#and how it all ties so beautifully to his character and his development and to the world of final fantasy xiv. and even in real life.

[astrxealis]

sometimes i think about g'raha tia's little speeches where he goes on about how much he wants to go on an adventure with you and take to the skies upon the eternal wind and i fall in love with him over and over again

[aesteries]

⋆✴︎˚。⋆ ─ ❝sweetling❞ ─ aemond targaryen and original female character. ❝alicent hightower's youngest daughter, haera targaryen, has returned to king's landing after eight long years in old town and aemond finds himself inexplicably drawn to the girl kissed by the moon and with the eyes that seem to only look at him.❞

how could i not love eyes that see me in all my forms as beautiful? 〔incest, innocence and fantasies, fluff and romance, smut, virginity, events of blood and cheese, family rivalry, disabled main character, hints of book!aemond, modified show!timeline and events.〕

words: 6.6k series' masterlist.

                 CHAPTER 1. 

The young man observed the scene from the top of the stairs, over Helaena’s shoulder, as the pair of servants carefully escorted the arriving lady down the steps of the grand carriage. She was adorned in a striking dress of rich Hightower green, standing out beautifully in contrast with her pale skin; her long waist-length hair was tied back with satin ribbons of the same colour, each decorated with jewels that caught the light as she moved.

“What the fuck is wrong with her?” Always direct and uncompromising, Aegon was the first to speak among the siblings.

Aegon was met with a glare from Helaena, who silently urged him to bite his tongue. Fortunately, the indecent question fell on Alicent’s deaf ears, taken by the arrival, as she began to descend the stone staircase with hurried steps. Her brown eyes brimmed with tears as she sang her praises to the Gods of her faith, thanking them repeatedly. She wrapped her arms around her returning daughter, holding her tightly as if someone would take her away again, as if a thousand stones had been lifted from her shoulders.

Aemond noticed the way that the young princess’ eyes squinted at her mother’s face, leaning closer as her hand was raised to the queen’s features to feel her lips, nose, and eyes with her ungloved fingers. He found it strange, sort of interesting, how the young girl was being treated as she began to approach the siblings with their mother guiding her every step. A strange warmth of familiarity spread in his chest as she approached, guided by helping hands into the shadows of the Red Keep. Helaena was the first to touch her, reaching out to put her hand on her shoulders and get her attention—a gentle gesture as expected from his gentle sister.

“Sister, welcome back.” Helaena greeted Haera with an unwavering smile as Haera’s eyes traced the contours of her face, pale lilac orbs inspecting the older girl’s features in a peculiar rhythm, her eyes shaking slightly as she took her in. 

As the young girl turned to face the figure on the other side of her older sister, a concerned look crossed his face, though he was quick to mask it behind indifference. It became evident to him that something was wrong with her vision, and Aegon, lacking in decency, swiftly averted his gaze from her as if afraid her condition would affect him if he stared for too long. With a muttered greeting, "Yeah, sister, welcome," he acknowledged her presence, though he immediately turned to the side as if he had developed some sort of fascination with the hanging banners.

Haera looked up at Aemond with anticipation; her eyes were a captivating shade of lavender jadeite with a ring of light crimson around the edge. This striking feature was a stark contrast to his own darker, richer amethyst eyes. As he gently took her hand in his, he couldn't help but notice the significant difference in their sizes and strengths. His large, hardened hand engulfed hers, making him acutely aware of the fragile bones beneath his grasp. A sudden, unsettling feeling crept up from the pit of his stomach as he imagined the ease with which he could unintentionally crush her delicate fingers, snapping them like twigs beneath his heavy boot. He scolded himself mentally for thinking such violent things so early in the morning.

“Aemond, brother.” Her plump, rosy lips curled into a soft, gentle smile he did not deserve. 

This girl is no more than a stranger, he reminded himself, a stranger from the same womb.

Alicent Hightower lived with constant anxiety, her thoughts consumed by her children and their wellbeing. She had always yearned to shield them from harm, to have them for herself, to save them from what had happened to her. However, as members of the royal family, they were owned by the realm as they were by her. Her two eldest, bound together in matrimony, had become pawns in the game of politics. The middle-born boy, once innocent and pure and loving, had been brutally disfigured without justice or reparation, and her youngest had grown up far from her control.

But now that almost all of her children had been reunited under the same roof, she felt a sense of confidence that she had lacked when she first became a mother. After so many years, she had grown wiser and was determined to provide the love and support that her children deserved from her. She would visit her first daughter, spend time with her grandchildren, join her firstborn for meals, and watch her middle son master the intricacies of swordsmanship, becoming more fluid and precise with each day.

However, her youngest daughter remained a mystery, dodging her attempts at reconnecting, breaking the mother’s heart into so many pieces that it frightened her. Alicent could not help but wonder if the young girl felt abandoned by her, having grown up without the love from her family. As much as she tried to be in constant contact with her through letters, it was not comparable to the warm hug of a mother. Perhaps, in her daughter’s eyes, her return to the castle was a reminder of all the missed moments in her life. 

Aemond stood by her, ever her trusted confidant, and absorbed every word and worry she shared about the family. He had always felt some obligation to be there for his blood, his way of showing his respect, to give the family something to hold onto, to be part of something. He recalled when he let his gaze fall on his returning sister—a stranger with a haunting aura, igniting a peculiar but nostalgic burn in his chest. The memory of the bright smile that she directed at him was so bright that it rivalled the sun’s piercing midday rays. Meanwhile, their mother's words poured forth steadily.

Alicent's fingers tugged at her cuticles, a nervous habit she'd developed as a child, as she recounted her concerns about the princess's whereabouts. "During the day, the guards can't even seem to find her," she explained, her brow furrowed in frustration as a sigh escaped her shaky lips. "It's as if she vanishes into thin air." 

Aemond knew what he had to do—search the castle to find her and keep her from harm to ensure her safety. He convinced himself that he was doing it for the sake of his worried mother, but deep within, he knew that it was more than that. There was something with that girl, his mysterious sister, that he needed to figure out. Why had she remained on his mind since the day of her arrival? 

Even in the dead of night, when the castle was hushed and darkness had taken over, his mind would just wander to her as if there was an invisible thread that connected his thoughts to her. He felt a strange tug, a pull deep inside his soul, that yearned for her connection. As he gazed into her eyes in the morning when they coincided in Helaena’s chambers, he felt an inexplicable spark, a flutter in his chest that he dared not acknowledge yet began to consume him. Perhaps it was because he needed to know his sister and offer support in what could be a difficult time for her. That was the reason, he decided, why he was so interested in the young girl. 

He would stifle the flutter, lock it away in the loneliest part of his heart, and throw away the key. After all, he was a Targaryen, duty above desire. Yet, as he set out on his quest to find her, he couldn't shake the feeling that his promise would weigh heavier on his conscience with each passing day, a sense of guilt eating at him.

Several days after his mother had poured her worries on him, as he wandered through the Red Keep, he stumbled upon her chosen sanctuary by accident. He had just tried to find a quiet place to think when he noticed the open door. He realised that he should not have wasted so much effort to find her, for she had taken up residence in the most predictable locations, in his opinion. Her refuge was deep within the library—not the newly refurbished one designated for the education of the young prince and princess, but rather the very ancient, forgotten chamber tucked away in the deserted wing of the Red Keep that was no longer in use. It made sense; no one had ever bothered to look into the ghostly corners of the castle, so she had found the perfect hideaway without probably even realising it.

When he finally found her, she was bent over a collection of metal and small, sparkling jewels all over the table, her small hands deftly manipulating strange tools that he had never seen before. The table she worked on had been moved from the room's centre to the window, bathing her in direct sunlight streaming through the open windows. The tattered remains of old curtains adorned the other windows, but the fabric from the window that illuminated her seemed to have been forcefully torn from the walls, implying that she might have done it herself. He couldn't help but smirk at the thought of the determined girl using enough force to rip the material from the wall, bathing herself in debris from the shattered walls.

He took slow and steady steps into the room, trained to barely make any noise as he approached her from behind with his hand tucked back in his usual relaxed stance. The mysterious scene cleared as each step allowed him a closer look—she was crafting jewellery, with a magnifying glass pressed against her face as her fingers worked the pliers, twisting and turning what seemed to be a tiny bracelet decorated with green dots. The sight was utterly captivating as her hands skilfully manoeuvred the tools, bringing the jewellery to life with each precise movement. She knew what she was doing.

