#and I put it to a vote as I was writing this

[descendedgaia]

𝕭𝖊𝖆𝖗𝖊𝖗 𝖔𝖋 𝕱𝖑𝖆𝖒𝖊𝖘

ℭ𝔥𝔞𝔭𝔱𝔢𝔯 17

phainon x gn!reader wc: 3.41k tw: angst, death, martyrdom, apocalypse, hope v despair, trauma Story Elements taken from Punishing: Gray Raven, The Surviving Lucem Masterlist ☲IN which you are not a Chrysos Heir or a Titan, but a human being who struggles and shall bring the story of the Flame Chasers the grand and spectacular ending it deserves. Previous Chapter

── .✦·········────

δ-me13 Experimental Progress: 97%

He watches as the administrative code lights up on a screen that only he can see, going through queries and internal diagnostics on the stability of the simulation. Ever since that first appearance years ago, checking in on the progress δ-me13 had become a habitual thing. He had expected that things would run along smoothly once that man finally buckled under the weight of his own ambition and succumbed to dust.

But it seemed that another factor had come into play.

To think Harmony would intervene during this last recurrence and throw a wrench in his plans. He never deluded himself into thinking he could understand the whims of the Aeons, but it was no matter. So long as this recurrence failed, it would give him the tools to get rid of this malware and set things on the right track.

Yet, he still found himself amused and curious about what this would bring.

He’s interrupted from his musing as a simpering thing comes up and talks to him amidst the chaos.

“Elder Lygus,” Menelaus' eyes dart from the council floor to the ceiling that was blown apart minutes ago. “Why…did you direct us to keep your alias as Theoros?”

“Simply a precaution,” Lygus shrugs with an amused smile. “I’ve had…history from city states outside of Amphoreus and simply wished to safeguard my person and name lest any of those under Esteemed Hestia recognized my name.”

“Ah…I see,” Menelaus rubs his hands together. “But can we count on your support to bar entry from those…refugees?”

“That we’ll merely have to see,” Lygus waves off. His unwillingness to throw his lot with one side or the other puts a face of discouragement on Menelaus’s face. Before Menelaus can try to convince Lygus to vote in favor of his faction, a messenger runs into the chamber in a panic.

“E-Esteemed Elders!” the messenger gasps and catches his breath. “The Black Tide…The Black Tide is being eliminated!”

Almost immediately, there are furious whispers and murmurings. Because even if Project Prometheus was condemned as a work of heresy by many of the council, its truth was displayed. The ability to purify the Black Tide is an incredible boon, blasphemy or not.

Lygus merely smiles as he primly crosses his fingers together. “Interesting. Let’s see the story you so wish to write, Ἑστία.”

── .✦·········────

You hold the remains of the dead in your arms. Her body is still, flesh and skin peeled away by the infection of the Black Tide. But somehow, even though death must have been so excruciating in those last seconds, Helena’s expression is one of peace and contentment.

“Helena…”

You are not blind to the fervent reverence that your people hold toward you. At times, it makes you feel uncomfortable and unworthy. You know full well that what runs through your veins is crimson, and you are human just like the rest of them. Just like Phainon has affirmed, the lack of gold thrumming under your veins is a sign that you are not of a grand, divine destiny. 

Yet the name Hestia weighs like a heavy crown all the same. And in this moment, you failed to protect people from having to lay down their lives to divert the Black Tide.

If only the people of Okhema accepted your refugees. If only the Council were not so entrapped in their power plays and arrogance. If only you had stayed here, then at least it would’ve been you who fell into twilight instead of these people.

But no prayer will ever reverse the flow of time. 

Helena so outwardly brash yet gentle and caring at the same time. Your teacher, your caretaker, your friend, your confidant. You will never be able to hear her words, much less receive her guidance. 

Why? Why must the Black Tide take everything away?

Your eyes burn and water as so many things swirl in your throat: grief, anger, sorrow, indignation. Because these deaths could’ve been prevented. No one had to die if others could express some level of empathy. 

You shouldn’t have listened to Phainon. You should’ve stayed here.

You don’t know how long you stay there, feeling tears roll over your cheeks and merely holding Helena in your arms, trying to memorize her face for all of eternity. There are so many things clogging up your throat. Whether it is words of fury, a cry of anger, a wail of grief, or anything else. No matter how many times you part your lips, it’s only a hoarse whisper.

“Why don’t we sing instead of crying?” 

You remember around that hearth back in Ladon. When grief and despair became too much to bear, the people let loose their grievances by singing. 

“...”

“...That which I—hrk—faintly see in your eyes…,” you whisper hoarsely, too quiet and low a sound to be called singing. “An end… endless crim—son swirl of tears…”

You choke up on the lyrics because even these words that release your desolation do nothing but make the ache in your heart even more pronounced. Because what will mere singing do in this reality? But still, even though it feels like your very voice will fall apart, you continue even if it hurts.

“W-We bid farewell to the…grounds of yesterday. And carry what we have been—I can’t… I can’t… ”

Coughs and sobs wrack your body as your voice tapers off weakly into a sound of mourning. Once so bright, not even a dove can find the strength to spread its wings and fly again. No matter how flawless or powerful a person may be, they cannot shoulder the weight of the world by their lonesome.

“~We’re told to pave the way for our future and dream as big as we can dream~”

A deep, sonorous voice, yet full of grief, picks up this song where you have faltered. Looking up, you see Priam standing there. His head is bowed, tears streaming from his eyes, as he takes in Helena’s appearance. He places a hand on your shoulder and continues to sing.

“~Below the path of hope we do walk upon are the footsteps of our forerunners~”

Even his voice falters, but you hear the footsteps of multitudes of people arriving to join you. Craning your neck as far as you can see, many, if not all, the refugees you have saved join this mourning procession and offer their strength and voices. The women sing, voices trembling in soprano that shimmer in the air.

“~Let there be light shining down on us~”

And as if in response, the men sing, timbre and tenor sinking into the soil.

“~Upon past and pain we’ve all been through~”

Then all of them sing in unison, the very world trembling in the face of this harmony. 

“~Our faith shall become light pushing us into the sky, now down the road we go as one~”

From a distance, as Phainon and Tribbie descend the mountain. Horror fills their hearts when they see the utter devastation wrought by the Black Tide on the refugee camp. But at the very edge between undisturbed earth and the Black Tide, a shimmering white light begins to form. 

“What…what is that?” Phainon asks, eyes focused on this gentle but radiant star.

~In the rain that never ceases weeping…and far beyond the forest’s shadow~

“They’re…singing?” Tribbie blinks in confusion.

~No matter how close we are to giving up once more, our promises will always shine again~

And from that lone star in the abyss, light spreads outward in iridescent ripples with each rhythmic pulse of this star. Deceptively gentle, it pushes against the Black Tide, suppressing its rolling waves and forcing it to recede.

~The stars gaze upon the sea, its embrace holds the sails they left~

~The time it has come to step ahead again. Embrace it now…with outstretched arms~

Amidst the multitude of people, the ensemble of voices hides your weeping and grief. Even when you hold Helena’s body close and muffle your sobs into her chest, you can feel and hear each voice reverberate through your being. 

~The pure sword, we hold true, shall pierce the peak~

~Through night and the storm it will soar on high~

Each heartbeat settles the tempo of this hymn, each voice weaves a melody that encapsulates the universe, and each human spirit will illuminate that cold, eternal night. They pat their fists and palms against their hearts as they honor their fellow humans who have taken up arms to confront the doomsday. And they make their promise that they will continue to forge on to that bright future.

~So long as our hearts beat until the time’s end, we will stand again, forward we go~

~So now, carve it out with your own hands~

~So now, from today, we build the future~

~So now, onto the path of tomorrow~

~Tomorrow!~

~Tomorrow!~

~Tomorrow!~

── .✦·········────

The bodies of the deceased are wrapped up in the cloth, preserving their dignity before it is time to send them off. For now, you stand as the vanguard of this somber procession, leading your people up the mountain and to the opulent city of Okhema.

And each step you take makes your grief dim and your anger burn hotter. Why is it that the people of Okhema enjoy luxury while the rest must suffer? And why is it that those same people cruelly and selfishly hoard that prosperity and refuse to help the unfortunate?

