we wanted, anyways? To make something for others to love, to play a part in bringing it to life?

(Yes, I obviously remember that you’re also doing this for your mysterious competition - but I don’t believe someone makes something so beautiful without a generous dose of love as well. Don’t try to deny it, Killian - you know I’m always right.)

I hope you are well; no other news from here. As always, I’ll let you know if anything changes.

Best wishes,

Belle

———

In time, the Circus gains followers.

It was probably inevitable, in a way; as the Circus winds its way across the world, through large cities and small towns, it touches countless lives as it goes, some more impactfully than others. There are those who visit once, and remember it fondly; those who take the opportunity to visit whenever the Circus is in their area, and look forward to it; and those who hold the memories close to one day tell their disbelieving grandchildren.

And then - there are the Rêveurs.

The Rêveurs start almost like a book club - groups of people who meet to reminisce about their favorite attractions, all the sights and smells and tastes that make the whole experience unforgettable. In time, the groups morph; they begin to go to the Circus together, and then travel to visit other Rêveurs when the Circus comes to their area. Particularly eloquent members begin to write into their local newspapers and magazines, beautiful editorials that convey love and wonder and coax thousands of others through the twisted iron gates. It becomes an entire movement, based off of a shared love, of people coming together to experience the Circus over and over again.

It is easy to spot the Rêveurs, if you know what you are looking for. In one of the editorials, an adherent mentions his own preferred way to experience the Circus - to blend in as much as he can, in all black and white, while still setting himself apart from those who bring the experience to life by adding a single touch of red. The trend catches on quickly; wandering the grounds, it is easy to spot splashes of red in the crowd, handkerchiefs peeking from pockets and roses or carnations in lapels and gloves and ribbons in hair.

Some Rêveurs make sure to visit new attractions each time they visit; some prefer to see the same over and over, lingering in the acrobat tent or on the carousel for hours. In a way, they prove that there is no right or wrong way to experience the Circus - there will always be new things to see, and old favorites to return to.

The members of the Circus are aware of the Rêveurs, too. Indeed, there are benefits to being in the same audience with that little flash of red, as performers bring out their best, most dazzling tricks and attempt new daring feats. Watching carefully, one might see a vendor slip a cup of cocoa or an extra serving of toasted nuts to a man or woman with that bare hint of color. All visitors to the Circus are valued, but the Rêveurs are treasured, in a different way, that makes every person involved in the endeavor want to do just the slightest bit more to bring the experience to life in a new way.

The performers and vendors and other members of the Circus are its engine, in many ways - but the Rêveurs just might be its heart.

———

Killian -

I just realized that it’s been a while since my last letter - two months, I believe! Everything is perfectly fine here, I assure you. In fact, I haven’t written because there’s been nothing particularly notable to report. I’ve been watching for new additions, just as I always do, but nothing has appeared. Ah, well. We must be in a quiet stretch on that front.

Meanwhile, the Circus trundles onward, as it so often does. This week, we’re in Morocco. I’ve never been - and oh Killian, it is wonderful. The air is hot and dry and tinged with all kinds of spices that I can’t quite identify. And the food! A little group of us went and wandered in one of the markets, trying things from the stands. I’ve never tasted anything like it. What boring lives so many people lead, happy to stay on their own little island and pretend they know everything. This is so much preferable. The weather is a wonderful respite, too, from the cold I know must be sweeping through now that December is well and truly here.

I do not know if we’ll be home for Christmas; I rather doubt it. I’ll miss our usual holiday feast, but I trust that you’ll have a lovely time with your brother instead. My regards to Liam, as always.

Yours &c.,

Belle

———

Killian is lucky, in a way. After all, he has Belle and Liam, who both know about this competition. They’re his support system, the people who keep him grounded to life outside of all this - especially Liam. Lord knows Mr. Gold has never sought to do that. He doubts Miss Swan has that. Maybe he’s wrong; for her sake, he hopes he is. How lonely it must be to keep that secret, otherwise.

Liam’s apartment is like a sanctuary at the end of a long day, where his brother waits with dark spiced rum and a roaring fire. Sometimes they venture out for dinner; some nights they stay in, and have the landlady send up something to eat. Mostly, Killian enjoys the peace of being in company that never expects more of him than he’s sure he can give. All Liam expects is companionship, and maybe for Killian to come with a nice bottle of spirits every so often. Killian can more than handle that.

(They do not mention that Liam does not seem to age, the same way all those attached to the Circus do not. If his brother has even noticed, he remains blessedly silent on the subject.)

“Do you wonder sometimes,” Liam asks one night, “what would have happened if you hadn’t been selected by Gold? If you had turned him down?”

Killian shrugs. They’re in the middle of their third drinks - just the time for philosophical questions like these. “Not really,” he admits. “What’s the use? It happened like it happened. You wouldn’t have as nice a place as this, that’s for damn sure.”

Liam snorts, and the atmosphere turns more jovial for a few minutes as both men indulge in a drunken laugh before things turn thoughtful again. “If you had to do it all over again… would you?”

“I would,” Killian agrees. “We were a couple of scrappy orphans, no prospects, nothing. I’ve never been given a reason to truly regret it.”

“Then I’m happy for you, brother.” Liam tops off their glasses and raises his drink in a toast. “To good decisions, then!”

“To good decisions,” Killian echoes. “Or at least ones we haven’t yet regretted.”

———

Some attractions are more conventional in name, their promises familiar and comforting in that way that the expected can be. But this is the Circus, and conventional simply doesn’t exist here in the same way.

You enter another tent to discover a hall of mirrors. It is a common enough attraction, at its core, one you have seen in other carnivals and street fairs. But true to the promise of the Circus, this version of such a fun house classic is more than you’ve ever seen. There are tall, full length mirrors, as you’ve come to expect, but small mirrors too, clustered on tables in every nook between their larger counterparts to reflect the lantern light in every direction. The mirrors don’t just distort your own reflection either; in addition to mirrors that cause your reflection to look taller or shorter or wider, there are mirrors to make you look older or younger, mirrors which change your hair, mirrors which duplicate your visage over and over again until you appear to be surrounded by a crowd of your own self in the mirror. There are even mirrors which somehow make it appear that you are someplace else entirely - by the seaside, the water slowly soaking your shoes, or in a fragrant flower garden, or wandering amidst ancient ruins. It is a clever trick, and one you won’t pretend to understand. In your heart, you never want to, for fear of ruining the illusion.

The world feels bright and new under the moonlight as you exit back outside the tent, like the hall of mirrors has helped you find a new way of seeing.

(And maybe, you realize, that’s the entire point.)

———

Killian takes small comfort in the fact that Mr. Gold seems pleased with his efforts. Truthfully, he doesn’t know what he’s doing. He knows that somehow he’s supposed to demonstrate his abilities and magical knowledge on the canvas that is the Circus, but that only tells him so much. Killian adds attractions when he can, crafting things like the Hall of Mirrors in careful dioramas before sewing the plans into his master book, but it’s so hard to know if he’s on the right track.

Mr. Gold has never been particularly involved in Killian’s life, and that doesn’t change now that the competition has well and truly begun. As a child, Killian had been largely self-taught, relying on the books that his teacher provided and the man himself only dropping in periodically to test his knowledge and comprehension. This feels like much the same thing; once a year, Mr. Gold will appear in Killian’s office after one of the Circus dinners, or outside his flat door without warning. There may be a polite inquiry about what Killian is currently working on, especially if the visit occurs in his cramped and ruthlessly organized office; more often than not, there isn’t. Killian will make polite inquiries about his mentor’s health and business, all of which are carefully avoided. Mr. Gold will state that he is satisfied with the work of his student - exactly that, and nothing more.