“Sister.” He intended to stir her from her distraction softly, careful enough not to shatter the bubble of focus around her. 

It did not work in his favour.

The young girl's sudden, reflexive jump in response to the unexpected noise sent her fingers into a death grip on the pliers, inadvertently twisting the metal band of the bracelet. As she dropped everything on the table with a loud clank, she quickly covered her mouth to muffle the loud gasp that escaped her. Meanwhile, her sight, initially blinded by the sudden change from the bright light that came into the room to the dimly lit corner, slowly began to adjust, allowing her iris to focus, nervously shaking slightly from a side to the other. As her vision cleared, she was able to distinguish the figure of him lurking just beyond the edge of the shadows, his presence seeming to draw the air out of her chest. The black patch on his face was enough to recognise him. 

Her palm pressed against her chest as if to calm the wild rhythm of her heart, which still raced from the sudden fright. "Brother," she said, her voice laced with a mix of relief and reprimand, "you scared me badly.”

Aemond couldn't help but let out a low, amused chuckle as Haera's face transformed, her cheeks blooming with vibrant, rosy colour. Her eyes sparkled as the gemstones that decorated her desk, and her eyebrows danced with surprise.

"Forgive me, Haera," he whispered, his deep voice barely audible over the sounds of metal as she gathered her instruments once again. "I did not mean to startle you." 

She slowly pushed her chair away from the table, legs scraping against the floor, and leaned against the backrest, repositioning herself to face him squarely. As she turned, her bright, inquisitive eyes, filled with kindness, locked onto his, holding his gaze with a sweet intensity that somehow put him at ease.

“You have chosen quite a place to hide away, sweetling.” He said, his voice low and melodic. His fingers moved over her tools and inspected the jewels in the box. The nickname rolled off his tongue easily as if it had been made for her, and his mouth knew it, flowing effortlessly from his lips. The sound of it, warm and intimate, wrapped itself around her like a whisper in her ear, making her skin prickle with delight. Warmth pooled in her lower stomach, a butterfly making itself known in her body.

"Does the dust not bother you?" he asked, his gaze lingering on the fine layer of powder coating almost every surface, a testament to the space's long abandonment.

“I have spent so much time here that I seem to have built a resistance against the dust.” From the way the corners of her mouth twisted, she was jesting with him. Aemond hummed, his own lips mimicking her expression as he walked around her place of work. 

“Is this what they have been teaching you in Oldtown, jewellery work?”

“I received a well-rounded education if that is what you are worried about, brother.” She nodded her head as she adjusted the magnifying glass in front of her, drawing attention to the peculiar instrument. “It was education outside of books that was difficult. I tried embroidery and painting, but my eyes found it difficult to adapt to such activities. Needles drew blood, and paint splattered over the floors, so the Septa taught me how to use the pliers that the Maester used for their chains, and I have adapted the magnifying glass to help me while I work.”

He remained silent, his eyes fixed on her as she returned to her task as she was before he interrupted her, the pliers grasping a delicate bracelet adorned with vibrant green jewels that sparkled in the dim light. As her fingers deftly manipulated the metal, she couldn't help but sense his gaze upon her as she worked, sending a shiver down her spine. Her shoulders instinctively tensed, a subtle reaction to his presence, as if his eyes had reached out to touch her. "I am crafting these bracelets for Jaehaerys and Jaehaera," she said finally, her voice soft and sweet, "such curious little things.”

His eye found the empty chairs and the couch behind him, worn wooden frames covered in dust and protected by a faded sheet. As he slowly descended over the closest chair to her, he asked, “Will you be creating a custom piece for all of our family?”

She looked back at him with a hint of mischief in her clouded eyes, her face tilting as a sly smirk took over her lips. “Only if they ask,” she replied with a playful tone. He noticed the teasing glint in her strange eyes that suddenly seemed so bright. “Do you want one, brother?” She asked.

Aemond’s breath caught in his throat, threatening to choke him as his heart fluttered like a dragon’s wings on flight. He wondered if it had been her voice that triggered such an unshakeable sensation in him or the fact that she had offered him something that he was not used to receiving—a gift, as simple as it sounded, had never been something he would willingly ask for. A soft smile, uncharacteristic of his usual stony expression, began to tug at the corner of his lips. “If you’re willing.” He replied.

He cleared his throat as he let himself fall back on the dusty sheet over the chair, not minding the white spots dancing over his black leathers. Aemond was ready to shift the mood into a deeper subject and voice their mother’s concerns to the young princess, the actual reason why he had been looking for her in the first place. "Mother has been asking about you; she worries that you are not enjoying yourself." The dim light in the room seemed to fade as Haera's eyes narrowed, as if the question had changed the mood of the sun outside, her hands instinctively stopping. Her body tensed as she processed his words. She turned her head slightly, careful not to let the look in her eyes betray the turmoil she felt inside.

It was strange to be back home, she had to admit, as she found herself surrounded by her family yet still feeling like she did not belong. She could barely recall memories of her childhood with her siblings, only remembering being a prisoner of her chambers.  She saw her siblings as strangers, surely as Aemond did about her, and she could not blame him. Perhaps it was the unfamiliarity of him that stirred the strange sensations that had taken over her body the past few days. “I find it difficult to be surrounded by many people that I do not know," she replied, her voice measured, each word chosen with precision, like a delicate dance around a sensitive topic. The silence that followed was palpable, heavy with unspoken words and underlying tensions.

His one eye locked onto hers, grasping the unspoken bond in that very instant. They shared a sense of disconnection from their own families in their own way. A dangerous wave of remorse crashed over him as he realised he had unfairly judged her since her arrival. The reality of his behaviour towards her cracked, realising he had been evasive of her without really giving her a chance. The memory of one of their dinner conversations flooded back, if one could call it that, as he recalled the awkward silence that had hung in the air when she directed a question his way, only to be met with his stony silence.

Shame consumed him. 

He suddenly found himself replaying every conversation he'd had with her, scrutinising each word, each gesture, and each fleeting expression. Had he said something wrong? Had she hinted at something he'd missed? The more he thought about it, the more his mind raced with worst-case scenarios. It was probably his fault that she was feeling uncomfortable with her own family, her blood. 

"Give it time," he said, trying to sound reassuring, but his voice came out rough, like the creaking of a rusty gate, uncomfortable to the ear. "You will adapt," he continued, trying to soften his tone, trying to soothe her. "It's normal to feel like a fish out of water in a new environment. You grew up away from all of us, and you are just returning. You need to give yourself time to settle in, to find comfort in your family... if you allow us.”

She hummed a soft, gentle tune in response to his words, her fingers dancing over a handful of small blue sapphires, a shiver running down Aemond’s spine at the significance of said jewels similar to the one in his socket. She muttered something under her breath, but the words got lost in the whispery breeze that rustled the untouched curtains of the library. Her gaze wandered from the glittering jewellery to the breathtaking view outside the open windows, where the warm sunlight danced across her eyes, illuminating the flecks of light purple in their depths. “Is that why you were looking for me, to help me?”

“We are family." He nodded, clasping his hands over his lap. “I wanted to make sure you were fine.”

Haera hummed once more, her head tilted in a way that the light illuminated the delicate shape of her lips and shifted into a small pout as she seemed deep in thought. He could not help his gaze from dropping to them, and he felt his own running dry. It was an innocent move, probably a habit of hers, yet it had made his head pound with an uncomfortable feeling.

“You have missed training today.” She stated, fully turning around in her chair again to face him, her pale eyebrows furrowing, “I was expecting you to be with the others at this hour.”

“At this hour?” He gazed out the window, watching as the midday sunlight crept across the room, its warm rays casting a new angle of light on the space. “You know my schedules?” 

“Well, sometimes,” Her voice is full of embarrassment as she began to confess her secret, sweetness laced with a hint of shyness: “I sit in the courtyard and watch you train like I did when we were children; well, try to watch you train at least.” Her cheeks bloomed with the sweetest colour he had ever seen. “It is not like I can see much from afar.”