They aren’t asking for gold and riches. They’re only asking for sanctuary and safety.

Phainon and the Tribios sit on the Droma, a few paces ahead of this march of people. You don’t have to look directly at him, but you can feel his gaze settling down on you in worry. Stubbornly, you keep your gaze ahead and don’t deign to give him your attention. Right now, your people need you. You can deal with him later.

Intimidated by the sheer number of people marching together, the people of Okhema can only watch on the sidelines in confusion and fear. There are a few stragglers who jeer and riot, trying to provoke and bait reactions.

“Go back to where you came from! You aren’t welcome here!”

One of your people steps forward, but you have been attuned to the shifting moods of your people the whole time.

“Medea,” you say her name firmly before she does anything. Begrudgingly, Antigone steps down from retaliating, and the offenders laugh and jeer mockingly. However, they freeze when they feel pressure crash down on their shoulders and make them instinctively still. They meet your frigid gaze against their will and feel cold sweat run over their backs. 

It is not the weight of a predator that has them frozen, but the weight of something so incomprehensibly cosmic that their instinct is screaming in fear of what they can’t understand.

You lead your people to the temples at the feet of Kephale, where the council members are already gathered together as well as Aglaea and, what you assume to be, another Chrysos Heir standing by her side. The scent and aura of death stick pervasively to her, but you pay her no mind.

Instead, your glare sweeps over the Council. They sweat and tremble under the weight of your presence.

“Esteemed Hestia,” Theoros inclines his head in respect. “My condolences and my apologies for your recent loss—”

“I don’t need your lip service,” you cut in, already irritated beyond belief. Wisely, Theoros culls his words, lips quirked in a wry smile as he nods once.

Another Elder coughs, and Caenis lets out a loose smile, drawing out every word as if it physically pained her. “You have shown the merits of your Project Prometheus. Being able to purify the Black Tide is certainly a massive boon. We will reach an accord with you—”

“I’m not giving you Project Prometheus,” you interrupt her. “You had your chance, but you made your power plays, and now you’ve lost it.”

Caenis stops, caught off guard and offended. “I beg your pardon?”

“No amount of begging will change what I’ve said,” you speak firmly and unyielding. “What makes you think that I will trust any of you hypocrites? You value the lives of my people through compensation, so what stops you from throwing out or killing my people once I hand it over?”

At your words, the refugees protest and raise their voices in your support.

“Yeah! What’ll stop you from killing us?!”

“How can we trust people like you?!”

“You’re the scum of the earth!”

“We won’t give anything to people like you!”

“We’d rather die than give you anything!”

The berating from the refugees has some of the council shrinking back in fear, others stewing in their anger, and others barely able to keep their fury in check. Elder Menelaus explodes first. “All of you are here by the grace of the council! You should be lucky that we are even welcoming you here on Okhema?”

“And what does Okhema that the rest of the people don’t?” you step forward and point up at the Dawn Device. “The protection of Kephale? The Dawn Device? If that’s all, then it can easily be taken away.”

You grab the strings of power waiting just right at your fingertips. In a shimmer of iridescent light, that crystalline baton appears in your hand, and you point it directly at Kephale. Those who are not familiar with the weight of ‘Hestia’ tremble and flinch when the sky ripples and the chorus of angels sing out to reverberate the atmosphere. Their holy voices crash down on the shoulders and psyches of those who do not stand against you, inflicting them with a feeling of foreboding: a foreboding that sends chills down to their very bones and makes goosebumps rise over their flesh. Because they can feel something so incomprehensible approaching, and the sheer might of their power threatens to unravel their very existence.

From nothing, 'Elysia' rises like a grand mountain over the dais of the council, making the very world quiver with the might of its presence. Its figure casts a massive shadow over the multitude of people, partly eclipsing the light of the Dawn Device. Though they do not recognize 'Elysia' as one of the twelve Titans, its grandeur and poise rival that of Kephale himself.

The Harmonic String fashions an arrow from holy flame and pulls it back to aim directly at the core of the Dawn Device.

“W-What is that?!”

“Is that a Titan?!”

“Wait, stop them! Don’t aim at the Dawn Device!”

The Chrysos Heir beside Aglaea conjures her scythe in a deluge of purple liquid. She steps forward, but Aglaea raises a hand to stop her. 

“Aglaea—”

“Castorice, stand down,” Aglaea says, shaking her head. Begrudgingly, Castorice steps down, which tells both Phainon and the Tribios to stop as well.

“Hestia!” Caenis barks, loud but fearful. “Enough of this!”

“Let me lay down this new accord,” your amplified voice reverberates and shakes the atmosphere itself. “My people and other refugees out there will have sanctuary in Okhema, and I will not destroy the Dawn Device myself.”

A majority of the Council falls silently, sufficiently cowed by your threat. They are unable to say anything, so you turn to Aglaea.

“What say you, Lady Aglaea?” you address you. “Is this accord acceptable?”

“Hestia—!”

“I accept the terms of this accord, Esteemed Hestia,” Aglaea nods. After all, when you first met Aglaea, she made the distinction that the Chrysos Heirs and the Council were to be considered separate. But why make that distinction? Unless, as if to say that the Council was not the sole power of leadership in Okhema?

This observation is also coupled with how the Council reacted to Dr. Hesione’s directive to “Her Majesty Cerydra.” Why would the Council of Elders react so uncomfortably to the name of Cerydra? But you know, thanks to Priam, that Cerydra was a Chrysos Heir. And if the late ruler of Okhema was a Chrysos Heir, logic dictated that the Chrysos Heirs of today still had influence.

This is a decision that has two facets. First, your people will gain entry to Okhema, not through the Council of Elders, but through the approval of the Chrysos Heirs. Secondly, borrowing the name of the Chrysos Heirs will protect your people and make the Council of Elders think twice, lest they incur their wrath.

Negotiations will not work with people as fickle as the Council of Elders. If they could, then Helena would’ve succeeded a long time ago. 

These pigs will not get any ‘carrot’ from you, only the ‘stick’. For your people and more that are still wandering Amphoreus, you will have to be the power that threatens to cut the council’s power at the knees.

With Aglaea’s acceptance, you let your baton and Elysia fade into motes of stardust. 

“Is that what it is?!” Menelaus roars in accusation. “A Chrysos Heir colluding with their kind?! You may wield power, but you have no right to dictate the lives of humans!”

You scoff. “You accuse me of not being human?”

You procure a pocketknife and flick the blade loose. Without a second thought, you slice it into your palm and let your crimson blood flow freely and splatter all over the ground. Merely slicing your palm doesn’t make you flinch in pain; you’ve already experienced something much worse when you first purified the Black Tide.

Both the Chrysos Heirs and the Council of Elders fall into shocked silence at this revelation. To be able to conjure and command the power to purify the Black Tide as well as threaten Kephale’s Dawn Device, surely it meant that you were of the divine. But the blood that flows in your veins says otherwise.

You are human. And the strength that you possess is not owed to prophecy or the divine.

“I, Hestia, of humanity, condemn you all for your inhumanity.”

The Council of Elders is still unable to say anything as you turn on your heel. The refugees who follow your flame part ways, heads bowed and eyes cast on your visage in reverence. They follow you, just like countless times before.

“This shall conclude matters, no?” Aglaea addresses the Council.

“You—!” Caenis seethes, but she is powerless to say anything else. Today, the Council has been completely and utterly defeated.

“Room will be set aside for Hestia and their people,” Aglaea continues. “You have none to blame but yourselves for squandering this chance that Hestia has provided. After all…the entirety of the Council was not assembled for this decision, no?”

The present members of the Council are silent, caught red-handed in their scheme.

“Just you wait, Aglaea,” Caenis grits her teeth. “Your arrogance and the Flame Chase will see their end at the next citizen’s assembly.”

“I await to see how you will succeed where you haven’t centuries before,” Aglaea remarks mildly. The Council of Elders eventually dissipates as Caenis has no words or ability to make a meaningful comeback. 

“Aglaea,” Phainon presses his lips together in confusion as he approaches the demigod. “Why…Why did you tell us not to stop Hestia?”