Killian never expects an expression of pride; after all, he’s never received anything of the sort in all the years he’s been under his teacher’s direction. Theirs has always been a distant relationship, if it can even be called that.

“How will I know I’ve won?” Killian dares to ask on one of these visits. “What do I have to do?”

“You’ll know, dearie,” is all his teacher will say. “Trust me, it will be very obvious.”

It is not.

But Killian works onward, carefully building and manipulating things. Who knows? Maybe, one day, he’ll understand.

———

The relationship between the members of the Circus and the Rêveurs has always been unusual. If it weren’t for the fact that the two groups are inextricably linked, and indeed obviously treasure one another, the interaction almost might be called respectfully distant. There exists an unspoken, but obviously adhered to, separation between the two - that there are Circus folks and there are Rêveurs, and they do not socially interact. Though a vendor or performer might, surreptitiously and casually, mention an anticipated next stop to an awed visitor with that single splash of red, they will not be found together in the light of day, strolling in the public parks or sharing a coffee in one of the cafés. The Rêveurs, largely, prefer it that way; the mystical quality is somehow kept alive when the people of the Circus only seem to dwell within its gates.

Of course, Emma has never been one for formality, or fitting in with the rest of the crowd.

If pressed, she’ll claim that Marco is an anomaly - a man who fits between both worlds, and therefore special. It’s her own kind of loophole in the intricate rituals of the Circus and the Rêveurs.

(No one ever presses, though - to do that, they’d need to know that Emma writes to Marco in the first place.)

Marco, in truth, has been involved in the Circus since the very beginning - though he did not always know it. An Italian by birth, living in Germany and creating exquisitely crafted cuckoo clocks, Mr. Marco Gepetto had been the very man contracted by Mr. Booth, the architect, to build the massive timepiece at the front gates, back when this whole endeavor was still coming together. Marco hadn’t been aware of that, at the time; all he’d known was that an Englishman had offered him a frankly absurd amount of money and next to no direction, only to create something unusual and extraordinary for a circus venue he was helping produce. With his rambling imagination and careful craftsman’s hands, Marco had more than delivered, creating the masterpiece Emma has found comfort in watching many times.

That clock had always haunted him, he’s tried to explain to her many times during their correspondence, his mind running wild wondering exactly where it had been installed. Mr. Booth had sent a note declaring the producers delighted by the result, and Marco had never heard a peep again. Emma cannot blame him for wondering, truly, after all the months he had invested in the clock and all the personal touches he had poured in. The truth, he confides, is that he believed - nay, believes it to be his greatest work, all the while unaware that so many others were similarly touched. It was only years later that Marco had realized the grand project he had unknowingly helped bring to life, when an acquaintance had insisted they visit the traveling circus setting up just outside of Munich.

“It was wonderful,” he gushes to Emma as they walk down the streets of Naples several years later, the older man happily pointing out the location of all the haunts of his younger days. “It was more than I ever could have imagined - and so well situated! So perfectly blended with the rest of the design! I must tip my cap to Signore Booth for his work, and all his compatriots.”

Marco had fallen in love with the circus on that first night, as a venue for his masterpiece and as a creation all its own. It was impossible not to, he had claimed later in the first of many editorials and subsequent letters - it was like the Circus called to him, begging him to uncover all its secrets. It may be the work of several lifetimes; perhaps, that’s just the appeal.

He didn’t particularly mean to spearhead the Rêveurs movement, he’d explained to Emma in one letter. It was simply that he’d fallen in love, with a place and an experience, and wanted to share that with everyone else. It was just that he was the first, the first to not just talk about the Circus but publish his thoughts, that had made him the unexpected figurehead of the group. He’d been the one to come up with the idea of that touch of red, too, though he never admits it unless pressed.

Letters flood in, from across Europe and the globe, wanting to compare experiences and share in the joy of the Circus. Marco gladly responds; many, indeed, become friends. But none is quite like Emma, who he only first knows as a woman with unusual insight into the Circus when she first begins writing, just another person who reaches out after one of his editorials. He assumes she’s just another of his Rêveur correspondents at first, but her thoughts, so carefully measured but fond, strike a chord somewhere in Marco. A friendship blossoms over dozens of letters exchanged, comparing experiences and details noticed and treasured - until, finally, this summit, as Marco had visited an elderly aunt while the Circus docked along the Italian coast.

He takes the revelation that Emma isn’t merely some visitor, but a core member of the Circus, with an unexpected lack of surprise. “I wondered if you were rather closer to the matter than you let on,” Marco explains, patting her hand before tucking it into the crook of his elbow. “I shall consider myself uniquely lucky to have earned your friendship.”

And he has. Marco possesses a sharp mind and an affection for the little details that Emma loves, and an easy-going manner it proves near-impossible not to be charmed by. He fills something like a fatherly role, for Emma - always encouraging and delighted to hear about the latest improvements to her show. She doesn’t tell him that all the magic she does is real - but somehow feels that he understands, anyways. Marco is special like that, and perceptive. Somehow, Emma doubts that he’d be much surprised if she revealed the whole mess of the competition.

Marco may be physically distant from the ever-changing Circus grounds, and may not fully know what’s going on - but he’s a pillar of support, all the same, like Emma has never known.

(She only hopes he isn’t one more thing that’s just too good to last.)

———

Killian -

At long last - an update! I feel like it’s been so long since I’ve had anything to report to you. Not that I don’t enjoy our correspondence, of course - it’s always so wonderful to share with you a little slice of my life here and hear from you in return. I simply feel so much better when I have something concrete to report to you, as we agreed.

I’m stalling, though. The truth is… I’m not entirely sure how to put into words exactly what this latest tent contains. It defies description, I find. The little sign along the path reads ‘Wishing Tree’, but that doesn’t describe much, does it? That could be anything. The Wishing Tree, in truth, is… oh, where do I start? It is somehow both earthly and otherworldly. It is both wondrously fantastical and firmly rooted in the soil. It exists both on this plane and in the world of dreams and aspirations. I suppose what I’m trying to say is that it is a contradiction, in the most spectacular way. Most simply put, if I stop beating around the bush, it is like a living, growing wishing well - but so much better than that, in its symbolism. There are no words to do it justice.

If you couldn’t tell already, Killian, I am insisting that you come and visit the Circus grounds next time it is convenient. There is no other way to fully grasp the delight of this latest addition. If I were not so terribly fond of you, I’d offer a hearty ‘Bravo!’ to your competitor - so count yourself lucky!

Yours,

-Belle

———

The Circus’ tents are filled with wonders - large and small, loud and quiet, and everything in between. What unites all the disparate attractions is a mystical quality - one that’s hard to put into words, but that makes every move and every moment greater and more magical than any similar display you may have seen before.

The particular tent in front of you is tall, but narrow, with a delicate wooden sign carefully placed to the side of the silvery-paved path leading beneath the entrance flap. Wishing Tree, it reads in a painted cursive script. An attraction you’ve never heard of.

Lifting the tent flap reveals just what was promised on the placard - a tall, elegant tree, all in the colors of the circus, with white bark and black leaves. The tree’s branches twist and curve around the tent, creating a structure almost reminiscent of a basket. Where it could be grotesque, the way branches stretch and dip around your body, but the effect is somehow comforting - like the tree protects all that it surrounds. It is otherworldly, in the truest sense of the word, an effect only heightened by the clusters of pearly white candles on each branch. By the entrance sits a small table, with a basket of candles and a crisp white card, embossed with a simple instruction:

Make a wish.

A wish is a sacred thing, and this is a place that respects that. After making your own wish, lighting your candle with one of the many already waiting on the tree’s branches, you place it in the highest nook you can reach where two branches join. There’s a profound symbolism to it all - one wish ignited by another, left to become part of a beautiful mass of light, illuminating this little corner of the world in soft and beautiful light.