"How far can you see?" The question hung in the air; its words were unwelcome. He could almost feel the weight of her gaze upon him as if he had trespassed some unspoken boundary by asking. He was aware that she had a visual impairment from what he had heard from their mother, but his curiosity got the better of him, and he wondered exactly what her limitation was. He thought that maybe her own body was fighting against her sight as if to protect her innocence from the terrible world she had been born into. 

Was it a blur at a certain distance or a complete absence of sight? He tried to imagine what it would be like to navigate the world with blurred vision, but his mind struggled to conjure up a clear picture, even when he was missing an eye himself. He still had his healthy eye, but a blind spot was enough to bother him during his everyday life; he could not imagine what it was to have both affected.

Could she see him?

It certainly seemed she could, perhaps even into the deeper parts of him that he never dared to show, more than he wanted. Her eyes, so soft and beautiful and surrounded by her fluttering eyelashes, seemed to follow his every move whenever he went. When he looked into purple jadeite, he felt warm. 

“I see enough... more than you think.” 

“How do you see me, sweetling?”

She leaned forward in her seat, her piercing gaze falling over him as if she were searching for something. He felt strange; he felt seen by this unseeing girl. His body acted on its own, tensing as her gaze was heavy on him. His heart rate spiked, his chest rising and falling with quick, shallow breaths. That puzzling smile, the same one she had worn when they first met again on the stairs of the Red Keep, played on her lips, a teasing twist. "I see my dear brother perfectly," she said, her voice laced with an unsettling familiarity as if she could see right through his facade to the secrets he kept hidden, what he tried to bury with his life. 

With that one sentence, Aemond felt trapped under the magnifying glass; his every move and thought lay bare for her to pick and pull to make her precious jewellery.

Perhaps she was the missing key to his locked heart. 

That day marked a turning point in his bleak life; his journey suddenly bathed in light, colours, and jewellery. He started to seek her out almost every day, the connection between them growing stronger as they began to know each other. It was surprisingly easy to open up to her; he felt comfortable, he felt alive, and she knew exactly what to say when he shared his thoughts. Her presence grew in comfort and understanding, like a gentle breeze blowing on the overheating pain of his thoughts, soothing his soul and calming his mind. He would find her every day in the same place, working over her precious gems, her eyes sparkling like her stones as she hummed songs of the Faith that she had learnt during her time away, melodies that made his heart soar with her voice.

He would be there, as loyal as can be, until the night fell. They could engage in conversation over the smallest of things or spend comfortable silence together without feeling any awkwardness or discomfort. In those moments, time stood still, and all that mattered was the warmth of her presence, her being, and what she provided. He found that this girl was no stranger at all but a kindred spirit, a missing piece to his puzzle, and the very warmth of the sun shone in his heart for the first time, bringing a sense of belonging he had never known before.

The duties of a second-born prince forced Aemond to do many things that he was not comfortable about, being forced to ride his dragon through the territories of Westeros to instill fear in those who dared question the blood of the dragon, who dared to consider rebelling against the crown. This resulted in being away from his home, more specifically, from his sister, and causing a deep ache in the bond that had formed between them. Sometimes, he would be forced to leave for a day or two, but in this case, a month had passed. The separation weighed heavily on Aemond, who would fall into a foul mood. His mind would constantly wander back to his family's stronghold, mostly her and her smile, especially during the most challenging times, when the burden of his responsibilities felt crushingly intense.

He flew through the unforgiving winter of the North, the freezing of his bones a constant reminder of his distance from King’s Landing. The only comfort he found was in the rare visits from ravens, those majestic messengers that carried scraps of parchment overtaken by Haera’s looping script to whichever hold had given him a roof. Her words were messy, some words jumbled and others too apart from each other, but that did not stop her from filling the paper with trivial yet comforting details of her daily routine, sealing every letter with a lovely “I miss you” that had him gripping the handle of his sword tightly. But as the days turned into a week and the week into a fortnight, a strange silence grew. Not a single letter had arrived, and the ache of her absence threatened to consume him.

One night, as the snow howled through the stone walls of his room, a letter arrived for him. Aemond’s heart raced with anticipation, expecting to find the words he had longed to read for so long, only to be met with disappointment as he saw Helaena’s refined handwriting instead. The brief message was strange, as characteristic of his older sister’s self, but the last few paragraphs felt like a knife against his throat. 

Haera’s health was failing; it was an unexpected situation in her time back home at King’s Landing. The maesters that were tasked with her care suspected she had contracted some illness from the servants, and her fragile immune system was struggling to cope. Yet, cryptic messages from Helaena hinted at something deeper—that Haera was lovesick, her heart aching from their separation in a way she couldn't bring herself to express.

Something cracked in Aemond’s guarded heart, pouring forth the emotions he had struggled to contain. As he re-read his older sister’s words over and over, the reality of his sweet girl’s suffering slapped him across the face like a cold wind, leaving him numb. The fact that he was far away from her, unable to offer comfort and protection to his other half, was a weight that crushed him.

The darkness of the night and the silence of the sleeping castle did nothing to calm his restless spirit. Without hesitation, he tore his riding clothes from the hangers, discarding everything else in the room as if they were insignificant. He stormed outside, where soldiers struggled to move out of his way, the air biting at his face, but the fire of the dragon burning within him kept him warm as he mounted Vhagar. The beast seemed to have sensed her rider's turmoil, her wings beating fiercely as they took to the skies, driven by Aemond's desperation to reach his beloved sister.

The flight seemed eternal, the skies and clouds stretching out before them as the wind carried the ancient shedragon. Haera would have liked it—the beauty and calm of the night sky—if she had not lost her own dragon during childhood. Aemond wondered if it was possible to take her with him on one flight and what it would be to have her so close to him on Vhagar’s chair, his body enveloping her smaller frame as her warmth pressed against him. Such thoughts comforted him on his journey of two days of flying with little rest. 

They finally landed in the fields outside of King’s Landing, as the dragon’s massive form was just too large for the dragonpit. His horse waited patiently for him, a reminder that he still had some journey to do, but with his heart fixated on the reunion that would soon bring him comfort.

The guards bowed their heads in respect, and servants moved out of his way as he strode into the Keep, that commanding presence drawing the attention of many as he took deliberate steps, his aura radiating a demand for respect and fear as he walked through the crowd of Lords and Ladies. As he made his way through the people, his eye landed on a familiar figure in a green dress that shimmered under the fire of the torch, the pendant of the Faith glinting brightly around her neck. 

"Aemond?" Alicent's voice betrayed her surprise, her eyebrows arching in astonishment as she hadn't expected his arrival for several more days. "What has happened?”

But Aemond remained unfazed, his attention fixed on a different concern altogether. "How is she?" he demanded to know, his tone sharp like the sword at his hip. Alicent's frown deepened, her brow furrowing in confusion as she struggled to figure out his intention. The realisation of what he asked dawned on her slowly, like how the light of morning began to seep into a dark sky. 

Alicent was not the best of mothers when it came to knowing her children’s secrets, but this, she understood. There was a strange look in his healthy eye as he glared down at her, his chest rising and falling like an aggressive tide as he struggled to catch his breath. He must have run inside, urgency in his heart. It was not proper, she decided; she had to cut the root before it blossomed. 

“You must not see Haera,” Alicent replied, voice low and harsh that carried a warning, “Do not bother her.” Her dark eyes wandered around the room, seeing if there was anyone close enough to witness their exchange, while Aemond’s gaze remained fixed on her, his eye burning with intensity. “It is inappropriate." She began but was cut off when her son swept past her to ascend the stairs behind her with purpose, leaving her words to hang in the air. 

His heavy boots thudded against the stone floor as he made his way towards her chambers, the loudness so unlike him as he was used to moving around in secrecy. The large, dark wood doors were slightly open to let wind gush in, and as he pushed them apart to enter, he was enveloped in warmth. There were numerous candles scattered around the room to light it up, and the fire crackled and spat. The maester stood attentively beside the bed, where a bundle of sheets had taken over the plush cushion. She was under them; he knew it. 

“My prince.”

“How is she?”

The maester shifted uncomfortably, his eyes darting around the room as if the answer he was about to give was a forbidden secret. He cleared his throat, his voice barely above a whisper, “I’m afraid she hasn’t been well the past few days, my prince. The princess's condition has taken a turn for the worse.”