Phainon isn’t one to berate others, especially someone like you with whom he shares a history. But the importance of Kephale’s Dawn Device cannot be understated. Without it, what chance did humanity have in Amphoreus?

“Indeed,” Castorice agrees with Phainon. “That gamble…was something too heavy to take part in.”

Aglaea merely smiles, mystifying and assured. “There was no need to worry. Hestia had absolutely no intention of destroying the Dawn Device.”

Phainon blinks. “So it was a bluff?”

“Whether Hestia had the power to destroy it or not, we may not know,” Aglaea shakes her head. “But Hestia loves their people too much to do something like that. It was only a tactic to subdue the Council and find the best possible way to grant their people safety.”

If Aglaea said that you had no intention of destroying the Dawn Device, then the others couldn’t do anything but accept it. After all, Aglaea’s perception into the hearts of people through her threads proved scarily accurate. But Phainon had so many questions. Where did your strength come from? And why...why did that thing you conjured look so much like Cyrene?

“Go,” Aglaea tells Phainon, seeing his pensiveness and his overall confusion about what to feel about you. “We’ll handle things here, Phainon. Go talk to Hestia.”

[Previous Chapter]

[bouquetoflias]

ABSOLUTE ACADEMIC WEAPON!⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀university work in my joint chlolia dr

note:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀this is only for year one so...obviously i can't go into full detail because it probably would bore you...but what i can say is i did organise it in a way where it is not completely overwhelming! sports science has my heart but so do the arts ꨄ︎ also, yes, this is a ton of content but...tehe? also this turned out to be really long anyway so, oops?

CULTURE AND CREATIVE INDUSTRIES WITH LITERATURE, FILM, PHILOSOPHY, AND POLITICS ⠀⠀⠀⠀⠀⠀BA HONS a long degree name, i know, but it feels as though the stars have aligned with such a degree existing. the ultimate bachelor of arts degree with everything i love and adore in the arts.

MANDATORY MODULES

INTRODUCTION TO CULTURAL AND CREATIVE INDUSTRIES ⠀⠀⠀⠀⋆⭒˚.⋆ mean to orient students within the academic and public discourses that inform the management and study of cultural and creative industries. the module invites students to engage with histories of critical debate about culture, cultural policy, and cultural economy. students will be introduced to the key concepts, historical antecedents and future trajectories that have shaped the formation of the interdisciplinary study of the creative and cultural industries. it incorporates case studies grounded in cultural and creative practice and industrial organisation, focussing on key concepts relating to the study of cultural and creative industries today, including funding, diversity and inclusion, labour, precarity, sustainability, climate change and other challenges. this module will explore these issues in relation to the global context as well as the national and local cultural and creative industries.

STUDYING LITERATURE ⠀⠀⠀⠀⋆⭒˚.⋆ this module introduces the core skills for literary studies, including skills in reading, writing, researching and presentation. topics covered include: close reading, constructing an argument, handling critical material, introducing you to key critical questions about literary form, production and reception. these skills will be put into practice through reading specific literary texts, focused on poetry and prose selected from the full range of the modern literary period.

INTRODUCTION TO COMPARATIVE POLITICS ⠀⠀⠀⠀⋆⭒˚.⋆ this module seeks to compare and contrast the decision making structures of modern democratic states. topics covered will include: politics, government and the state, the comparative approach, constitutions and the legal framework, democratic and authoritarian rule, political culture, the political executive, legislatures, political parties and party systems, electoral systems and voting behaviour and the crisis of democracy.

INTRODUCTION TO POLITICAL THEORY ⠀⠀⠀⠀⋆⭒˚.⋆ this module introduces the ideas of some of the canonical thinkers in the history of political thought, such as burke, rousseau, kant, mil, and marx. the module considers the impact of these thinkers on modern political thought and practice, with reference to key political ideas and historical developments.

EVOLUTION AND DYNAMICS OF CHANGE IN THE SCREEN INDUSTRIES ⠀⠀⠀⠀⋆⭒˚.⋆ this module will examine the historical development of the screen industries by focusing on key moments of change. such moments may include changes in legal frameworks, institutional structures, technological affordances and creative norms. through an interrogation of concepts such as innovation and disruption, the module will track the sometimes forgotten hisyories of screen media trends and ideas and ask what (if anything) can be considered new.

STUDIO PROJECT 1A ⠀⠀⠀⠀⋆⭒˚.⋆ one of the several studio project modules which will help recognise your status as a trainee researcher and allow you to develop the skills you need for transitioning to university-level study.

STUDIO PROJECT 1B ⠀⠀⠀⠀⋆⭒˚.⋆ builds on the skills introduced in 1a with a greater emphasis on applying and practicing these skills through projects on the theme of 'cultures of everyday life'. you will be introduced to a range of theories, approaches and techniques for understanding the dense fabric of our own lives and lived experiences, including aspects which often go unquestioned and taken for granted. you will be able to draw on your own observations and explore your own interests across the discipline, whilst at the same time gaining a solid foundation in research methodology in preparation for the next stage of projects in year two.

ACADEMIC COMMUNITY ⠀⠀⠀⠀⋆⭒˚.⋆ this module will help you to develop study, research, communication and analysis skills which will be helpful across all modules.

MIND, KNOWLEDGE AND ETHICS ⠀⠀⠀⠀⋆⭒˚.⋆ the main starting point to explore philosophical thinking and understanding ourselves and relationship with the world. it introduces several different areas of philosophy and the links between them, including: philosophy of the mind, perception, epistemology, agency, normative ethics and meta-ethics. some of the key issues looked at will include: the relationship between mind and body, free will, moral scepticism and relativism and the nature of moral judgements.

WAYS OF SEEING, HEARING AND READING ⠀⠀⠀⠀⋆⭒˚.⋆ this module introduces methods for and critical debate about the analysis of visual, auditory, audio-visual, and textual representation across media, art and screen cultures. you will explore misrepresentation, narrative, and persuasive forms of content and storytelling. you will be introduced to a range of analytical skills and terminology to aid your understanding of the ways in which meaning is produced in different contexts and the instability of a single reading.

INSTITUTIONS AND PRACTICES ⠀⠀⠀⠀⋆⭒˚.⋆ you will explore the production, distribution and exhibition of media, art, screen and creative texts. you will examine the political economy of the media and cultural and creative industries in terms of access, ownership and power. you will explore established hierarchies and practices of institutions, markets and organisations, as well as the tensions between individual norms, values and experiences, and those structure in which creative labour takes place. you will gain an understanding of the role of power and social inequality in media, creative and cultural labour and be given an introduction to the practical workings of these sectors.

GLOBAL MEDIA AND CULTURAL FLOWS ⠀⠀⠀⠀⋆⭒˚.⋆ in this module you will explore the productive, ownership, circulation and consumption of media, art and screen culture beyond white, anglophone and western contexts. you will look at how cultures intersect and explore the ways in which these intersections can help us understand the nature of national, regional, and global media and industries. you will gain an understanding of the mobile and changeable nature of culture in a globalised world and become familiar with the ways in which cultural contexts influence media institutions.

POLITICAL THEORY IN PRACTICE ⠀⠀⠀⠀⋆⭒˚.⋆ this module acquaints you with the political concepts that are central to the theoretical, normative, and interpretative analysis of politics. the meanings of political concepts are essentially contested, and the definitions we give to these concepts set the terms of our political debate. you will interrogate concepts such as democracy, legitimacy, freedom and decolonisation, while assessing the normative questions that animate them.

REASONING, ARGUMENT AND LOGIC ⠀⠀⠀⠀⋆⭒˚.⋆ this will help you to understand the nature and structure of arguments, acquire critical tools for assessing the arguments of others, and improve your ability to present your own reasoning in a clear and rigorous manner.

GENDER, JUSTICE AND SOCIETY ⠀⠀⠀⠀⋆⭒˚.⋆ this module will cover a selection of contemporary debates within political philosophy with a particular focus on feminist philosophy. we will look at key concepts such as oppression, ideology, freedom, democracy and policing, and consider how these concepts apply to issues of gender.