(That light will stay with you long after you slip back through the flap of the tent.)

———

At Belle’s urging, Killian makes the trip to see the Circus, and especially this new attraction, when they pass through Edinburgh. It is not precisely convenient - there are multiple trains involved from London, after all - but there’s no real telling when it will next be in the city, and he trusts Belle’s judgement that he must see this Wishing Tree for himself.

She’s right, of course. The Wishing Tree defies all conventional description. There’s a sense of possibility, and hope that just can’t be captured in a simple letter. Killian is sorely tempted to take a candle and light a wish of his own, but ultimately resists. The Wishing Tree isn’t just for some passing fancy - it is for the deepest dreams of one’s heart. As long as Killian is still unsure as to what his own dearest dream might be, it feels more appropriate to refrain from adding his own candle to the glowing branches. There will be time, later.

His immediate business for the evening concluded, Killian takes the time just to wander the grounds. It’s something he hasn’t had the opportunity to do in far too long - there’s always been something to worry about, something to take care of when he comes to the Circus. This is a bit of a chance to try and experience things the way all their unknowing visitors do - to see the beauty, and the wonder, without analyzing anything further. Once he clears his mind, it’s easy to see the things the way that normal visitors do, the way something special sparkles in the very air.

There are still stops to make, of course; Belle would never forgive him if he didn’t pop into her tent. The fortune teller’s tent is made up to be an eye-catching oddity, but there’s still something welcoming about it that always soothes Killian - though maybe that’s just the knowledge of his dearest friend waiting just inside. Just inside the tent flap, dark curtains speckled with silver flecks like stars drape, giving way to a beaded fringe that softly clicks when touched. He’s been known to fiddle with those beads as he sits and talks with Belle, like a soothing sort of fidget. Beyond the beaded curtains sit three comfortable armchairs with a draped table at their center; Belle always does like the romance of reading for couples. There are no crystal balls, or posters about lines on palms; just Belle, the table and chairs, and her deck of tarot cards. Killian knows one of the curtains stretched behind her hides the entrance into her private quarters, where she’s been known to duck for a quick cup of tea, but no one else who didn’t know would see that. The whole effect is decidedly unusual, even mystical, but in a way that feels cozy. It’s like sitting in someone’s living room, sharing a bit of conversation - but the conversation concerns all manner of possible futures, and how they’ll come to pass.

Belle looks like herself, mostly, elegant in shades of white and grey and black and silver. She hasn’t leaned into any of the stereotypes or cliches - no scarf around her head or massive gold earrings or patchwork skirts. She looks like she could be any shop girl, or personal secretary, or even a beloved female relation in her neat dresses in playful patterns, accentuated with pretty bits of lace. There are more formal options in her closet too, he knows, provided by the Circus organizers for her use, but she likes this better; it makes her feel more like herself, and not entirely subsumed by the role she plays.

“You came!” she crows with delight when he ducks his head past the beaded drapery. He hadn’t let her know he was coming, this time, happy to let it remain a pleasant surprise. Not that it matters much - Belle’s face would light up in delight in the same way, even if he had warned her to expect his visit.

“Of course I did, love,” he assures her with a grin. “You insisted, didn’t you? I seem to remember a very commanding letter, telling me I must come see this wishing tree for myself.”

“Yes, but there was always the chance you would get stubborn on me, or get called away on business for Jefferson, and I’d have to send another three to five letters until I finally guilted you here.”

“Alright, I suppose that’s true,” he admits. He does tend to get rather sidetracked much of the time, especially when there is work to be done and new, exciting ideas to explore.

“Instead, here you are! Only weeks after I wrote. A rare instance of agreeability - there’s hope for you yet,” she continues, only to plow forward before he even has a chance to defend himself. “But tell me - have you seen the Wishing Tree yet? Or did you come straight here first? I’m touched, of course, but really, you must —”

“I’m not nearly so foolish as to come here first, knowing you’d demand my own opinions on the tent just as soon as I arrived,” he teases fondly.

“Wise man. Tell me then - what did you think?”

“It’s everything you promised,” he tells her. “Utterly indescribable. I’m glad you insisted I come.”

The beam that graces Belle’s face at that simple agreement is a sight to behold.

“You’ll stay for a few days, won’t you?” she asks - cajoles, really, though Killian won’t take any convincing. “It’s been so long.”

“Of course. We’ll have dinner tomorrow, and you can tell me everything you’ve seen since I last saw you.” It’s an easy promise to make, and one he’ll be even happier to keep.

Though Belle is an expected friendly face, one Killian had already built into his loose plans for tonight, the person he runs into as he wanders down the path away from her little tent is rather more unexpected.

“Mr. Jones,” Miss Elsa Frost smiles warmly - a member of the creative team of the circus, whose eye for details had been invaluable in creating this world so many have fallen in love with. “I certainly didn’t expect to see you here.”

“Nor did I,” Killian admits, executing a short and polite bow of greeting. “Especially not here, so far from London. May I escort you around the grounds, if I may be so bold?”

“You may,” Miss Frost says, slipping her delicate hand into the crook of his proffered arm. “I was just about to go see the magician - Miss Swan, was it? I’m told she should have a performance starting soon.”

“Then it will be my honor to accompany you.”

Though Killian has visited the Circus on several occasions in the past years, on business and to see Belle and to examine the creations of his competitor, he’s avoided this tent. It somehow feels like cheating, to watch Miss Swan like this with full awareness that she’s his competitor when she hasn’t been privy to the same knowledge. That’s not to say he hasn’t been tempted; across all the spiraling stone paths, her magic calls to his own like a siren’s song, drawing him in. Tonight, with a companion on his arm, he finally has the excuse to cave. As they approach her tent as others trickle in ahead of them, Killian makes sure to draw a spell around him to mask his own magic like a cloak, the same one he’d used that first day he’d seen her. Even if he feels guilt at the advantage, Killian isn’t quite sure he’s willing to tip his hand yet, no matter how often he’s been tempted. It’s not the time for such a revelation.

(He doesn’t notice, beside him, the way Miss Frost’s forehead briefly creases as the spell settles around his body; it would not matter if he had, anyways, and the lady is more than happy to hold her tongue on the matter.)

The magician’s tent is small, intimate - a small clearing surrounded by a double ring of chairs. It’s a subtly ingenious way of heightening the drama and the enchantment of the performance: there is, quite literally, nowhere to hide, every angle visible to spectators as they space themselves around the center ring. A lesser magician would never be able to pull it off; it’s lucky, then that Miss Swan doesn’t have to rely on tricks.

Killian is the only one that notices that the tent flap has disappeared, two minutes past the hour. Everyone else is too busy whispering to each other, speculating about where the illusionist is and when the show will start. Unlike the rest of them, Killian waits patiently, knowing that the show has already begun.

No one misses the next trick, as a stream of flame chases around the tent above their heads. Gasps echo from the crowd, in excitement and wonder and no small dose of fear. A handful turn towards where the exit once was, only to discover that the way has been sealed and blocked by chairs during their inattention. Gasps turn to screams, panic quickly catching, until -

A single figure stands from the audience, a woman with dramatic black skirts and what appears to be a men’s top hat. As she moves towards the center of the ring, she casually tosses the hat onto the seat she had occupied - and as if on cue, the streams of fire chase around the tent once more before plunging downwards, downwards into the hat, which somehow serves to contain the flames instead of catching on fire. As the rest of the audience comes back to their senses, turning their attention towards the slight blonde woman now at the center of the tent, she flicks a finger, sending the hat tumbling through the air to land in her hand, where she jauntily tips the black felt back onto her head and takes a dramatic bow.