He took the maester’s place on the bedside, heavy with concern. His lovely younger sister lay motionless; her already pale skin turned to a sickly colour while her dry lips parted as she struggled to breathe properly, her hair clinging to the sweat on her face. Aemond's ghost eye stung as he took in the sight of her, who was usually so chipper and energetic, his heart hurting with the weight of emotions that he had never learnt to control or how to understand. 

“What can we do to help her?” he asked, his voice tight with desperation.

The maester's eyes clouded with uncertainty. “We have tried everything that we have, my prince. We have also consulted with the healers from Oldtown who treated her before, and they've advised us to let her rest and pray that her body can fight off the sickness. But I fear it's a delicate balance, and the outcome is far from certain.”

Aemond's anger flared like the fire crackling to life. “What do you mean 'delicate balance'? What's the worst that could happen?” He demanded to know, though he already feared the answer, his voice low and menacing.

The maester hesitated before speaking, his words halting and slow. “In the worst-case scenario, her body may give out, my prince.” 

The words hung in the air like a dark omen, sending Aemond's world spinning out of control. The sapphire in his socket felt suffocating, the scar across his lost eye suddenly burning. He stumbled forward, his hands grasping for the bed to steady himself. The room seemed to darken as if the very air had been sucked out of it. He needed to be alone with his sister to process the torrent of emotions that threatened to consume him. 

“Leave us,” he growled, his voice barely recognisable.

Aemond stood tall beside her, his beloved, the ringing in his ear taking over the calming silence of the room. He leaned closer to her, gently brushing away the stray strands of hair over her peaceful face, aching to feel her touch, to have her look at him like she did, and to have the warmth of her sweet voice saying his name. His one eye scanned her features with deliberate care, drinking in the soft contours of her heart-shaped lips, the gentle slope of her nose, and the pale eyelashes that lay still, like delicate feathers, against her cheeks. She did not know it yet, but she was completely his; he decided at that moment that he would devote himself to her. To protect her, to be there for her, to shield her from the furious world. She was perfection forged from a gentle flame—a fire meant to burn only him. 

“Sister,” his voice was a soft melody that hovered above her sleeping form, hesitant to disturb the fragile peace that had settled over her, worried that it might be one of the few times she found rest. Her body barely stirred, a faint tremor running beneath the layers of blankets and quilts that swaddled her slender frame as if the weight of her exhaustion was too much to be shouldered alone.

"I am here, and I am not leaving," he declared; his words were a vow, a promise. His knuckles grazed the soft shape of her cheeks, a tender touch that carried his emotion, his fingers tracing the delicate curves of her face, committing every detail to memory.

Her eyes flickered open, painfully red-rimmed and bloodshot as if she had cried herself to exhaustion. He suspected that was exactly what had happened; her agony must have been overwhelming and unbearable. And then, there it was—that gentle, vulnerable glint in her eyes as she gazed up at him, recognising him instantly. Her body stiffened, her chest rose and fell more rapidly, and her very breathing was a struggle. 

"Ae... Aemond?" she whispered, her voice a fragile, broken whisper.

"I am here, Haera." His hand rested gently on her chest, the warmth seeping through the layers of sheets that had been wrapped around her like a cocoon. 

As she turned to him, a genuine smile spread across her face, the first one she'd managed since illness had taken hold of her. It was as if his presence was helping her, and her heartbeat quickened for the first time in days, driven by something other than the disease that had been raging war within her body, the warmth of her body feeling pleasant for once. For the first time in what felt like an eternity, the heavy sheets no longer felt suffocating, the pressure to hold her broken body together finally easing. Her shivering, which had become a constant companion, slowed, and she felt the weight on her chest lighten, as if his hand had somehow absorbed some of her pain.

Her voice was laced with a mix of amusement and exhaustion as she spoke, the dryness of her lips evident in the broken tone. "Took you long enough." The words dripped with a sense of relief, as if she'd been waiting for him for an eternity.

He flashed a quick, reassuring smile, his eye crinkling at the corner. "If I knew you would miss me this much, I would not have left for so long," he said, his laugh a gentle, comforting sound that matched hers. Though his humour was so forced, he pushed on, not wanting to darken the mood. He leaned in, his forearms supporting his weight as he lowered himself, his face inches from hers. His gaze locked onto hers, searching for any sign of distress.

He offered assistance with a gentle smile. "Can I do something for you? Anything to make you feel better?" The sincerity in his voice was palpable, and she appreciated the concern. He would do anything for her in a heartbeat.

With a hint of frustration, she confessed, "Maybe your company will lift my spirits." The confinement was taking its toll; the monotony was suffocating.

He nodded, suddenly deep in thought as his eye narrowed while he came up with ideas to help her pass the time. She probably missed their little secret library, where she would spend hours with her face pressed against pages or on her working desk, but with her current condition, he assumed that wielding her pliers was going to be impossible. That left the books, but her preference for reading old romance novels, once treasured by a former queen, made him hesitant. The thought of reading those sentimental stories aloud, with his deep voice and rough tone, felt awkward.

Yet he was willing to push past his discomfort to do anything that would bring a smile to her face and alleviate her boredom. For her, he would do anything, no matter how strange it felt.

Every morning, without fail, he would complete his tasks—training sessions with Criston, studying current matters, and sneaking into council meetings whenever possible—and as soon as he was done, he would hurry to her side to be with her day and night, refusing to leave until she could rest comfortably. He had become her guardian angel, devoted to his sweet girl, and slowly but surely, her health began to show signs of improvement. 

Her eyes, once lifeless, now sparkled with the life he so adored about her. Her skin now glowed with a gentle light, and she could blush under his gaze once again. The servants, whispering amongst themselves, would glance at the pair with a mix of awe as stories about the two began to circulate with the common workers, claiming that the one-eyed prince's unwavering love was the catalyst for her miraculous recovery, as the maester had claimed to be near death and now they could find her arm-in-arm with the prince in the gardens. They would say that their bond was strong enough to defy even The Stranger, united by an invisible red string of fate crafted by the benevolent hand of the Mother.

ᡣ𐭩 ─ author's note ;

so many words that re-reading and re-writing in editing had me sweating, but i promised myself my chapters would all pass 6k! so i am doing it!

i don't know why starting this little series has me all choked up when i have posted fanfiction over literally every platform (except for this one) and none of them as worked as this one. i guess it's because i'm actually taking it seriously now instead of fucking around with my other fandoms. i decided to kinda dial it down? maybe unclutch my pearls and let it flow with the editing and re-writing and just enjoy pressing post on every chapter.

regarding haera's disability, if the descriptions of her colouring when she was born and the comments here and there of her sight are not enough, she was born albino. inspired by no other than our favourite albino targaryen, lord bloodraven. her sight is limited; she needs to have things close to her face to focus properly, and her normal sight is blurred. like, when you use eyedrops or water gets in your eyes, the world swirls a little like watercolour. her health is also a problem, and i'm blaming it on generational incest lol.

taking advantage of the fact that i am already rambling here and if you're still reading it means that you are interested; i am posting more stuff soon! oneshots for jace, cregan and aegon before making way for the next aemond series that i had been posting on another platform at the beginning of hotd and then stopped because i forgot it existed. hope to see you there as well. xoxo.

chapter two; Sunday 3rd. ╰⪼ thank you for reading!

[watchnrant]

Agatha All Along Episode 4: Easter Eggs & References

If I Can’t Reach You / Let My Song Teach You

A Melody of Connection

In this episode, the witches’ ballad we’ve heard so far gets an emotional boost with additional lyrics added by Lorna Wu, which also serve as the episode’s title. . The powerful line, “If I Can’t Reach You, Let My Song Teach You,” deepens the narrative and adds a rich layer of meaning. This lyric beautifully captures the themes of connection and communication, reflecting the struggles and desires of the witches as they navigate their challenges.

By weaving in these new lyrics, the episode pays tribute to Lorna Wu’s legacy while enriching Alice’s journey, tying her past to her present. It’s a poignant reminder of how music can transcend generations, showcasing the enduring power of song in the world of witchcraft.