APPROACHES TO LITERARY STUDIES ⠀⠀⠀⠀⋆⭒˚.⋆ offers a theoretically reflective, historically informed overview of literature as a concept and literary studies as a discipline, introducing students to key skills, methods, and resources.

INTRODUCTION TO DRAMA ⠀⠀⠀⠀⋆⭒˚.⋆ introduces the work of, and critical debate about a wide range of drama and dramatists writing in english.

INTRODUCTION TO THE NOVEL ⠀⠀⠀⠀⋆⭒˚.⋆ introduces ways of reading english novels and various contexts for studying them. you will be familiarised with strategies for engaging with fictional texts formally as well as historically by situating the novels studied in their distinctive cultural environments while also being taught the ways in which novelistic form and technique have changed over time.

INTRODUCTION TO POETRY ⠀⠀⠀⠀⋆⭒˚.⋆ introduces a wide range of poems by poets writing in english. you will develop your understanding of traditional major verse forms, modes of organisation and genres.

SPORTS AND EXERCISE SCIENCE WITH PHYSIOTHERAPY AND REHABILITATION⠀⠀⠀⠀⠀⠀BSC HONS oh, sports science, how i love you. it truly is so fascinating to me and naturally, as a former professional athlete, i have to do this degree. i just have to, and also because i love it so much.

MANDATORY MODULES

HUMAN CELLULAR AND MOLECULAR BIOLOGY ⠀⠀⠀⠀⋆⭒˚.⋆ this module will provide you with a basic understanding on the biochemical and molecular processes occurring within the cells of living organisms. it will underpin more advanced human physiological and biochemical modules subsequently. topics will include: the structure and function of cells, structure of proteins and enzymes, structure of dna, transcription, translation, organisation and control of genes, metabolism of macromolecules, structure of cell membranes, immune cell biology, cell signalling and cell division

FUNDAMENTAL AND PROFESSIONAL SKILLS FOR LIFE SCIENCES ⠀⠀⠀⠀⋆⭒˚.⋆ this module will introduce you to the essential skills required for your career and provide hands-on experience of the basic techniques required for life scientists. we'll cover statistical methods for data analysis, provide an introduction to digital competencies for life scientists and investigate ethical standards in research. you will also explore data acquisition techniques and enhance your ability to critically read and interpret scientific literature. the module emphasises effective communication of scientific material through various media and will encourage reflective practice in the development of these, and other skills.

ANATOMY AND PHYSIOLOGY ⠀⠀⠀⠀⋆⭒˚.⋆ in this module, you will be introduced to the physiology of major systems such as cardiovascular, nervous, and musculoskeletal, including some aspects of drug action. this module will allow you to understand your biochemical and genetics knowledge in the context of the intact organism. this module includes lectures and laboratory classes.

INTRODUCTION TO SPORTS AND EXERCISE SCIENCE ⠀⠀⠀⠀⋆⭒˚.⋆ this module will provide the opportunity to study the fundamental principles in exercise physiology: including basic cardio-respiratory and muscle responses to exercise, nutritional requirements of exercise, and the basic anatomy of the heart and lungs. psychology: including fundamentals of individual and population group processes in sport and exercise. functional anatomy: focussing on the integration of the anatomy of bones, joints, muscle, ligaments and tendons with the biomechanics of human movement. biomechanics: including the mathematical foundation for understanding and characterising movement.

INTRODUCTION TO HUMAN NUTRITION AND METABOLISM ⠀⠀⠀⠀⋆⭒˚.⋆ in this module, you’ll explore how the human body processes the nutrients it needs to function. from obtaining and digesting to absorbing and metabolising macronutrients and micronutrients, you’ll gain a solid understanding of these essential processes. you’ll also examine the intricate relationship between nutrition and energy metabolism, delving into their effects on energy balance, body weight regulation, and body composition. the module further investigates the tissue-specific regulation of macronutrient metabolism, giving you deeper insights into the complexities of the human body. by building this foundation, you’ll be better equipped to understand the science behind nutrition and its role in maintaining health and well-being.

INTRODUCTION TO LEADERSHIP IN SPORT REHABILITATION ⠀⠀⠀⠀⋆⭒˚.⋆ this module addresses the concepts of professionalism and citizenship, both nationally and internationally, that are relevant to the graduate sport rehabilitator. you will be introduced to a variety of working environments accessible to graduate sport rehabilitators and identify the unique challenges and opportunities that each present. consideration will also be made to the larger globalised profession including athletic training and therapy.

INTERPROFESSIONAL EDUCATION: INTRODUCTION TO COLLABORATIVE PRACTICE IN HEALTH AND SOCIAL CARE ⠀⠀���⠀⋆⭒˚.⋆ students will explore professional identity and responsibilities within a multidisciplinary team. they will also form and work in an interprofessional team to understand the complexity of health and social care systems and their role within them, specifically in regards to integrated care systems and collaborative practice more broadly.

HUMAN ANATOMY FOR REHABILITATION ⠀⠀⠀⠀⋆⭒˚.⋆ this module will provide students with the underpinning human anatomical knowledge needed by a graduate sport rehabilitator. it will introduce a holistic approach to anatomy covering the whole human body, meeting global educational standards within the field of sport rehabilitation, athletic training and therapy.

HUMAN PHYSIOLOGY AND EXERCISE ⠀⠀⠀⠀⋆⭒˚.⋆ this module will provide students with the underpinning human physiological knowledge needed by a graduate sport rehabilitator. it will give students a grasp of the concepts and information needed to allow an understanding of physiological functioning of the human body, particularly related to exercise and rehabilitation.

INTRODUCTION TO EXERCISE AND REHABILITATION INTERVENTIONS ⠀⠀⠀⠀⋆⭒˚.⋆ this module will provide students with an introduction to the use of exercise and other rehabilitative interventions utilised by a graduate sport rehabilitator. students will develop a grasp of the basic concepts of exercise prescription and the uses of other therapeutic interventions related to injury rehabilitation.

INTRODUCTION TO RESEARCH SKILLS IN REHABILITATION ⠀⠀⠀⠀⋆⭒˚.⋆ this module will provide an introduction to evidence-based practise. it will give students a grasp of the methods of identification, basic appraisal, and application of suitable published evidence related to rehabilitation.

NEUROMUSCULOSKELETAL INJURY AND ASSESSMENT ⠀⠀⠀⠀⋆⭒˚.⋆ this module will provide underpinning knowledge of common injury aetiology and basic assessment techniques focused primarily on the neuromusculoskeletal system. students will develop a knowledge of the risks and occurrence of common injury, dysfunction, and disease of the human body as well as the basic components of assessment utilised in clinical practise.

HUMAN FUNCTIONING ⠀⠀⠀⠀⋆⭒˚.⋆ how does the human body work? using case studies and simulated learning, this module develops your foundational knowledge and skills in anatomy, physiology, human movement, disease and injury, and the biopsychosocial framework for health.

INDIVIDUAL HEALTH EVALUATION ⠀⠀⠀⠀⋆⭒˚.⋆ in this module, you’ll gain the essential communication and clinical skills to be able to diagnose and care for a patient or client. you’ll develop your consultation skills, learn how to take a patient’s history, undertake a physical assessment, note take and record clinical data.

PRINCIPLES OF REHABILITATION ⠀⠀⠀⠀⋆⭒˚.⋆ rehabilitation is one of the essential elements of being a sport rehabilitator. to achieve the desired outcomes for a patient or client, treatment and rehabilitation must be planned and applied carefully. in this module you will analyse and learn a range of therapy and rehabilitation skills including physical activity, exercise prescription, and therapeutic skills such as functional rehabilitation, manual therapy (hands on skills) and sport rehabilitation.

DEVELOPING CRITICALITY HEALTH IN SOCIETY ⠀⠀⠀⠀⋆⭒˚.⋆ our management of patients and athletes should always be based on the research evidence. the ability to think critically about the information you are presented with is therefore essential to the role of a sport rehabilitator. through the development of your critical thinking skills, you will be able to assess if something is true or not. you’ll build skills in critical thinking and reflection, critical appraisal - how to read a research paper, clinical reasoning – how to make the best clinical decisions, and logic and argument formation.