And like that, the magician begins her show.

The displays that follow exceed Killian’s feeble memory of her audition, those several years ago. There are little miraculous bits she’s still using - the chairs still levitate, and the hat replaces the jacket as it turns into a beautiful black raven to fly about their heads - but there are new bits, too, as items disappear and reappear and visitors discover all manner of unexpected items in purses and pockets. Somehow, it all flows together seamlessly, one display of ability and control into another. At the very end, the fire returns again, chasing around and around and around her body until she can’t be seen anymore —

And when the flames disperse, all on their own, there is no one to be seen at all. The tent flap appears once again, and they all file out, awed in a way they hadn’t expected.

It’s beautiful, mysterious, magnificent - just like the woman herself. And Killian can’t remember why he ever stayed away.

———

Wandering the grounds of the Circus, it is impossible not to notice the statues scattered along the path. Some are monochromatic, fully pristine white or glistening black; some are so vividly realistic, in black and white and flesh tones, as to seem almost lifelike. There are single figures and couples, male portrayals and female, all beautifully detailed and caught mid-action. There is something mystical about them, something you can’t quite put your finger on but know separates them from anything else you’ve ever seen - a feeling that saturates the very air within the iron fencing.

Examining the statues reveals that the life-like state of the statues is no trick, no clever construction of hard stone and a steady chisel - no, these are merely people mimicking statues by standing so still and moving so slowly as to trick the eye. This isn’t some mere street performer, either, like you might see near the buildings tourists frequent en masse. No, this is something more special, more deliberate, more enchanting. It is almost like a dance, performed on a timeframe only the dancer can perceive. Watching closely, it is possible to see the movement - though it will take much patience. It is easier, in some ways, to pay careful attention to the stance of the living statue at the beginning of a set period, and then see how it has changed some minutes later.

It is said that if you wait long enough, the statues will bend enough to pluck an offering from your very hand. However, it takes a certain kind of person, with a certain kind of fascination, to even try. After all, why spend so long examining statues, when there are so many other wonders to see?

(Just before you walk away, you could swear the living statue of a young man winks an eye, all in impeccable slow motion - just one more memory of the Circus to treasure in your mind for years to come.)

———

The Circus returns when Henry is ten.

Ten is a sensitive age; it’s an age where one is still young enough to be excited about simple, playful things, but believe oneself to be too old to show it. Perceived maturity is beginning to be tantamount at this age, as is the idea of being cool.

Henry, for all his efforts (and a good bit of maturity, in truth), is perceived as neither.

“The circus is for babies,” Jack Hastings declares in the schoolyard when Henry makes the mistake of mentioning that he’d seen the tents. A keen observer might find humor in the fact that Jack’s proclamation was made as he and the boys played with a collection of small wooden soldiers; the boys, however, are not yet adult enough to see the irony. “I’m not going.”

“I don’t know,” Henry ventures cautiously. “I think I might like to go. It isn’t very often something like the circus comes to town.”

“That’s because you’re a baby,” Jack taunts. “Henry’s a baby! Henry’s a baby!”

“Am not!” Henry bites back hotly before anyone else takes up the chant.

“Oh, yeah?”

“Yeah!”

“Then prove it.”

That’s how Henry finds himself examining the black iron bars that encircle the circus tents, searching for a way to slip in. It’s a dare - to sneak in, in daylight hours, and come back with something to prove it. Henry had agreed in the heat of the moment. Now, with school over, Henry’s got to do the deed, while all the other boys wait back in the schoolyard.

While Henry remembers the Circus practically crackling with its own special energy, things are quiet in the light of day. He supposes that makes sense; the Circus operates from sunset to sunrise, and it’s still an hour until dusk. Its performers need to rest and prepare and the like, like anyone else, and this is the time they get to do that.

After spending far more time than necessary carefully examining the outer fence, Henry finally finds a little out of the way stretch, framed by the back of two tents with no one in sight. The bars will be a tight squeeze, but he sucks in his stomach and holds his breath, and after a little bit of wiggling, manages to twist his way through. Quickly brushing himself off, Henry searches around for something he can bring back as proof for the other boys. The easiest thing to do would be to tear off a bit of fabric from one of the tents, but he struggles to bring himself to do it. The tents feel special, nearly sacred, somehow; it would be the worst kind of crime to ruin them in any way. Maybe, if he ventures a little further in, he can find something else —

“What are you doing?” a girl’s voice sounds, interrupting Henry’s thoughts.

Whirling around, Henry is met by a blonde girl he could have sworn wasn’t there before, about his age, dressed in a black and silver striped dress. He didn’t know people his age were allowed to join the circus; it catches his attention nearly as much as the look on her face. Though her words are accusing, her face only shows curiosity.

That does nothing to temper Henry’s shame, for better or worse. He didn’t exactly count on getting caught, after all. “There was a dare,” he blurts out. “To sneak into the circus.”

“Well, you managed that,” she observes.

“Yes.” The silence sits heavy between them. Henry knows he ought to leave, but also feels like he can’t. “I’m sorry,” he finally cuts in - practically begs - once the quiet gets too much and he can’t take that curious stare anymore. “I can slip back out again, or pay the admission, or —”

That finally makes her smile - a bright, lovely thing that makes something stir within Henry that he’s never felt before. “It’s quite alright, Henry. You don’t need to leave. Nick saw you coming.”

He has many questions about that - how she knew his name, what in the world saw you coming means - but he reaches for the easiest first. “Who’s Nick?”

“My brother,” the girl beams. “Twin brother, really. I’m Ava.”

“It’s very nice to meet you.” It’s obvious that there’s no real point in offering his name; Henry is curiously less concerned about her unnatural knowledge than he figures he really ought to be.

“Likewise,” Ava replies with that same smile, offering her hand for Henry to awkwardly shake.

(For the first time in his life, he’s left wondering if he should have kissed the back of her offered hand instead. Then again - that sounds gross.)

“Come with me,” she commands with a little nod of her head. Even knowing he ought to slip back through the fence, Henry can’t help but follow, pulled along in a way that he doesn’t quite understand. “You picked a good day to come - Nick says the Circus will be closed tonight for inclement weather,” she adds with a hand waved towards the quickly gathering clouds.

“Yes, they just called it,” adds a different voice - another boy, this one also their age and with a remarkable resemblance to Ava. The biggest difference, really, is the boy’s light brown hair, a contrast to her cheery blonde. It’s obvious this is the twin brother she mentioned - Nick, who somehow knows things.

“He was there, just like you said, Nickie,” she laughs. “I don’t know why anyone bothers to doubt you.”

“They don’t know better,” Nick shrugs.

“Nick has a gift,” Ava explains. “He sees things that others don’t - and they always come true.”

“Oh.” Henry isn’t really sure what to say to that, honestly. He doesn’t disbelieve it, really - Ava did know things she shouldn’t have, without what they claim being true - but he’s a little too flabbergasted at it all to say anything more comprehensible. Besides, if such a thing were to be true - well, it makes sense that it’d happen at the Circus. Where else is magical enough to shelter people with such talents?

Ava breezes right past it though. That must be characteristic of her, if the way her brother stifles a smile is any indication. “There’s always a party in the acrobats’ tent whenever the weather is too bad to open. It’s the biggest, you know.”

“You can come too, if you want,” Nick adds.

Despite the tempting offer, Henry frowns. “I’m not part of the Circus, though. Won’t anyone mind?”

“Circus people are welcoming,” Nick shrugs. “They won’t mind.”

“Besides, everyone thinks we need friends our own age,” Ava chimes in.

As the sun starts to creep below the horizon, Henry lets the twins lead him across the circus grounds. He wants to go, really - besides, there’s no reason not to. There’s no one waiting who will care if he doesn’t show up for dinner, or even for bedtime.