Rio’s Hand Emerges Like The Evil Dead

A Homage to Sam Raimi’s Cult Classic

Rio’s hand emerging from the ground visually mirrors the iconic scene from Sam Raimi’s The Evil Dead (1981), where a hand bursts from the grave. This moment not only pays homage to the cult classic’s blend of horror and dark humor but also reinforces the eerie and supernatural tone of Rio’s character. The reference cleverly ties into Raimi’s signature horror style, which he recently brought to the MCU in Doctor Strange in the Multiverse of Madness, connecting his influence across both franchises. This Easter egg serves as a nod to Raimi’s impact on horror cinema and his ongoing role within the MCU.

Rio Vidal Skips Down The Witches Road 

Just Like Wizard of Oz

A green witch was summoned to the Witches Road by the coven at the beginning of Agatha All Along episode 4 and is how Rio Vidal joins the coven on the road. 

Instantly ready to go, Rio is seen skipping and whistling down the Road as the others look on. As such, it's a clear reference to The Wizard of Oz and traveling down the classic yellow brick road.

The Second Moon Door: A Gateway to Growth

A Symbol of Transformation

The Second Moon Door emerges as a powerful visual marker as the witches arrive at the second house containing their next trial. Framed by the waxing moon, this door embodies the essence of growth and development—a theme that resonates deeply within various magical traditions. The waxing moon is all about manifestation and building energy, perfectly reflecting Alice’s journey as she faces her emotions and strives for personal evolution during her trial.

As the Teen confirms, this door features the “fire phase,” tying back to the first house and trial, which showcased a full moon design representing the “water phase.” This connection emphasizes the different elemental powers that the witches must navigate. The incorporation of the fire phase highlights Alice’s identity as a fire witch, underscoring the intensity of her challenges and the transformative journey ahead. It serves as a reminder that embracing her inner strength is essential for confronting her past.

The presence of these moon phases isn’t just decorative; it’s a rich tapestry that weaves together the witches’ connection to lunar magic with Alice’s unique trials. It emphasizes that to truly embrace her fire abilities, Alice must also allow space for personal growth. This symbolic interplay deepens the narrative, creating an engaging blend of witchcraft, elemental power, and character development that resonates throughout the Witches’ Road.

Agatha All Along Episode 4’s Major 70s Rock Vibes and Symbolic Fashion Choices

The Coven’s Style: Fashion Hits All the Right Notes

In Episode 4 of Agatha All Along, the coven’s clothing takes center stage, drawing heavily from iconic 70s fashion trends to visually connect each character’s powers and personalities with the cultural zeitgeist of that era. The 70s-inspired looks are not just a nod to the era’s counterculture and musical movements but also act as reflections of the characters’ internal journeys and magical abilities, enhancing the thematic depth of the episode.

Alice’s Counterculture Nod and Rebellious Spirit

Bell-Bottoms & Fire Power

Alice’s outfit, complete with bell-bottoms and round glasses, reflects the most recognizable trends of the 1970s, particularly those associated with youth rebellion and the counterculture. Bell-bottoms, a staple of the disco and hippie movements, symbolize a carefree, expressive lifestyle. This fashion choice aligns with Alice’s independent and rebellious nature, as well as her fiery powers and emotional journey, visually reinforcing her internal struggles.

Agatha and Rio’s Glam Rock Personas

Embodying David Bowie’s Glam Style

Agatha and Rio embrace the glam rock fashion of the 70s, a trend defined by bold, flamboyant styles featuring metallic fabrics, bright colors, and dramatic makeup. Artists like David Bowie and T. Rex popularized this over-the-top aesthetic. Both characters’ outfits mirror this theatrical fashion, symbolizing their larger-than-life personas and powerful roles within the coven. Agatha’s dramatic flair and villainous presence are enhanced by the glam rock influence, while Rio’s edgy, glamorous attire hints at her mysterious, possibly death-related powers, adding to her enigmatic role within the coven.

Jennifer’s Bohemian Connection to Nature

Rooted in Earth and Healing Magic

Jennifer’s flowing, bohemian garments reflect the earthy, free-spirited fashion of the 70s. This style emphasized natural fabrics and a connection to the Earth, aligning with Jennifer’s powers rooted in healing and nature. Her bohemian look evokes freedom and wisdom, qualities that reinforce her mystical role as a root worker and her deep connection to the divine feminine.

Patti LuPone’s Liza Minnelli Tribute

A Homage to Cabaret’s Glamorous Star

Patti LuPone’s sharp, tailored outfit, paired with a wide-brimmed hat, is a clear homage to Liza Minnelli’s iconic look from the 1972 film Cabaret. Known for her bold, sleek fashion and performance-oriented style, Minnelli’s influence is a fitting choice for Patti’s character, who exudes theatrical flair and a commanding presence. This nod to cabaret culture and the world of performance further ties Patti’s character to the musical themes explored within the show.

Lorna Wu and the Coral Shore’s Fleetwood Mac Influence

Boho Rock Aesthetic Meets Magic

Lorna Wu and her band, Coral Shore, draw significant inspiration from Fleetwood Mac, both musically and stylistically. Fleetwood Mac’s signature 70s style, particularly Stevie Nicks’ bohemian, flowing garments, is reflected in Lorna’s wardrobe. The other band members also embrace elements of 70s rock and boho fashion, grounding the show in the aesthetic of one of the era’s most influential musical acts. This further ties into the episode’s ongoing homage to 70s music culture, adding layers of authenticity to the visual storytelling.

Symbolism of Their Clothing Reflecting Their Powers

Fashion That Speaks to Their Magic

Beyond just style, each character’s 70s-inspired outfit serves as a subtle reflection of their powers and personalities, providing a deeper connection between their magical abilities and their visual identities:

Alice’s Rebellion and Fire: Her bold accessories and bell-bottoms emphasize her fiery powers and rebellious spirit, visually reinforcing her emotional journey.

Jennifer’s Earthy Bohemian Look: Her flowing, bohemian style mirrors her connection to nature and healing, portraying her as a wise and grounded figure.

Agatha’s Dramatic Glam Rock: Agatha’s glam rock outfit highlights her dominant presence, magical prowess, and flair for the theatrical, fitting her powerful and larger-than-life persona.

Rio’s Mysterious Edge: Rio’s edgy, glamorous look hints at her possibly death-related powers, contributing to her enigmatic and powerful role within the coven.

Lilia’s Subtle Pink Foreshadowing: Lilia’s use of pink and nature motifs, particularly the pink leaves seen on the Witches’ Road, foreshadow her upcoming trial. This symbolizes her confrontation with witch stereotypes and hints at her future “good witch” persona, traditionally associated with pink, while commenting on society’s perceptions of witches.

Drop Beat Magazine is a Nod to DownBeat Magazine

A Clever Parody with Musical Roots

The Drop Beat magazine shown in the episode is a clever parody of DownBeat, a real-life jazz and music publication that has been a staple in the industry for decades. This reference not only pays homage to the influential magazine but also aligns with the show’s ongoing use of musical themes to enrich its narrative and characters. By incorporating Drop Beat, the episode reinforces how deeply embedded music is in the world of the characters, using it as a tool to symbolize identity, culture, and the artistic struggles they face. It adds an authentic layer to the setting, grounding the fictional world in a recognizable, real-world musical tradition.

Lilia’s Premonitions Persist

Lilia exclaims, “Alice! Don’t!”

Once again, Lilia has an unexpected outburst, hinting at a possible glimpse of future events yet to unfold.

Lilia’s seemingly spontaneous and panicked plea, “Alice, don’t!” appears to foreshadow a pivotal moment in Alice’s journey through the Witches’ Road trials. The urgency in Lilia’s voice suggests she’s experiencing a vision of impending danger or a critical decision that Alice will soon confront. This cryptic warning implies that whatever Lilia foresaw could drastically alter the course of Alice’s future.

Salem Witch Trials Paintings 

The Torment of Witches Long Gone

While exploring the house, Lilia discovers a series of unsettling painted murals. Each one portrays the torment and execution of alleged witches during the Salem Witch Trials. Unsurprisingly, Lilia becomes deeply emotional as she views the depictions of the pain and suffering endured by these women.

Japanese Noh Masks: A Nod to Oni Demons

A Symbol of Inner Conflict

The use of Japanese Noh masks in the series cleverly alludes to Oni, the demons of Japanese folklore, appearing as the coven explores the trial house. These masks symbolize the dark, supernatural forces the witches confront, enriching the narrative with cultural depth by connecting their journey to ancient demonic powers.