LEADERSHIP AND CITIZENSHIP ⠀⠀⠀⠀⋆⭒˚.⋆ this module addresses the nature and practice of leadership and citizenship relevant to physiotherapy and your career. you’ll examine local, regional and global healthcare as well as professionalism, workplace structures and governance and healthcare organisations.

[stop-breaking-my-heart-telltale]

Y'know, it's unfortunate more people don't compare Louis and Violet in good faith.

Like, when I do see people compare them, it's usually through the lens of one is good, and the other bad. One is more canon than the other, and here's why. One is objectively better for Clementine, and the other is less impactful, worse written, didn't have chemistry with her, insert several insults here, etc.

I don't think it's inherently bad to express why you might not like one of them, or why you prefer one over the other. That's fine, that's a matter of opinion. It only gets to me when it becomes hostile, or passive aggressive... but even then, I've learned to just roll my eyes and move on. Some people make it very clear that they're not worth having a discussion with.

However, I wish I could read more nuanced comparisons of the two that didn't default to the "and that's why this one is better." At least some are kind enough to tack on a "for my Clementine" at the end.

You know how it goes: Louis is cute and he makes Clementine laugh, whereas Violet's boring, her love is shallow, she's still not over Minerva and she's using Clementine as a rebound. Violentine's a bad ship because Violet's actually a traitor, and they're practically the same person and that's bad.

Violet's loyal and reliable, whereas Louis is annoying, he never takes anything serious, he's a traitor for his vote, and he's nothing but a distraction. Clouis is a bad ship because how could any Clementine possibly like him after he voted her and AJ out? That's bad!

That's always the conclusion, right? One good, one bad.

This is incredibly limiting and it drives me nuts.

They're foils. They contrast one another, highlight each other's strengths and flaws, in such an interesting way that it makes Clementine's choice between them all the more meaningful.

One is not good and the other bad, they're different, and I think that's worth exploring.

Let's start with a common argument: Violet is the more impactful option due to her connection to Minerva.

Now, to be fair, I can understand why someone on Team Violet would believe this. Yes, it's true that the confrontation with Minerva is more impactful for a violentine shipper who has more investment in Violet as a character. Louis doesn't have as strong of a connection to her.

However, what they're failing to recognize is that Minerva isn't the only ghost to haunt this narrative. Violet may have Minerva, yes, but Louis has Marlon... and that doesn't just go away once Marlon's dead.

Violet's route has Minerva as her ex-girlfriend, and her bond with Tenn that all comes to a head on the bridge. Louis' route has Marlon's death and how that specifically impacts his relationship with AJ and Clementine, and the slow burn of forgiveness on all sides.

Marlon and Minerva are also reflective of Clementine's worst outcomes.

Clementine and Marlon were tied together through Brody's blood splattered on their hands and faces. They both killed a part of Brody, but only one of them lies about who killed her first.

After Marlon dies, Clementine gradually replaces him throughout the game; Rosie is her dog now, she uses his bow [which Louis gave her], she becomes the leader. Clementine gets them to fight back, and when three of her people are captured, she doesn't cut her losses. She does what Marlon couldn't; "we're getting them back."

When she chooses Louis, he does for her what he never did for Marlon: he steps up.

Clementine proves she won't become Marlon just as she proves she won't become Minerva.

After getting James to agree to help them, Clementine and AJ talk about what to do if she ever gets bit. AJ says he'd want her to bite him, too. He repeats this sentiment after she's actually bitten, telling her he wants to stay and they could turn together, peacefully.

When Minerva confronts them on the bridge, she's dying... and she wants Tenn to die with her. She doesn't care who she has to kill in the process. She's more monster than human at this point, and most times, she succeeds.

They're both bitten. Clementine could've become a monster like Minerva in the end. She could've killed AJ, and they could've become walkers together. But she didn't. Minerva wanted Tenn to die for her, and Clementine wanted AJ to live for her.

Also, I should mention she has Minerva's axe. She carries the key weapons associated with Marlon and Minerva throughout different points in the game, further solidifying these connections. She uses Marlon's bow to save her friends, and she uses Minerva's axe to save AJ, who in turn uses it to save her.

What's also so interesting about this is how Marlon's alive in episode one, and Minerva is thought to be dead. Louis has his best friend, and Violet's lost hers. But, at the end of the episode, Marlon's dead and Minerva's revealed to be alive.

Marlon becomes the ghost, and Minerva becomes the monster. Clementine becomes to Louis and Violet what Marlon and Minerva never could... how does that not drive anyone else insane?

So, no. One is not objectively better, or more impactful, because of a connection to Marlon or Minerva. They're different. It just depends on which storyline you personally find more compelling.

Actually, let's talk about that a little more.

In my opinion, the most intriguing point of comparison between Louis and Violet stems from their perceptions of survival, and how that impacts Clementine.

An argument I see made against violentine is that Violet's boring because she and Clementine are too similar. This usually comes from clouis shippers who prefer the "opposites attract" dynamic Clementine and Louis have.

On the flip side, there's the counter argument that Louis is reckless, that he doesn't take survival as seriously as he should and Clementine wouldn't want him because of that.

These are interesting to me because I get where they're coming from... but they ultimately miss the point.

The other day, I replayed TFS. Except this time, I did something a little bit differently. I played my usual clouis route, but then I had the violentine route pulled up on my laptop so that I could watch these scenes, comparing them side by side… and something occurred to me. 

Louis is about challenging Clementine's perception of survival, and Violet is about validating it.

Louis challenges Clementine from the very moment we meet him—he’s playing music. His initial philosophy on survival butts heads with Clementine’s. The fact that hunting with him and Aasim challenges your perception of “your choices have consequences.” These games have conditioned the player to think along the lines of, “Yeah, Louis is more fun… but if I don’t hunt with Aasim, we won’t have any food.”

Except that’s just it. I hate to say it, Aasim, but in the grand scheme of things… hunting with you doesn’t matter. It's actually less rewarding. You know why? Because in the next section, we get food from the train station. It would’ve been more beneficial to spend time with Louis over hunting, hence how he challenges you.  

This then primes you for the choice between choosing to follow Louis or follow Violet. I know people complain about how this is presented with Violet doing something productive [checking the walls] and Louis playing piano… but that’s the point. If you’re going through with Louis’ full route, you need to meet him at his level, and in turn, he will meet you at yours. You need to accept the challenge, the idea that Clementine isn’t entirely right about the way she’s gone about survival.

Oh, and do I even need to mention the vote? The debate over Louis’ vote is exhausting. Often times, people tell on themselves in how they talk about it. It’s not actually about the fact that he voted against them. If it was, these people would have a bigger bone with pick with Mitch, Willy, Ruby, and Omar… and yet Louis is the one who takes all the blame as if he’s the only one personally kicking them out. 

Louis is reacting to the death of his best friend, and the complicated feelings that come with it being caused by AJ. He wants accountability, even if he knows something's wrong. You can either agree with him that it was murder, and set AJ on the path of atonement… or, you can double down and tell him to fuck off, AJ was justified. 

But here’s the thing… the vote adds to the appeal of Louis’ route. To someone who hates him, or at the very least is critical of his vote, that sounds mad or delusional.

Except it’s really not.

Ever heard of a thing called tension? Because there’s a lot of it in ep2 between clouis + AJ and it’s fantastic.

Yes, Louis voting them out is problematic because we need a problem to solve. We need something to feed the tension between him and Clementine. He stepped in front of a gun held by his best friend in order to protect her, forever changing their relationship… only for that to seemingly be taken away from us the moment AJ shoots Marlon. 

Yes, Louis’ route is about being challenged, but it’s also about challenging him. That he’s able to forgive them, that he’s able to question his own survival philosophy and understand theirs, that he’s able to apologize and actually change for the better… that right there is what makes clouis so damn good. 

He becomes hardened whereas Clementine softens. By the end of the game, they’re on a similar level now without neglecting their differences, and they can move forward together. 

That’s what makes Louis’ route appealing… and it’s also what makes it unappealing to people who prefer Violet. 

By contrast, Violet’s already on Clementine’s level when it comes to this perception of survival. She validates that Clementine’s on the right path.