(Nick probably already knows that as well; perhaps that’s why neither of them ask whether he needs to be home.)

The inclement weather party is a different kind of marvel than the otherworldly splendor of the open circus that Henry remembers. It seems like everyone is crowded into the tent as raindrops start to patter down upon the canvas, yet somehow the space never seems claustrophobic. Half the collected mass is in their black and white and silver circus clothes, while the other half wears street clothes in all manner of colors and styles. Laughter colors the air, as small groups congregate only to disperse and remingle again. It feels like a family, like a great big reunion, even though Henry is sure they’re not all related.

(Then again, maybe family doesn’t have to be linked by blood and genealogical trees; maybe family is something that can be crafted with those you choose and care for.)

Ava tugs on his arm before he can get too lost in his thoughts and marvelling at the spectacle of the tent. “You should meet Emma,” she says. At her side, Nick nods in genial agreement. “You’ll like her. She’s the magician.”

She doesn’t quite bodily haul him across the tent space, but it’s close. Henry would complain, but it isn’t hurting; he can tell she’s just eager to share her and Nick’s world in a way she hasn’t with outsiders before. At least, Henry hopes she hasn’t shared all this with outsiders before; Henry’s never really had the chance to be special. It’d be a nice change.

Eventually, she halts in front of a cluster of women - three brunettes and a blonde. All smile fondly as Ava approaches with Henry in tow. “Emma, I want you to meet someone!” Ava bursts out as they pull to a stop.

“I can see that,” the blonde chuckles as her companions move away. Henry’s distracted for a moment by the movement of the other three ladies, but forces his attention back to meet the magician’s eyes.

And it’s her - the nice lady from the last time he was here. Henry’s face flushes red as he remembers his youthful question - Are you a princess?. She still looks like a princess, four years later, only in a burgundy dress with her hair in a simple bun instead of her sumptuous black and white dress from the last time they met. He can see the moment recognition sweeps across Emma’s face, and knows she remembers too.

“Henry, was it?” Emma smiles down at him. Somehow, he manages a nod of confirmation. “It’s lovely to see you again, Henry.”

Ava’s face drops a little in disappointment, and a hint of confusion. Seems this is one thing her brother’s visions didn’t reveal - or at least one thing he didn’t share with her. “You know each other already?”

“Only a little,” Henry hastens to explain. It somehow feels very important that Ava know he didn’t deceive her in this way.

“Henry and I briefly crossed paths the last time the Circus was here - what, four years ago?” Henry nods again. Emma and Ava and Nick and the rest of the Circus may have been to so many places since them that they don’t remember exactly how long it’s been, but Henry could probably tell them down to the day if he just had a couple of minutes to think. “He was kind enough to let me escort him back to the front gates. I must say, I didn’t expect to see him here tonight, though… is there anything I ought to know?”

“No!” Ava assures quickly. It’s not remotely convincing; Henry barely manages to smother a smile as she continues her blatant evasion. “We should go get a little something to eat. Come on, Henry, let’s go!”

To be fair, the spread that Ava leads him to - Nick pulling up the rear, laughing - is very impressive. There are all manner of little finger foods to carry with him, savory and sweet, and an older lady the twins call Granny who presides over the whole thing and makes Henry take another sandwich. All of the circus members - and it feels like Henry’s introduced to every single one - seem to treat the twins like a niece and nephew, or maybe even children. There’s an affection in the air amongst everyone that’s almost palpable, and like nothing he’s ever encountered before. It’s hard not to feel a little jealous of his new friends; it’s everything he’s ever wished for himself.

Eventually, he’s dragged across the grounds to what they’ll only call the cloud room after a stop by Emma again for a set of umbrellas that seem to actively repel water.

“It’s my favorite spot,” Nick explains as they shake off their umbrellas just inside the tent flap in a dim antechamber. Henry had barely caught a glimpse of the signage before he’d been bustled inside; Atmospheric Wonders had been less than illuminating a descriptor. “Ava’s is the carousel.”

“I like the animals,” she shrugs. “They’re interesting.”

“Yeah, well, so is this,” her brother quips back. “Henry, look.”

And when Henry does - it’s more than his imagination ever expected.

Somehow, there are dozens of fluffy clouds floating within the confines of the tent, the top of the peaked canvas not even visible for all the clouds in the way. They come in all sizes, all winding around a central, silvery structure with a platform at the top and a slide spiraling back down to the ground. Somehow along the stretch from the ground to the indiscernible peak, the stripes shift into a night sky gently dappled with stars. It’s mystical, and marvelous, and unlike anything he’s ever imagined.

Henry has barely processed what he’s seeing before Nick takes a flying leap onto a cloud hovering at chest height. Miraculously, it somehow holds his weight, bobbing gently in the air under the change of balance but showing no signs of capsizing.

“It’s really very sturdy,” he calls from his perch, grinning with glee. “There’s nothing to worry about, I promise.”

Carefully, Henry steps onto a different cloud hovering about his knees; that’s less distance to fall if there’s any problem. Under his feet, the cloud isn’t exactly firm, or stable - it’s more like if you try to step onto a mattress - but he can also feel that he’s not at risk of crashing down. Somehow, it’s just as safe as Nick promised.

(How did he miss this before? Now that Henry’s here, he’s not sure he ever wants to leave.)

Ava clambers up onto a cloud somewhere between him and Nick, abandoning grace to pull herself to standing. “It’s a newer tent,” she explains, brushing her skirt free of imaginary cloud dust and casually reading Henry’s mind. Maybe her brother isn’t the only one with special powers of sight. “It only went up a couple months ago, right, Nick?”

“January,” he confirms. “Just after the new year’s party.”

“Not a lot of people know about it yet - but it’s one of our favorites now. Nick and I like to come on the nights we’re not busy with other things.”

Across from them both, Nick obviously grows impatient with all the chatter, leaping to another, higher cloud. “Race you to the top!” he yells back, quickly becoming obscured from sight as he scrambles higher and higher.

Ava stretches her hand across the divide to help him forward. “You’re going to love it,” she beams.

Henry takes her hand, gladly, and lets a smile crease his face even as hers stretches impossibly wider.

He does love it, just as she promised. The view from the top is spectacular, like something out of a fairy tale, an impression only magnified by small tufts of cloud still hovering around, inviting them to lounge. It would be a good place just to sit and think, Henry thinks, if you lived with the Circus and had that chance.

Time passes both quickly and slowly at the top of the tower as the three of them sit and talk for what must be hours. Henry feels as if he’s known the twins forever, not just a night - like he fits with them, somehow, in a way he never has with his schoolmates or the other children at the Home, and can’t explain.

(It’s the same feeling he remembers from the first time he visited the Circus, four years before. Of belonging. Of home.)

All too soon, things much end, however. As the conversation encounters a rare lull, Henry sighs heavily, knowing he must draw this to a close.

“I have to go,” he tells his companions - now friends, he thinks - with the kind of regret that’s practically palpable.

Ava nods sadly; Henry scrambles to his feet to help her do the same. It’s what a gentleman would do. “We know. But this was lovely.”

“And you’ll be back,” Nick says decisively. “I know it.”

It’s not worth arguing with the boy with a gift.

Getting down from their perch takes a little more boldness. Technically, there is a slide they could all take advantage of, but Nick won’t let that stand.

“You’ve got to jump, Henry,” he cajoles. “It’s so much more fun. You feel like you’re flying!”

“More like falling,” Henry mutters. Even if he knows that Nick wouldn’t try to hurt him, like some of the boys at school might, looking down from this height makes his stomach turn.