Traditionally used in Japanese theater to convey hidden emotions and internal conflict, Noh masks resonate deeply with the witches’ struggles. They embody not only the external threats on their path but also the witches’ inner battles, reflecting themes of concealment, duality, and unresolved trauma. This Easter egg enhances the eerie tone of the episode, reinforcing the show’s overarching narrative of facing both personal and mystical demons.

A Nod to Alice In Wonderland

Episode 4 of Agatha Puts the Spotlight on Alice…

At one point, Teen finds a record and figures it might be a clue to starting the test. The sleeve says “Play Me,” which feels like a fun nod to Alice in Wonderland with its “Eat Me” and “Drink Me” labels. It’s a perfect fit, especially since this new challenge is all about Alice Wu-Gulliver.

Reverse-Playing Records

A Notorious 70s Phenomenon

As the record spins, the coven soon realizes it’s playing in reverse, emitting eerie, distorted voices. This moment brings to mind the 1970s myth that certain records contained hidden Satanic messages when played backward, reminiscent of the time when parents believed bands like Led Zeppelin and The Beatles hid secret messages in their music. In this case, however, the coven isn’t dealing with rumors—something far more sinister is at play.

Suspiria Homage in the Record Scene 

A Connection to Classic Horror

In Agatha All Along Episode 4, the overhead shot of the spinning record is a striking homage to the 1977 horror classic Suspiria. Directed by Dario Argento, this film is a masterclass in visual storytelling, plunging us into the eerie world of a young dancer who uncovers a ballet academy shrouded in dark magic and witchcraft.

The visual echoes between the spinning record and Suspiria’s haunting cinematography draw a direct line between these two narratives. Just as Argento immerses viewers in an atmosphere thick with the uncanny, Agatha All Along ratchets up the tension within the coven’s trials, reminding us that danger lurks around every corner.

This homage isn’t just a nod to a genre-defining film; it enriches the story of Agatha All Along by linking the witches’ experiences to deeper themes of witchcraft and the supernatural. The choice to feature a spinning record overhead highlights music as a conduit for magic, mirroring the integral role that sound and dance play in Suspiria, both serving to elevate the sense of foreboding.

By weaving in this reference, the episode deepens its cultural resonance, inviting us to explore the connections between the witches of both stories. It’s a celebration of classic horror cinema that amplifies the show’s eerie aesthetic, highlighting the intricate relationship between art, magic, and the supernatural.

The Metronome as a Symbolic Timer

A Reflection of Urgency

The use of a metronome during Alice’s trial brilliantly enhances the tension and thematic depth of the scene. Traditionally used to maintain a musical beat, the metronome adds an eerie twist, serving as a constant reminder of the pressure and urgency Alice faces. Its relentless ticking transforms the trial into a high-stakes challenge, underscoring the limited time available for success.

What makes the metronome truly chilling is how it amplifies fear without giving the witches a clear sense of their remaining time. This ambiguity heightens the dread, forcing the characters—and us—to confront the unknown stakes of their trial. Tied to the show’s musical elements, the metronome reinforces the idea that rhythm and timing are vital not just in music but also in magic. It suggests that precision is crucial for the witches to navigate their challenges effectively.

The incorporation of the metronome isn’t merely for visual flair; it serves a practical narrative function, reflecting the show’s meticulous attention to detail. By weaving together themes of time, rhythm, and pressure, the metronome deepens the atmosphere, grounding the magical trial in a relatable sense of urgency that resonates with the audience. This clever device elevates the storytelling, reminding us that in both music and magic, every tick of the clock counts.

Lorna’s Ballad 

A Literal Protection Spell

The moment of clarity comes when the group figures out that playing Lorna’s Ballad is the key to lifting Alice’s family curse. Agatha uncovers that the song wasn’t just a tune but a protection spell, crafted by Alice’s mother and tied to the tattoo she forced on Alice as a child. By ensuring the song was always being performed on tour and adored by fans, Lorna’s Ballad acted as a safeguard, keeping Alice alive far beyond when she was fated to die. To break the curse, the coven unites to perform the rock version of the Witches’ Road Ballad, a track first mentioned by Teen in episode 2, composed by Lorna Wu and the Coral Shore.

Generational Trauma Symbolized as a Curse

A Reflection of Family Legacy

The theme of generational trauma hits hard through Alice’s belief that the curse she bears is her fault. This concept mirrors the real-world struggles many face, where emotional scars are passed down through families. Alice’s fire emblem and scar are powerful symbols of this ongoing trauma, embodying the weight of her lineage.

The challenges Alice and her family confront showcase the cycle of pain that defines generational trauma. Her internalized sense of blame reveals a painful truth: victims often feel inherently flawed, burdened by the unresolved issues of those who came before them. This connection underscores how family legacies can seep into our current lives, influencing our choices and perceptions.

As the witches traverse the Witches’ Road, they’re forced to confront the traumas tied to their pasts. This journey reflects the broader theme of personal growth and healing, emphasizing that recognizing and addressing generational trauma is crucial to breaking the cycle.

Alice’s curse becomes a metaphor for the heavy burden of these inherited struggles, reminding us that these issues are not just personal—they’re deeply tied to a larger family narrative. By weaving this theme into the storyline, the episode resonates emotionally, inviting viewers to reflect on their own experiences with generational trauma. It makes the witches’ journey feel relatable and poignant, highlighting the universal nature of these struggles and the possibility of healing by confronting the past.

Alice’s Manifested Curse 

The MCU’s Introduction to a “Demon”

When the coven plays Lorna’s Ballad on the Witches’ Road, Alice’s curse takes on a visible, physical form—a terrifying winged creature. This marks a significant moment, as it could be considered the first true “demon” seen in the MCU. However, there’s a question lingering: What was the curse in the first place? Could this demon actually be Lorna Wu, transformed into a sinister hay-like creature?

Brian De Palma’s Filmmaking Techniques Emulated

A Tribute to Visual Storytelling

The three-panel zoom-in on Lilia is a brilliant nod to Brian De Palma, a legend in visual storytelling known for his work in Carrie. This technique not only adds a striking visual flair but also deepens the emotional impact, pulling us into Lilia’s world.

The zooms throughout the episode channel De Palma’s skill for amplifying character emotions and building tension. As the witches face their fears on the Witches’ Road, this homage perfectly captures the blend of horror and psychological suspense that keeps us on the edge of our seats.

By embracing De Palma’s signature style, the episode creates an unsettling atmosphere that aligns seamlessly with its supernatural themes. The innovative camera angles and framing immerse us in the witches’ harrowing experiences, heightening the stakes and emotional weight of their trials. This homage doesn’t just pay tribute; it elevates the entire narrative, reminding us why De Palma’s techniques are essential in crafting compelling horror.

The Three of Swords

A Sign of Sorrow and Despair

After Teen suffers a glass shard injury to his side, he collapses soon after due to excessive blood loss. The entire coven is thrown into distress, with Agatha Harkness feeling the weight of the situation the most. During the chaos, Lilia quietly utters, “Three of Swords.” This tarot card is a symbol of deep emotional pain, grief, and heartbreak. Although Teen survives the ordeal, Lilia’s reference to the card heightens Agatha’s fear of losing him, amplifying the emotional weight of the moment.

Lilia's Vampire Bite 

More Vampire Hints in the MCU Ahead of Blade’s Debut

As Teen recovers from his injury, the witches bond by sharing stories and showing their battle scars. Lilia Calderu reveals a vampire bite on her neck, claiming she knocked out the creature’s tooth after being bitten. This confirms vampires have been active in the MCU for centuries, long before the upcoming debut of Mahershala Ali’s Blade, which has faced production delays.

The first reference to vampires in the MCU appeared in Loki season 1, when Agent Mobius mentioned their existence. Blade was later teased in Eternalsduring the post-credits scene, with his voice asking Dane Whitman if he’s ready for the Ebony Blade. Additionally, Werewolf by Night provided further confirmation with pictures and trophies during the monster hunters’ gathering. Now, Agatha All Along continues to hint at vampires, even though Blade and the creatures themselves have yet to fully appear in the MCU.