They have other similarities in the way that they’re both female, queer, they both have a kid they look after, they’re not always great with other people, etc. 

People who prefer Louis might consider this boring, but I think to Team Violet, it’s comforting. It’s comforting to have a partner who takes this as seriously as you do, who wants to get shit done. They’re playing Clementine with a similar attitude, and don’t believe it needs to be challenged. It’s comforting to feel validated on something you already firmly believe in. 

We also see this if we compare the hunting and fishing scenes. You have to make an effort to choose Louis by choosing to neglect hunting, but the game makes you fish with Violet no matter what.

Violet’s prioritizing fishing because they need food. That’s what they’ve set out to do, so let’s do it. The game is letting you know that’s the case, and if you value that, continue pursuing her. 

While fishing, they discuss why things are weird with her and Brody. Violet doesn’t take well to Clementine’s blunt, “Because you make it weird. Brody tries and you just make fun of her."

That’s understandable because I think she already kind of knows why and is looking to have her feelings validated. She prefers it when Clementine suggests that it’s because Brody never said sorry for what happened to the twins. 

There’s also comfort and validation in the way Violet sides with Clementine and AJ after Marlon’s death. She votes for them to stay, vocalizing how much she disapproves of the results. There’s this feeling that I recognize from a lot of the sapphic romance I read; “it’s you and me against the world, I’ll always have your back, even if you’re in the wrong, I’ll fight for you.”

In our case, it’s violentine + AJ against the rest of Ericson, save Tenn and Aasim. Violet validates that AJ was justified because Marlon was a liar and murderer, claiming that AJ and Clementine did nothing wrong. Violet fights to keep them. 

The tension between violentine in ep2 is different because instead of one pushing the other away, they’re being forced apart by the vote and there’s nothing they can do about it. That tension is somewhat released when Clementine comes back and they’re reunited, working out a plan to best defend the school. 

It’s also why Violet’s presented as doing something productive when you follow her instead of Louis, and why she asks if you want to hang out after checking the defenses. 

All that being said, allow me to reiterate that one is not good and the other bad, they're different. These concepts of challenge and change/validation and comfort exist on a neutral road as diverging paths. It’s up to the player to pick what path they prefer, but that doesn’t mean the other path isn’t worth acknowledging or analyzing. 

I should also mention that they’re not exclusive; there is overlap with validation being present in Louis’ route and challenges in Violet’s. They’re just more present in episodes 3 and 4 after we’ve made our decision. 

There are several more examples of how this all fits together, buuuuut–

Ya’ll wanna compare some allegories?

Those familiar with my content might already know where I’m going with this as I’ve made a post about Louis and the piano in the past. 

You see, I believe that there are allegories for Louis and Violet’s hearts present in their routes: Louis’ piano, and Violet’s pin. 

I already have a thorough, in-depth analysis of Louis and the piano that you can read, so all I’ll say about it is that on the night of the raid, he asked Clementine to carve a piece of herself into his heart so that no matter what, their initials will be immortalized together in its wood…

And that makes me fucking feral. 

But I'm also so normal about it.

As for Violet, her heart is the star gazing pin she gives to Clementine. She gives it to her so she’ll always remember that night… but she doesn’t give it to her until after Clementine’s saved her, and that fascinates me in the context of it being allegory. 

Louis asks Clementine to carve herself into his heart right before the raid, cementing that from that moment on, he is utterly devoted to her. I believe this is part of the reason why Louis is still happy to see her if he’s the one who’s captured. Yes, yes, he’s also incredibly traumatized from having his tongue cut out and he’d be happy to see anyone, yada yada… but listen, if you romance Louis and he’s captured, his heart remains with her—that piano with their intitals is on full display. When he sees her, he’s still so devoted to her that he refuses to accept that it’s at all her fault. Even when she says it is, he shakes his head... and he so easily accepts her when they’re together in the end. From the moment Clementine puts knife to wood, he’s hers. 

Now, look… you might think I’m going somewhere not great with this but hear me out. 

I think after Clementine’s gone star gazing with her, Violet is fully ready to give her heart to her. Y’know, give her the pin. But, think about what Violet said about how people have left, but Clementine came back. Plus, with the impending raid to think about, maybe Violet should keep the pin until the right moment. 

I believe a key difference between her and Louis is that Violet needs one last thing to solidify that Clementine’s the one. 

Louis gives her his heart prior to the raid because of everything that’s already gone down between them following Marlon’s death. Violet needs to know that Clementine’s willing to fight for her the way she fought before. When Clementine saves her from the raiders, it’s solidified. Even after she sees Minerva again, it changes nothing.

It’s also worth noting that the pin is something Clementine wears. Like the piano carving, it’s a piece on display for everyone to see, to let them know whose heart Clementine has.

Violet literally handed Clementine her heart as a means of saying, “I’m yours. I’m devoted to you.” 

This is why romanced/captured Violet is devastating, and is why she behaves the way she does in the cells. She was so ready to give her heart away and then nope, sorry, Vi! You get knocked unconscious by raiders instead! 

If anything, you kind of deserve to be told to fuck off if you romanced her and then let her get captured. Just sayin’. 

Look, I have a lot of complicated feelings about the captured violentine route, mostly with Violet being as forgiving as she is after her eyes are burned—yes, yes, I know, her eyes are burned and Minerva messed with her head so of course now she’s not hostile, yada, yada. 

But I think it’s rather telling that you don’t get the pin in this route. Sure, Violet’s willing to forgive and possibly pursue this romance in the future… but she’s not ready to hand over her heart, not truly. Not after everything that’s happened. 

And if you want to get extra angsty about it, imagine that Violet made the pin right after they parted ways, but before the raiders came. Meaning that if she’s captured, it’s possibly still sitting somewhere, abandoned. 

Mmhmmm, very normal about this. I feel normal. My normalness about this continues... normally. I'm not losing my shit thinking about that. Nope. Why would I? I wouldn't! So normal.

Okay just let me talk about their reactions to Tenn's death and then I'll shut up.

This makes me want to gnaw my own foot off, I can barely handle it.

AJ shoots Tenn on the bridge because Clementine trusted him to make the hard calls. This saves Louis or Violet's life.

When Louis jumps across, he's completely silent as he watches Tenn die... and then he's pissed; "What the fuck?! How could you just shoot him like that?!"

AJ explains himself, that he did it for him, and Louis is so upset that he forces AJ to look at what he's done, to watch the walkers eat Tenn; "Tenn's dead. He's dead! Do you realize that?! Look! [...] He's... he's gone, because of you. Just fucking gone."

If Clementine says AJ saved his life, Louis says, "So what, we just cut him loose? Gun him down like he was nothing?"

If Clementine says nothing, Louis says, "Tenn was just a little boy!"

The reason Louis responds this way is because in this moment, he just relived Marlon's death all over again, but worse. So, SO much worse!

When Violet jumps across, she breaks down, begging, "Oh, my God! Oh, my God! No, no! No, no, no..." as she watches Tenn die... and then says to AJ, "No! What the fuck?! How could you do that?!"

AJ explains himself, that he did it for her, and Violet is faaaar from okay; "For me? I can't... Tenn is gone! That soft little boy who liked to draw, he's gone, because of you!"

If Clementine says AJ saved her life, Violet says, "You think that's okay?! Just gunning down one of our own?!"

And there it is.

Louis is hardened in this situation because he already went through this... Violet hasn't, not with AJ. She softened up throughout her route due to her relationships to him and Clementine... but this is the moment where she realizes that maybe AJ wasn't as justified as she believed, and this is the consequence.

This leads us to the ending where AJ asks if they're still mad about him killing Tenn, and I just... I'm biting my foot right now because the script has flipped.

Louis is forgiving and understanding. He's soft, he's sympathetic, he shakes AJ's hand to let him know that all is forgiven and they're okay; "I... AJ, I guess it's like... You saw something I didn't. About the situation, I mean. Minnie and the walkers and Tenn, it's just all this chaos in my head when I think back on it. [...] Clem says you saved my life? Well, then, that's exactly what you did. And how can I stay mad at anyone for doing that?"

Or, alternatively, "He was your friend, AJ. I know you are hurting just as much as I am."