Suddenly, a soft hand slips into his own. Ava, who slipped up beside him while he was distracted by the height. “We’ll do it together,” she promises, and somehow - Henry finds himself nodding.

Nick lets out a wild whoop and throws himself off the platform, gleefully tumbling down and down. Ava squeezes his hand tight, just the once, and then she’s running too, bringing Henry with her as they leap. It feels like he’s left his stomach up at the top, but it’s a little freeing too. At the bottom, a particularly soft cloud cushions their fall, surrounding them like a hug. Henry even finds himself laughing along with Ava and Nick as they pick themselves back up.

Ava walks him back to the main gates under the marvelous umbrella, Nick letting them go on their own after offering Henry a jolly wave goodbye. The door in the iron bars opens without even a squeak, letting the both of them slip through.

“I don’t want to leave,” Henry confides, the words spilling out of him almost without permission. “I don’t want to go back to the real world out there.”

“You’ll be back,” Ava promises. “We’ll see each other again - I promise.”

He wants to believe her - he does. But it’s a mean world out there, and he’s long since learned that nothing is guaranteed, and —

Ava presses up on her toes to drop a quick kiss on Henry’s lips - his first. It’s just a little peck, really, but it makes them both blush and sends something hopeful in his soul soaring above all the other negativity.

“To seal it. The promise,” she explains.

No explanation was needed, really - not to the perfect ending to this dream of a night.

(He does not return to the Circus this time, the Sisters punishing him with extra chores when he sneaks back into the Home long after bed checks. Though he would like nothing more than to return back to the Circus and his new friends, he somehow can’t regret it. Every moment was worth it.

Later, he finds a single glove, white with shiny black buttons, tucked into his pocket - proof for his dare. He never shows it off to the other boys; the little scrap of fabric is too personal, and too precious. Instead, he tucks it into the old cigar box he keeps all his treasures in, amongst the perfectly round stones and colored bits of glass and a brightly colored birds’ feather. Let them think he never managed it. They’ll forget soon enough anyways.

We’ll see each other again, Ava had promised - and Henry intends to wait.)

———

There’s a new attraction at the Circus again, Killian - the most wonderful carousel. There’s the usual carved horses, of course, all wonderfully detailed, but there’s all manner of other creatures too - giraffes and elephants and a particularly clever ostrich. There’s even some mythical creatures too. I’m particularly fond of the gryphon, though I suspect you might prefer the dragon. There’s even a bench seat with a kraken twining around it! It’s truly charming; the kids love it, obviously, but it’s wonderful to see the delight of grown men and women too. I believe I saw a young couple squabbling over the cow yesterday; the lady won, of course. Wise man.

If you hadn’t guessed already, the carousel is very obviously a creation of your winsome competitor. The ride travels through an enclosed portion at the back, ostensibly to parade the figures and their riders past a scrolling display of landscapes; however, having ridden the thing myself (I couldn’t resist, Killian! And obviously chose the gryphon, though I was tempted by a polar bear), it’s obvious that this tunnel somehow bends reality, stretches the track much further than it should ever go. Magic is obviously at play, here, though I believe the visitors are too enthralled (and, as usual, too oblivious) to realize.

There’s something else a little unusual about the carousel: Mr. Booth’s part in bringing it to life. He was here in Brussels to oversee installation, or I might not have believed it. You know as well as I that usually, new installments just… pop up, without explanation. His craftsmanship is evident in the construction, too, if you know to look - the smooth curves and the intricate carvings and the way the peak of the striped roof stretches up towards the sky. It’s lovely, really, and undeniably a joint effort between Mr. Booth and Miss Swan.

Does that mean he’s aware of her abilities? I can’t say for certain, but I have trouble imagining otherwise. It could be interesting to see if you could enlist him in a similar effort - though of course, that’s entirely up to you. I’m merely reporting your opponent’s most recent move on the chessboard, so to speak.

(Do come see the carousel, though; I promise you won’t regret it.)

Affectionately yours,

Belle

———

Killian folds Belle’s latest letter carefully, considering her words as he meticulously files the pages away, just as he always does. The new carousel sounds beautiful, of course; Miss Swan’s creations always are. The fact that she enlisted August Booth to create it captures his attention the same way it had Belle’s. That’s something he never considered - drawing upon others’ skills to create something that is not entirely mechanical, but not fully dependent on magic either. He should have thought of it sooner - after all, the Circus as a whole operates in a similar way, weaving enchantments in amongst all the physical manpower needed to bring the whole thing to life. It sets Killian’s mind running in other directions, other ideas that could be brought to life in the same way. And if Booth is aware of the things Miss Swan can do… perhaps he can serve as an intermediary, of sorts, in a way that could bring this competition to a new level.

But Killian is a patient man, a planner through and through. It’s his greatest advantage in his employment and in this game. So before he lets his imagination run away with him, drafting things that can never come to fruition, he calls upon Booth at his office to test the waters of what is possible.

“I didn’t expect to see you, Jones,” the other man says, smiling genially as he comes out from around the back of his heavy wooden desk to offer a handshake of greeting.

“It was a bit of an unplanned visit,” Killian admits as he seats himself in the offered chair.

“Well that’s quite alright. What can I do for you? Is this about the Circus, or are you finally looking to build something more comfortable than that little flat of yours?”

“It’s about the Circus.” Killian lets his gaze glance around the room before he speaks further, considering his next words. Though the furniture in the office at Booth’s architecture firm is heavy, with dark wood and intricate carvings and tall bookshelves lining two walls, the whole thing manages to avoid a feeling of claustrophobia due to a stretch of tall windows along one wall. A panel of stained glass is installed in the middle, with beautiful swirling patterns in all kinds of colors. The whole effect is a little whimsical, while somehow still ordered and elegant. In that moment, Killian can see exactly why August Booth was chosen as a partner to produce the Circus.

Drawing his attention back to Booth, Killian finds the man patiently waiting for him to start speaking, prompting him to gather his thoughts. “I understand you had a hand in creating a new attraction - a carousel.”

“Ah yes,” August smiles. His tone is fond, almost like a parent speaking of a favorite child. “Marvelous, isn’t it? Though, of course, I can’t take full credit - or even most of the credit, really.”

“So you’re aware of others’... unusual contributions, shall we say.”

Booth makes an amused, guttural noise from the back of his throat. “I may be a skilled designer, but not nearly enough to create space that’s not there. And I’m not nearly oblivious or egotistical enough to believe I can. Besides, Miss Swan was involved from the beginning. The carousel was her idea.”

That’s one question answered. “So how much did Miss Swan tell you about her… abilities, I suppose? And her influence on the Circus?”

“A rudimentary explanation, I believe - just as much as I needed to agree to assist her. All her illusions are real, true magic, and she’s engaged in a competition to be played out at the Circus.” Realization suddenly lights his eyes. “I suppose that makes you the competitor, then? She didn’t seem to know who they were.”

“Aye, I am. And I would appreciate it if you would keep that fact between us. This particular game doesn’t precisely encourage familiarity between contestants.”

August waves him off. “Of course. Now, are you here just to talk about the carousel - or do you have something else in mind?”

“You read my mind,” Killian says, letting a smile spread across his face. “I have an unusual idea, one that I think you can be of assistance with.”

———

Emma should have known that her opponent would hear of the carousel, and of her partnership with Mr. Booth. What she hadn’t expected was for Mr. Booth to send her a letter, detailing an idea her competitor had brought to him.

One they want her involvement in as well.

It’s a simple idea, on the surface - a maze of rooms. Its brilliance is in how it allows the two of them to interact and compete directly as they build off of each others’ ideas. Once the maze is brought to life, once visitors enter the tent, they reach a hallway lined with doors, each leading into other rooms with other doors, and so on. Some will be hidden; some will be obvious. It is entirely up to Emma and whoever she is competing against to build out each room, testing the limits of imagination and reality and magic.