Daughters of Liberty 

Connections To Agatha's Comics History

In Agatha All Along episode 4, after Lilia reveals her vampire bite, Agatha Harkness shares a scar of her own. With a casual roll of her sleeves, she points out a mark left by a knitting needle once owned by the Daughters of Liberty—a group she claims to have wiped out in the past. For a bit of real-world context, the Daughters of Liberty were a real historical group formed in 1765. They supported the Sons of Liberty by boycotting British goods, even holding spinning bees to make their own clothing instead of relying on British textiles. Hence, the knitting needle!

Now, for comic fans, this reveal connects to Agatha’s more neutral role in the Marvel Comics. In the original stories, she didn’t wipe out the Daughters of Liberty—quite the opposite! Agatha trained and guided them as a society of powerful women who used witchcraft to protect the world through the generations.

The modern-day Daughters in the comics include heroes like Misty Knight, Echo, Shuri, Spider-Woman, Black Widow, and more. Peggy Carter even takes on the role of their leader, known as “The Dryad” (previously held by Harriet Tubman!). So, while the MCU’s Agatha might have had a very different relationship with the Daughters, it’s still a fantastic Easter egg for fans of the comics!

Could Rio be Lady Death?

Unraveling the Clues to Her True Identity

Episode 4 of Agatha All Along drops intriguing hints that Rio Vidal could be Lady Death, adding weight to the theory that she may have been responsible for taking Nicholas from Agatha. In addition to exploring Rio’s past with Agatha, other clues suggesting her connection to Death are sprinkled throughout the episode’s disco-inspired trial on the Witches’ Road.

The first clue arises during a conversation between Agatha and Rio in the sound booth. Rio mentions being impatient, alluding to the idea that she’s been waiting for the right moment to kill Agatha. Later, she explains her role in the coven, claiming she’s been waiting for Agatha to kill the other witches, saying, “I get my bodies.” These references to Rio’s connection to the dead strongly hint that she could be Death herself.

Another key moment occurs near the end of the episode, when Teen is bleeding out. Agatha looks at Rio with desperation and says, “Don’t.” This scene suggests Agatha is pleading with Rio, who may be Death, not to take Teen away.

The final piece of the puzzle comes during a conversation where the coven shares stories about their scars. Rio recalls, “A long time ago, I loved someone. And I had to do something I didn’t want to do, even though it was my job. It hurt them. She is my scar,” before glancing at Agatha. Later, when she and Agatha are alone, Rio adds, “He is not your son,” which could be a subtle hint that she had to take Agatha’s son because he had died, further supporting the idea that Rio is, in fact, Lady Death.

[rottenpumpkin13]

How do you feel about a redemption arc for Sephiroth?

On one hand, Sephiroth's character development into a villain is a huge part of his allure. Even Kitase said at one point that there's nothing stronger than Sephiroth in his universe, and knowing his backstory makes his descent into madness even more satisfying. On the other hand, especially with what we know now from the FS lore, it would be nice to see them tackle something like a redemption arc for Sephiroth in the trilogy (and I say this with a completely biased opinion because I'm a sucker for sane Sephiroth) (even if the redeemed version of Sephiroth wouldn't be the same as him pre-Nibelheim).

With the multiverse plotline and the hint in Opera Omnia that Sephiroth's memories were tied to his humanity, I think there's a chance that if he got them back, his humanity might return too.

I don't know. With the confirmation that the trilogy will lead to Advent Children, it's very unlikely we'll see a full-on redemption for him, but at the same time, the series has been around since 1997, and it would be cool to see them take a completely different approach to Sephiroth this time since they're already adding new things. Though Sephiroth's story and end is already beautifully told albeit tragic as fuck.

Not every villain needs a redemption arc, but what qualifies one is whether there's still a chance for redemption. I think it's possible for Sephiroth, mainly because his story is so tragic. He had all the reasons to become a villain, but also all the reasons to take his anger in a completely different direction and not become a villain at all had circumstances been just a bit different (Jenova mind control theory aside).

[revenantghost]

Heyo, let’s talk about my girl Meryl and why she’s so critical to the plot of Trigun Stampede and Vash in particular! (Well, that’s true for any Trigun, but Tristamp theories are rotting my brain atm.) Some spoilers for Tristamp and vague talk/references to the other series ahoy!

Meryl gets way too many accusations thrown at her for doing nothing/not enough in Tristamp. To the point that I started a rewatch to see if I was misremembering, but absolutely not! Those first three episodes alone, she’s critical to how things develop! She’s a foil to Vash, just like Wolfwood is!! She’s essential to his humanity!!!

But it took until I was watching ‘98 for the first time this weekend for it to crash into me like a freight train exactly what Meryl means, just like it took Trimax for the full weight of Wolfwood to click into place for me. Because she’s set up a lot like her older anime counterpart (though no one gets the same amount of character interaction—Tristamp, I adore you, but please slow down and let these poor folks breathe). She doesn’t understand Vash at first, she even goes so far as to call him a coward in a really low blow for what she easily recognizes as his bravery (and sometimes stupidity) later. And while they both (well, pretty much all the Trigun protags, let’s be honest) share their bullheadedness, I see a lot of people say she’s just like Vash... And I disagree, sorta.

She’s just like Rem. Just look at that last episode.

The two women don’t have the same belief systems, they have wildly different paths, and they come into Vash’s life in incredibly different ways. Meryl may keep Vash in check sometimes, but she’s not a mother figure imo. But they still play a similar role.

After over a century of traveling alone, we see (especially in other versions of Trigun) that Vash is often used and abandoned. Even when he makes genuine friends, they let him drift in and out of their life—and to their credit, he’s good at that! He can’t handle any more pain, so he slips away before the hurt catches up. But not Meryl! She ain’t gonna let that happen!!! At first, yeah, she follows him because of her job, but it never takes her long to go from frustrated and fed up to growing fond of Vash. And I especially love the career shift in Tristamp allowing her a complete out, to walk away and abandon Vash when things get rough, and no one would blame her for it.

But she stays. Because she sees that he’s good and worthy of the love that he denies himself. She sees this vile, hopeless world that they live in through his eyes, and sees the beauty in it too. She’s the first person to have faith in Vash not just as a savior, but as a person—unlike anyone has since Rem.

When all hope is gone, when Vash has lost his way, when he stumbles and falls, Meryl—who starts off doubting him!—is the one there to pick him up and remind him that he’s loved, that his love for humanity isn’t for nothing. Throughout the entire series, she has faith in him. She chooses Vash even when he won’t choose himself. She’s tired and done living in this selfish world of awful people, and she becomes the anchor that ties Vash down to what’s good in humanity. She’s just as critical as Wolfwood in taking a distant, disheartened, and broken Vash and reconnecting him to a world that cast him aside. And we’ve already gotten so much of that in Tristamp. It’s most obvious in the ending, but it’s built up so beautifully imo. She’s not as flashy as our fighters YET, but she’s absolutely essential to Vash, and I will die on this hill. I can’t wait to see her come crashing back into the picture with Milly next season.

[frayed-at-the-seams]

My top BL dramas with sex scenes.

Basically my fave sex scenes and why.

- Unknown.

Starting slow. Real slow burn found family drama but when they get together, the scenes are sexy. It’s all about consent, it’s between two people who love each other and it’s a real build up of what has been years of pining. Not a full sex scene, it almost gets there, but what we see is amazing.

The couple itself is really sweet and the plot is well paced and slow burn is burning. The drama as a whole was great and I loved how the characters grew and developed.

However, drama has violence, child homelessness, drug addiction, child abuse, gang violence, and kidnapping.

Available on Viki or KissKH.

- Blueming.

This drama was lovely. With a real lovely slow burn romance that builds to an artistically filmed sex scene. While you don’t see much, just silhouette, you know what they’re doing. It’s intimate and so loving and more of an art scene than just sex. That’s one of the things I love about this drama. There is a real sense of intimacy and love between the characters. If you want to film a sex scene that doesn’t detract from the plot, then this is how you do it. It fit so well and was so visually aesthetic that it was my favourite part of the drama.

Available on KissKH and Bilibili.

- The Eighth sense.

Another beautifully shot scene. This one was intimate and fun and loving. The two characters laughing and just enjoying being by themselves without any pressures. It establishes a real bond and love between them that persists through later struggles in the show.

The scene is filmed beautifully too. The camera placement and cinematography makes it more than just a sex scene. It ties it all in with the character development and the plot, giving it a real intimate and unique feel to it.