As for Violet? She's understanding, too... but she's not quite ready to forgive yet; "The thing you said on the bridge...that he was messing up all the time. It wasn't something new, you know. Tenn got himself or other people into trouble all the time, long before you guys got here. He was always so lost. He lived in a world that just...isn't there, you know? And that's why I tried to look after him. But when I was pulling him away from the walkers, and Minnie, I could also see...he just wasn't there anymore."

"So you're mad, but sad."

"Can I be that for a while?"

And it's completely understandable that she's hurting and struggling with how she feels about AJ moving forward! She wants to be okay, she wants to forgive him, she just needs time.

Now, because I'm forever bitter, but I'm gonna mention this as well: whenever I see someone point at Violet's scene and say, "See!? This is how LOUIS should've acted in ep2!" like... they're telling on themselves again. Not just that they don't understand Louis as a character or his route, but that they don't fully grasp Violet's part in this either. Or time frames, for that matter.

Let me put it to you in simple terms... they react the same.

After Marlon and Tenn die, they're upset. They're pissed. They blame AJ and yell at him. After they've had time to process what happened [Louis after the two week time skip, Violet after time passes between the bridge and the ending] they share the same, "I'm still upset about Marlon/Tenn. Can I be that for a while and still be your friend?" sentiment.

The difference is that Louis is treated poorly for it because of the vote, and because we feel it first hand for longer... Violet got to grieve off screen and come back after she's sorted herself out.

It's a disservice to both of their characters because it's rooted in that same mentality that I criticized at the beginning: "This is why one is better than the other."

Do I need to say it again? I'm gonna say it again.

One is not good and the other bad. They're different.

There are so many fun discussions that could come from putting Louis and Violet side by side, and examining them. I haven't even covered the different ways they're introduced, or compared their ep3 dates to see what it says about them and the overall narratives! What about the cell scenes!? How they react when Dorian's about the cut off their fingers! The way they approach James upon meeting him!

That last one in particular is especially funny! They're all under stress about blending in with a herd of walkers to infiltrate a boat to save their friends, and yet Louis easily saunters up to the guy wearing walker skins with a smile, and makes him laugh by saying, "Functional and fashionable. I'll take two."

Violet approaches James like he's an injured wild animal that's going to bite her, and bless her heart, she tries with, "I, uh… hey. Hey there, James. Sorry about Willy." Then James gives her this judgmental side-eye, like buddy? She's not the weirdo here.

There is so much potential to dissect here, and I want to see people do it... but I want them to do it fairly, in good faith.

I want to get away from the idea of comparing them to "prove" which is better because there is no objective better. There isn't! That's a waste of time!

I'm so done with The Debate™; it's unhelpful, it's annoying, and it's boring as shit. I've heard it all before, and you probably have, too.

I want to put Louis and Violet under a microscope and study them with the thought process of, "one does this and the other does that... what does it mean!? what does it say about the narrative!? Oh my god, they have the same opinion on this thing, WRITE THAT DOWN!"

So yeah, that's my ramble for the night.

I'm gonna go replay TFS for further research.

[mbirnsings-71]

so because I'm essentially gonna be incapacitated/not super active on here for a week, I figure I might as well do a poll to see what the masses want me to write next after WAADW prologue because that is gonna take me a hot minute.

[miriadalia]

If leaks for part 3 turn out to be true (and I'm pretty sure they will), Tory will be the only one of the main cast not to compete in any other dojo than Cobra Kai and I love that from her 😌

[tokyoteddywolf]

Not me debating writing an Aventio fic based on a book I really loved... urgh-

I got Aven recently and just finished his arc in Penacony and I am incredibly bored! I wanna write while I have the energy...

Lemme know if I should :p

Basic premise is its based on a book called Written In Red, which I feel absolutely fits Aventurine??? Look at the book first, give it a read, and tell me the main character doesn't remind you of him. I will go feral.

Anyways if you don't, the premise of the book is that the main character, a blood prophet who is also a slave, escapes and runs away from captivity to a town in order to hide and live amongst sentient predators called "Others", basically ancient as fuck monsters that can swap between animal and human forms. Others actually do prey on humans, but it's modern times and they have a begrudging agreement to coexist with humans because they make decent stuff that the Others can't create. The main character ends up living among them and figures out herself, while also teaching the Others some new things. It's actually a nice book in my opinion.

I'd have to reread the book but yeah. That would be the very basic idea. I already have a character list of who is who lmao.

I wouldn't make it a carbon copy of the book though, not with the characters I have in mind, but it would be a similar plot at least. Consider giant wolf Ratio, everybody, that's all I'm giving you.

So...

EDIT: Holy crap that's like 50 people and it hasn't even been a day-

Here you go ya feral bastards jesus-

Warnings for gore, violence, blood, people get torn apart and eaten you have been warned. (Can only be viewed if you have an account)

Enjoy

[quatregats]

Wrote a fic which I really like the style of writing of but also (1) I have no idea if I got any of Stephen's biographical history correct because I'm notoriously bad at remembering it (I know It's Complicated TM but I keep actively forgetting what little canon there is) and more importantly (2) it doesn't sound like POB's writing :// And I'm wondering whether or not it's worth it to publish

[emmyrosee]

Peace and love, I’m probably going to be taking a break from here for a bit because I am so emotionally exhausted from the events of yesterday (not my birthday, the o t h e r thing that happened in America) so let me just say this:

To those who are scared, embarrassed, ashamed, I hear you, I see you, and I love you. You’re safe and valued here, and you deserve to exist and enjoy existence just like everyone else. And your existence matters to me.

I’ve got some content queued in my absence, because I don’t think I’ll be gone long, but to be sure, I’ve got things done and ready for you. So if you see me posting, it’s not me, it’s the queue- if you reach out to me and I don’t respond, I promise I will ASAP.

Be well friends. I’ll see you soon 🩵

[redstarfish-art]

I'm struggling financially and can no longer deny that I need to look for income in every avenue I have access to.

Any insights would be really helpful.

If you have some spare coin, I do have a Ko-Fi that I created for my original work (WIP for now). But my main priority is getting some insights into what type of work people would want from me.

Please vote if you can!

[josephslittledeputy]

WIP Whenever/Last Line/Six Sentences/Music Monday

Tagged by @carlosoliveiraa @adelaidedrubman @cassietrn @direwombat @la-grosse-patate @socially-awkward-skeleton @inafieldofdaisies @simplegenius042 Thank you for keeping me in the tag loop and sorry its taken me well over a month to post something!

So, since John's little art project won the poll vote, naturally that's what I'll post... (John really said I'm about to be the funniest mf around Hope County, & then did a DIY scarification on Willa's back... Slight tw for very brief descriptions of a scarification piece)

With the steam from the bath keeping her from catching a chill, she turns away from the mirror. Sucking in a deep breath, she turns her head to look over her shoulder. The air in her lungs slips from her lips as if her soul was departing her body. A mixture of hot rage and nausea swirl in her chest. There were no words for her back except mutilated. That bastard had carved away at her flesh and left behind a mark that would never fade, not even with time.

John's little art project covered the expanse of her upper back and even stretched out across her shoulder blades. In the center of the design, a near perfect circle had been carved out. Surrounding it, strips of flesh had been peeled away, revealing the deep crimson color that lay beneath the epidermis. There was no mistaking the design on her back, as she'd seen it plenty of times both before and after the helicopter crash. Every peggie, vehicle they used and outfit they wore, flag and banner hung up, even most buildings she'd come across sported the same logo: Project at Eden's Gate. Fury coils itself around her heart like barbed wire. Her fists, bare without her gloves, clench so tight that her nails begin to dig into her palms. Deep-seated, white hot anger contorts her face into an expression of rage. Her lips pull up into a snarl, her teeth gnash together, and her eyebrows furrow. "That fucker… that motherfucker!" Her hand reaches over her shoulder, fingers angled in a claw-like motion, tempted to tear into the wound that John had spent so many hours perfecting. Her hand trembles in hesitation before tangling itself into her hair instead, digging at her scalp and tugging her hair until a stinging sensation stops her. Her feet turn away from the mirror and carry her from one side of the bathroom to the other. Rage vibrates inside of her with no way to escape. The room felt too hot, too small, too quiet. Even the smallest drop of water falling from the faucet into the full bath made her irate. Jaw still clenched and motions jerky, she makes her way over to the bath and tightens the knob. The dripping ceases. Her anger does not.