It’s like a puzzle on a massive scale - each piece fitting into others which in turn fit into others. It’s fascinating to see the things her opponent comes up with over time - creations that play with structure, with scale, like golden bird cages and a room where everything appears so large as to dwarf the viewer. She treasures exploring each one, finding all the hidden doors and discerning the way everything fits together.

Emma has a niggling feeling that this is not exactly how their competition is supposed to play out - but as she opens another door, she can’t bring herself to care.

———

Maybe it’s ridiculous - but Killian feels like he comes to know the lovely Miss Swan a little better through the room maze and each addition she crafts from her imagination.

She focuses on creating an atmosphere, he finds - the little things that make each space feel like an environment, rather than a room. There are lush green jungles and arid desertscapes and the illusion of a lovely rose garden. He wonders if she feels trapped; all the illusions of open spaces make him think she might.

He can tell she truly loves the circus in all the little details she weaves in, too. It must take her incredible effort, but it’s worth it to see how leaves glisten with dew and the barest scent of earth or flowers tickles his nose and heat or chill dances along his skin. There’s pride to be found in the work she creates - all the things that take each room of the maze from the illusion of a space into something tangible and believable as its own natural world.

She’s smart, too: the hatches and doors out of her rooms are cleverly hidden, and often require searching for a key first. Killian thinks she might be trying to stump him, for all the time he spends searching for the way out in some rooms. Would she laugh if she could see him? Is he reacting in exactly the way she anticipated, or even intended?

(Would he even mind?)

He’s not such a fool as to fall a little in love with his opponent in the rooms that she builds, but he does delight in receiving these little insights to her personality. It reminds him that Miss Swan is more than his opponent - she’s a person, and one he’d love to know under other circumstances.

Only time will tell whether that makes things easier or harder.

———

To no one’s particular surprise, Regina does not approve of the maze.

“This is a waste of your time,” she proclaims to Emma on one of her rare (and never welcomed) visits. “You’re supposed to be competing, not… collaborating.” She spits out the word like it’s a profanity; who knows, it likely is in her mind. Emma wouldn’t be entirely surprised.

“Isn’t this just a different way of competing?” Emma asks. Truthfully, she doesn’t see the fuss. “I’d think it would be easier to compare, when we have to share the same structure. Well, even more than we usually do.”

“This is not how things are supposed to work,” Regina snaps. “I didn’t train you to be so stupid about this, Emma. You know better - this is… frivolous!”

“I like it,” Emma says, letting her voice display a quiet defiance. “I think it’s wonderful.”

That’s why she’d led Regina to the maze in the first place, instead of simply taking tea in her compartment as usual - a little childish thought that maybe her mentor would see all the careful crafting she had put into each chamber. That maybe she would appreciate this unusual way in which Emma was stretching her abilities beyond what she thought was possible, challenged by the necessity of working around someone else’s ideas in the most literal, compressed way. That maybe she would be proud.

Pride, at least for others, is not something that’s in Regina’s vocabulary, however - something that Emma has never been more aware of than in this moment, standing amongst the hedges of a shifting maze within a maze. It’s an ever-changing creation, one that Emma had been particularly proud of.

It’s easier simply to wind their way to the closest exit than to attempt to convince Regina any further; Emma has long since learned her mentor is an immovable force. If Regina hasn’t been swayed by the creativity and brilliance of seeing the maze in person, no words will do it. So they’ll exit the maze and slip back into the backstage rooms, where Regina can berate her about her work ethic and how it seems like Emma doesn’t even want this while still failing to offer any concrete details or advice, until Emma can make her escape to perform another show, displaying her abilities to a kinder audience. That’s how these things always seem to go, and now that her foolishly hopeful little bubble has been broken, there’s no reason they won’t go that way again.

Then again, there’s alway room for surprises and changes from the norm; Emma should know that, after so many years here at the Circus. As they exit into the chilled night air, Emma - and more importantly, Regina - clearly didn’t expect to run into Mulan as the sword swallower wandered back towards her own lodgings.

Most days, Emma almost forgets this other source of magic buzzing around the circus. It’s like white noise, almost; something Emma is subconsciously aware of, and can focus on when she chooses, but fades into the background most of the time. They’re friendly, but not quite friends - happy to spend time with one another, but rarely seeking each other out. Mulan is closer with Ruby, or with Belle. It’s easy, in that way, for Emma to forget the higher force that binds the two of them together - Regina herself, who has been a teacher to both of them.

It is visibly obvious the moment they catch sight of one another: both straighten to their most rigid posture, Regina’s face shifting into something even more haughty than her usual mien, and Mulan shifting to something cool and dangerous. The air between them practically crackles with restrained magical energy, sending the hair on Emma’s arms to stand on end. Emma sends a silent thanks to whomever may be listening that this meeting occurred firmly in public; while the confrontation is primed to be bad as it is, she wouldn’t relish being forced between them in a private setting. Or a dark alley.

For all of the danger sparking the air, it is almost anticlimactic when each party finally finds their words. “Regina,” Mulan says, coolly polite and with the barest incline of her head. Regina only jerks her chin in a broken nod in response.

And then they’re moving their separate ways, the whole thing over. Maybe it’s better that way; it would be a pity if the Circus was razed to the ground, after they’ve all put so much effort into the venue. There’s a story there, though, one Emma doesn’t know but can’t help but wonder about. She’ll have to ask Mulan, later; she knows very well that asking Regina will bear no fruit.

(She never does, of course, just another intention lost to time and her mentor’s berating. Not that it would have done any good, anyways. Mulan keeps her secrets locked as tight as the most impressive safe.)

———

Emma knows Belle, of course - they’ve both been with the Circus for more than a decade, and Emma isn’t entirely self absorbed. They’re even friendly, in that way two people who work together but aren’t particularly close can be. But never once in all that time can Emma remember actively seeking the other woman out - for her skills or anything else.

Belle’s particular skill unsettles Emma, she supposes. It feels a little hypocritical - Emma has magic, after all, she shouldn’t feel so uncomfortable about fortune-telling. There’s something about the talent to see glimpses of the future, however, that has never sat quite right in her mind - that has always made her ever so slightly uncomfortable. It’s not Belle’s fault; Emma knows as well as anyone that sometimes, these kinds of gifts choose their recipient instead of the other way around.

There’s something in the air, though, something Emma can’t quite identify. There’s a niggling feeling of anticipation, like a reverse deja vu, where Emma knows something is coming, but doesn’t know what or how or when. She’s never been particularly good with that kind of uncertainty, searching for control wherever possible. It’s that search for control that brings her to Belle, seeking answers anywhere she can find them. Unusual times call for unusual measures, or some other such cliché.

Emma goes at night, while the Circus is open, in between her own performances - just like any other querrant. It’s a simple thing to blend into the crowd - after all, no one is expecting the illusionist to wander among them, especially in a dark coat and skirts turned crimson red with the touch of a finger. It takes no magic at all to slip down the silvery paths and duck into a tent labeled Fortune Teller: Feats of Fate and Prophecy.

Belle snaps into character as soon as Emma brushes past the beaded curtain welcoming visitors into her space, only to relax again as she recognizes Emma’s face. “What a lovely surprise,” she comments with a pleased smile. “Sit down, sit down. What can I do for you, Emma?”

“I was hoping for a reading,” Emma explains as casually as possible - as if this is no great favor. Still, it shoots the brunette’s eyebrows up towards her hairline in surprise.

“I must say, I didn’t expect that,” she comments. “I don’t believe you’ve asked such a thing of me before.”

“I haven’t felt the desire before.”

“Ah. You must face some kind of crossroads, then.”

“Truthfully, I am not even sure enough to say that much,” Emma admits. Summoning a few coins into her hand, she pushes them across the table - payment for services rendered, as is typically custom in Belle’s little nook. “I hoped you might be able to shed more light on the matter than I can currently discern.”

Belle pushes the coins back. “Keep your money. Consider this a gift for a friend. Now, shall we?” As soon as Emma nods, Belle begins shuffling the cards - a quick, hypnotic motion, as each card flies past again and again. Once she’s satisfied with the shuffle, she carefully fans the cards across her table, face down. “Pick a card to represent yourself, if you please.”

Emma contemplates her options; truthfully, the tarot has never called to her, and this moment is no different. After some short examination, she selects one barely visible towards the left-hand side.

Belle chuckles a little as she turns the card over - and Emma can see exactly why, as soon as she sees the card. The Magician.

“Now, this card often represents a plethora of abilities or options you may not be fully aware of, especially in the face of impending change or disaster,” Belle explains. “And that may still be the case. However, under the circumstances, I suspect this card is supposed to be taken rather more literally in this particular reading, Madame Magician.”

Belle shuffles again, before cutting the deck into three portions and directing Emma to select one. Replacing the selected stack back at the top at the pile, she quickly doles the cards back out, in practiced patterns and an unexpected elegance. There are flashes of cups and swords on the cards between them, interspersed with picture cards of women and wheels and a couple reaching for one another.

(Emma does not think she has the time for whatever a card like The Lovers may symbolize.)

“I see what you mean,” Belle says after a long moment. “There are significant changes here - in circumstance, in thinking, and in feelings. Whatever knot you have been working at in your mind will begin to unravel - one change that will spur many more. Now these changes - they seem imminent.”

“How imminent?”

Belle cocks her head, examining again. “There’s rarely an evident timeline that I can see,” she admits, “but I would wager in the coming weeks or months.”

Emma nods. It’s not really an answer - but it feels like validation, somehow. Like someone else can sense that something is on the horizon.

“Now, I asked about a crossroads, before we started,” Belle continues. “The changes that are coming - they will not be your crossroads. This will not be the moment you have to make that decision. But each change will compound upon each other until it leads you to that crossroads - a choice you’ll make that will change everything, again. It will not be for some time yet, but those seeds are being sown now.”

Emma nods slowly, taking it all in. There is an odd comfort in Belle’s words, even as Emma tells herself not to put too much stock in it. “Thank you,” she finally says. “Is there anything else you can see?”

Belle shakes her head ruefully. “Not that I can see now, no. But I’ll keep looking. Sometimes, these things make themselves clearer given a few hours to think on them.”

“I understand. Thank you.”

Emma ponders the words as she emerges back into the night. A momentous change to come seems inevitable - both from her instincts and Belle’s own readings. All that’s left to do is brace herself and face that change with an open mind and courage.

The weeks and months to come may change everything - and Emma intends to be ready for it.

———

We’ll be back in England next month - just in time for the rains, I’m sure. As if they ever stop. I anticipate many inclement weather parties in my future, and I don’t even need the cards to tell me that.

Speaking of which - be on the lookout for something, Killian. Change is in the cards and in the air. Something is on the horizon, and I think it’s best you be ready for whatever that might be.

We’ll have tea one afternoon next time I’m in town, and you can buy me an absurd amount of books. I have several recommendations to give you from the last batch. I expect you’ll feign interest and the time to read, just as always, but I don’t particularly care. You’ll do it because I’m your friend, and you love me.

Yours &c.,

Belle

———

That same feeling of anticipation, of something in the air, only intensifies when the Circus returns to London for a short stretch. It’s been growing ever since Emma spoke with Belle, becoming more urgent as time goes by. A breaking point must come soon - though what that will herald, Emma doesn’t pretend to know. There’s no use continuing to worry over something that will only reveal itself at the right time.

Emma throws herself into rediscovery instead, wandering all those places she used to know. It’s hard to call London home, even though she grew up here - that designation has only ever belonged to her cramped and cozy little train compartment - but the city is familiar in a way that’s comforting. She spent the first 24 years of her life here, after all; even trapped under Regina’s thumb, she was able to discover little corners of the city all her own, park benches and cafe tables and backstage theater rooms.

(She doesn’t intend to visit her benefactor during this stop, if she can at all help it; bringing Regina into things always invites trouble that Emma would rather avoid.)

It’s raining on their first day in town, of course, like her own meteorological welcome. Emma smiles a bit at the thought of the clouds and raindrops and wind whispering a hello - though truthfully, she’s seen odder things. She’s orchestrated odder things. The soft patter of raindrops on her umbrella is almost soothing as she walks down the cobbled streets to a favorite remembered cafe. Emma loves the Circus with every fiber of her being, both as her creation and as her home; still, sometimes it’s nice to escape for an afternoon and enjoy the anonymity of people watching or reading a nice book. Some days, she wants that distance; to be just another face in the crowd.

The afternoon passes quietly and uneventfully with her tea and scone and a silly novel. It’s easy to blend into this little corner of London, tucked into the corner of a quiet street off the main road. Emma has always liked this place, and tries to visit whenever she’s in the city; it’s something about the way that light dapples through the wide windows at the front, always perpetually just the slightest bit grimy, like dirt had accumulated just as soon as some poor soul had taken the efforts to clean them off. The used bookstore just across the street is a wonderful bonus too, where Emma sometimes finds unexpected treasures. Here, she can be just anyone else - no expectations, no grand fate. Just a woman at a weathered table.

All too soon, the clock on the wall chimes 4pm, prompting Emma to gather her things to leave. This time of year, even though spring approaches, the sun still sets early, heralding the opening of the circus’ wide gates. Emma is lucky enough to set her own performance hours during the night, generally aiming to do three or four shows in an evening; however, it’s still important that she’s fully ready for the evening by the time the first visitors trickle into the grounds, regardless of the fact that she won’t make her own dramatic entrance for at least another half hour.

As she bustles out the door, she mentally runs through her checklist for the night of tricks she might like to perform. That’s the freeing thing about performing with real magic; not having to depend on mechanics means that she can improvise, that every single show can be different as she feeds off the audience and her current whims.

She’s so busy running through her possibilities for the night that she doesn’t notice she’s grabbed the wrong umbrella - not at first, at least. It’s just one amongst a cluster of black fabric in the umbrella stand, each nearly identical to each other. Emma’s put a special charm on hers that repels the rain; that slight buzz of magic is the only thing that differentiates hers from all the others. She picks it out by the feel alone, absentmindedly, before exiting into the deluge.

Something is off, though - something she realizes the further she walks from the cafe and comes back to full awareness. The charm on the umbrella is wonderfully effective, as always, but there’s something… wrong about the magic. Emma’s own magic has a particular warm feel to it, one that largely fades into the background of her mind until she barely notices it. This, though… the buzz continues, like a pricking or a tickle under her skin. Foreign.

Not hers.

Realization draws her up short. This umbrella - clearly imbued with powerful magic - magic like her opponent would possess - in the cafe at the same time -

A polite clearing of the throat causes Emma to whip around, revealing an unexpectedly familiar face: Jefferson’s assistant, the handsome one, who she remembers lurking at the edges of ballrooms and the back of theatres and in the densest of crowds. Jones - something with a K. Or a C? Kelvin? Carson? No —

“Excuse me, Miss Swan,” Killian Jones smiles warmly, “but I believe you have my umbrella.”

#cssns20 #captain swan #cs ff #captain swan ff #A Fate Woven in Thread and Ink #magicians!CS #The Night Circus #they finally meet guys!#twenty some odd years later #also henry is real cute #and i just want you to know that

60 notes · View notes