Also sharing a song from the playlist I have going for the first part of this AU (The lyrics are seriously on point for the newest chapter)

And lastly, sharing a small snippet of The Lost Boys AU I have going for Sidra as well because why not

The plane ride from New York to California had been nothing short of both agonizing and euphoric. Crying babies, sketchy individuals with staring problems, and boozed up soon-to-be divorcees couldn't dampen her excitement, though they could irritate her. So when the plane had landed and they got the all clear to leave, she'd elbowed her way through the crowd and hustled out of the airport. The warm California air was a refreshing change from the bitter cold she'd grown accustomed to, but Los Angeles was not her end destination. If (Trevor) ever decided to look for her—which she knew he was likely to—she had to get further away. A few hours later, she's leaning up against the rough brick wall of a gas station, eyes closed in pure bliss as the cloying smoke of her recently purchased Djarum Blacks flow into her lungs. Reluctantly pulling the cigarette away from her mouth, she slowly exhales the smoke, already itching to take another drag. She can't remember the last time she'd had one. (Trevor) had once told her he didn't like her little habit, that the smell of them and the sight of her smoking nauseated him. After that, she started smoking them in secret, but covering the scent from his keen nose was easier said than done and when he caught her smoking… Well it wasn’t a night she’d soon forget. Taking the occasional drag now and again, she walks toward the sidewalk and holds a hand up, hailing a taxi as it approaches. When it slows to a stop beside her, she opens the door and slides in, setting her duffel bag on her lap. "Where to, miss?" "Santa Carla." "You got it."

[rainbowsandwhumperflies]

that time when onyx got sick :(

Winged Servant drabble from when he was a servant! Sorry, Onyx's pov was not remotely compelling to me so for some reason this is third person from Cardan. Anyway here we go!

content warnings: fever, delirium, crying, begging, the pov is not thinking nice things about whumpee, carewhumper, a joking mention of murder, a seperate very serious mention of murder, it really is lighter than I'm making it sound

masterlist

Onyx let out a sudden sob, sitting straight up in bed. Cardan looked over at him, tilting his head at the angel. “You know, I’m pretty sure you’re supposed to be sleeping.”

He jolted, as if he hadn’t noticed the prince’s presence. “I- no, no, I- I need- fuck, Tom-”

“Yeah, no. You’re sick, which means you’re not even fun to mess with. So lay back down and get better already so that you stop acting so… pathetic.” And annoying. He was always pathetic and annoying, but not always this pathetic and annoying.

There was no reason that Onyx needed to be in the princes’ room, but Ryan had insisted. Said it would be easier to “keep an eye on him” or something. But Ryan had left to check on something, which meant that the angel was Cardan’s problem now. Cardan had tried to object earlier, when Ryan had brought it up the first time. But Ryan had done that thing he was so good at—anytime anyone contradicted him, he twisted it around to make everyone else sound like hypocrites and himself the voice of reason. He’d had the nerve to call Cardan the dramatic one for his objections to a servant napping in Ryan’s bed.

Dramatic.

Cardan.

And after Ryan had been the one to start pampering the angel like this. It was a fever, not a death sentence.

“Tommie?” Onyx asked, beginning to cry. “I- I need- Tom, Tom, I-” He started to stand up unsteadily, and Cardan groaned.

“Ryan is going to hang me if he thinks I woke you up. Go back to sleep.”

“No, no,” he mumbled, somehow managing to stumble all the way to the door. He practically fell onto the support of the doorknob as he tried to open it. “No, please, please-”

“Cardan, what the fuck did you do?” Ryan asked from the doorway. Evidently, he’d returned from checking on something.

“Literally nothing,” Cardan called back. “Your angel is the one bugging me, actually. My bad for not doting on him the way you’ve started doing.”

“I am not doting,” Ryan snapped. And he was probably about to come up with some quick and witty comeback, except that he was interrupted by a sob from Onyx. And there went the quick and witty comeback, ignored in favor of murmuring something gentle in response to the angel, and Cardan rolled his eyes.

Not doting. Yeah, right. Ryan wouldn’t have been so defensive if he actually believed himself. Not only was he doting, he knew he was doing it and just kept going.

Whatever. It didn’t matter to Cardan. It wasn’t like the angel was a threat or anything, unless-

Well. Unless.

No one liked to talk about the upcoming assassination, but ignoring it wouldn’t make it any less inevitable. The Rao brothers would not ever be able to rule side by side. But Onyx couldn’t be part of that.

Could he?

No. No, he couldn’t. He wouldn’t be a good enough diplomat to replace Cardan. Besides, Ryan wouldn’t stoop low enough for an angel spouse.

No. Onyx was harmless. Ryan’s doting was annoying, but also harmless. After all, Cardan had acted the same way about his first pet.

~

taglist: @kaleidoscope-of-thoughts @toyybox @rainydaywhump @risk606 @jay--o

@fuckcapitalismasshole @cepheusgalaxy

[needtobehisprettyboy]

Wanna make another headcanon/scene analysis post 😋😋

[galaxythreads]

MULTI-CHAPTER:

(Death Must be Lonely Like I am):

Summary: After the Battle of New York, S.H.I.E.L.D. claims Loki for punishment and consequently, also HYDRA. When the Avengers are assembled under the belief that Loki is escaping his cell, they rapidly realize what a mistake they've made leaving the younger Asgardian in their hands. (Gen, blind!Loki)

[REWRITE/REVAMP OF STYGIAN]

Fortunately, Unfortunately :

Summary: After Loki goes missing from Asgardian prisons, Thor leaves Asgard to look for him, ignoring Odin’s insistence and threats not to do so. Odin, desperate, decides to resort to drastic measures to force his heir back to Asgard. As in, pulling Hela out of Helheim, turning her mortal, and sending her after Thor drastic. (Gen)

You Screamed For So Long We Forgot To Care Anymore

Summary: Five months after Thor drags his half-dead brother to Earth to plead asylum, things take a turn for the worse. With the older Asgardian out of commission and a sizeable threat overshadowing them, Clint becomes aware of two facts: One: Loki was tortured, mind-controlled, and manipulated into attacking Earth. Two: Loki knows none of this. (gen, no smut)

Loki waking up with his memories of Thanos and is Not Okay

Clint dealing with what Frigga did to him, Also Not Okay TM

No one is Okay TM

ONE-SHOTS:

With Terror and With Fear:

Summary: After Thor overhears a conversation between Odin and some of the councilmen regarding Loki's true heritage, he vows to tell his brother.

Loki just wishes he could figure out why Thor is refusing to talk to him all of the sudden.

guillotine dreams (don't tell me not to scream)

Summary: "Natasha can’t believe that they missed this at first. It’s not as though Loki was doing a good job at hiding the fact that he was in pain or the mind control. Except… except, well, he was. He was hiding it well. Exceptionally so. If she hadn’t aggravated Loki’s master enough to make it want it want to kill him, then she would have proceeded with the interrogation, likely found out some one-off piece of information, and walked off. Loki’s part in this would have remained the initiator.

Not victim."

AKA: Natasha notices Loki is in pain during her interrogation and it all spirals out of control from there.

intervention, intervention (what intervention?)

Summary: Loki gets a gift for his names day. And then everything goes downhill from there.

OR: the one where Nidavellir poisons Loki's magic to force Odin's hand on a treaty and Odin refuses to help, even if it means Loki's death. So Loki does what he does best: creates a disaster and almost gets himself killed along the way.

AKA: I AM SO SORRY TO MY DEAR FRIEND WHO REQUESTED A LOKI MAGICAL EXHAUSTION FIC MONTHS AGO.

[good-beans]

I know most of our focus goes (rightfully) to the trial songs, but I genuinely believe Baptism of Fire is equally a masterpiece of meaningful writing and intense vocal acting

Incoming tag rant because I need to yell about this, feel free to yell back

[ian-the-existential-crisis]

Okay huskerdusts. I'm looking specifically at you.