One of my fave shows of all time.

Available on Viki, and KissKH.

- Between Us.

The side story to Until We Meet Again but about the second couple from that show, Between is about Win and Team. The drama is more about overcoming ptsd and trauma with love and support. There is one sex scene that fades to black before the proper scene but there’s enough shown that I have included it in this list.

The filming of this drama was engaging and worked with the characters. The plot focused more on the developing relationship of the characters and their own personal growth in response to their relationship than it did on any physical aspect to it. It is a wholesome drama that can be watched without having watched the first drama.

I have rewatched this a few times.

Available on YouTube and Bilibili.

- Love in the air.

This drama is split in two. The first half is the main couple, a typical top and sub bottom type. The second half is a Dom bottom with a pleaser top. Both couples’ chemistry is on fire and their scenes are very sexy. (I was so surprised by their scenes the first time I watched it. I was not expecting them to be so explicit).

But other than the scenes the drama itself deals with some good character development. Especially with the second couple where it explores a character with SA trauma and his subsequent trust issues.

For a drama that at first looks seems cliche and full of tropes (which it is) it actually explores them while also making some of it quite easy to watch. It doesn’t lessen the darkness of some scenes but it doesn’t overly explore it either. The viewers know what goes on without having to see the scenes in full detail. I liked this style of filming though a few of the sex scenes were no necessary to the plot.

Available on Viki, YouTube (but censored) and KissKH.

- Only Friends.

I am building up to the messy dramas slowly.

This drama though. This one is for the ones who love soap operas. There’s cheating, betrayal, sex in weird places, recording and taping without consent, alcohol and drug abuse, fist fights, and manipulation.

Basically a group of friends get caught in the messiest drama ever. There’s lots of sex and lots of character development, not always for the better. There’s three main ‘couples’ and they are all involved with each other in a messy way.

Let’s just say that watching this weekly was like watching a bit of a train wreck and seeing who are the survivors.

Well acted, very well filmed but chaotic as hell. It will make you laugh, make you angry and might even make you cry.

In all of it the lesbians are the least dramatic characters.

Available on KissKH and Bilibili.

- 4 Minutes.

If you thought the drama above was messy, this was worse but in a different way.

This drama has you second guessing everything. With a complicated slightly sci-fi plot line, the sex scenes as used more to show power and influence and control between characters than they are to show romance.

There’s so much going on with the viewer guessing character motivations and plots that the sex scenes get pushed to the side quickly. They’re there, and very explicit (especially the first one) but plot wise they are nothing more than a basic shock or display factor.

Either way, those actors did a good job. I had trouble watching them cause they felt too explicit.

Also especially here for Bible having a bottom era.

The show was well filmed too, even if I was confused by everything half the time.

Despite the confusion and the ending with way too many unanswered questions, I did really enjoy the show and the sex scenes did make sense in the plot. They were also filmed really well and I loved the lighting.

Available on KissKH.

- Kinnporsche.

Came out before 4minutes but with Bible playing a top character this time (the duality of this man). This show I both love and hate. Open ending, too many side plots that weren’t explained, lots of unanswered questions. Every relationship was toxic in some way. Anyway, I loved it. Great lighting, well filmed and stylised. Amazing acting.

Though the sex scenes, especially between Kinn and Porsche, were too frequent and in too many weird places. (They’re exhibitionists. You gather that after the first time). They were well done scenes.

However, this drama is not for the faint of heart. There’s dubious consent, freaky kinks, kidnapping, bdsm (between Vegas and Pete and there was no communication during it but it was such a well filmed scene), manipulation, violence, death, torture, kidnapping, and abuse.

This drama was definitely for the depraved. (Me and others like me).

We’re never going to get a season 2 and I am so sad about that.

Available on Viki, and KissKH.

Here you go you depraved souls. I mostly watch dramas for the plot. I can’t help it when dramas like KP happen to have sex as their plot.

Oh well.

Enjoy.

[lookupthewordjokeinthedictionary]

Sorry to post something more than drawings and this might be an incoherent post but,, everyone has touched on it without actually linking their very similar ideas together, so I wanted to do that for all of you. If it wasn't clear, I will be talking about Sanders Sides.

The importance of every side is a very nuanced subject that barely gets touched on anymore by the fandom. @beauty-and-passion has made a lot of very good analyses, theories and headcannons about the sides and you should definitely check her posts out.

However what I don't understand is how everyone can touch on the importance of Virgil without actually linking every piece together. It had always been confusing to me (ever since I joined the fandom in 2018) what the sides can do and what they can feel. I now understand that what they feel has nothing to do with what they can do, for Thomas. Virgil, despite being anxiety, can feel happiness, can have empathy, can be logical. He understands all the points made by Logan once they're explained to him in a way he can understand.

A lot of people have also talked about ego, id and superego, and how Freud's theory on them is supported by Sanders Sides. I won't go on too much detail but basically, ego is the logical part of your brain, superego is the moral part of your brain and id is the creative part. You can see how that beautifully ties in with Sanders Sides.

However a lot of people have written about how anxiety and your fight or flight can be used as a weapon for self care. Anxiety is a fight or flight response, so it obviously can get you out of harming situations (see: aa part 2). Anxiety can also worsen intrusive thoughts, something we've seen before. But worsening them for a person means making intrusive thoughts (ehem, ehem, Remus) stronger. In AA part 2 we also saw the contribution anxiety makes to the creative process, by making (specifically) Thomas "rehearse and rehearse". Not to mention that ever since his acceptance, he has been siding with morality a lot more, because it's the fear of getting caught that stops us from breaking most laws, it's the fear of being judged (by a higher force) that stops us from being immoral ("Similarly you fear being perceived as a bad friend" -Deceit, SvS). Even Thomas himself has said that Anxiety probably plays the most crucial role, not only with the consequences being so very severe of him "ducking out", but also by his own admission ("You're the one that pushes me out of bed in the morning"). And forgive me for talking from a personal point of view, but as someone who studies science, anxiety is the drive I need to study, contributing to my overall ability to learn.

Virgil, as a lot of you have pointed out before, is one of the most character developed sides of them all. And I doubt that it's because he's so well liked by the public, and more because he is literally the driving factor of the series. Virgil isn't a "dark" side or a "light" side because, as we've seen from 'Fitting in', he can't be boxed in a specific label. He is the one who makes Creativity act, Intrusive thoughts more powerful, Morality abide, Logic work, Self care active and so so much more.

I can't wait to see how Mr. Sanders will continue the series, but I also can't wait to observe more invisible strings of all the sides to Virgil. No wonder he's that powerful, is all I'm saying.

[likealittleheartbeat]

hello !!

i was wondering, do you know any other characters like aang from other shows/movies/books? or maybe, just his theme of radical kindness appearing in other stories?

i've been missing aang, and it would be nice to find other representations of such a fun and warm personality like his.

ps.: your blog is like, fantastic. truly.

🥰🥰🥰🥰 This is the best ask I’ve ever received!!! Depictions of radical kindness in media is a special interest of mine—not exaggerating. So I’ve done my best to make a list of rec’s, just tv, from most formally similar to ATLA to least, with a short description for each.

1. Fruits Basket (2019)

"My mom told me, it's better to trust people than to doubt them. She said that people aren't born with kind hearts. When we're born, all we have are desires for food and material things. Selfish instincts, I guess. But she said that kindness is something that grows inside of each person's body, but it's up to us to nurture that kindness in our hearts. That's why kindness is different for every person."

An anime orphan whose established memory of the kindness by which her family raised her ends up transforming and liberating a whole clan from an intergenerational curse that enforced an abusive hierarchy all within a show that has a deeply queer subtext, beautifully complex plotting and character development that due to its zen influence refuses to demonize anyone or any perspective wholly, AND a straight romance you can actually root for!? Nothing comes closer to ATLA thematically than this show. While the lead Tohru Honda is the biggest representative of radical kindness, the character of Momiji Sohma with his complex purity, idealism, and gender performance is one of the closest you'll find to Aang in any media.

2. Mob Psycho 100 (2016-2023)

"The truth behind one's charm is kindness. Just be a good person, that's all."

Mob Psycho 100 explores a core tenant of ATLA's critique of imperialism and power: greatness and perfection are overrated. They both ask the question about what to do for the world with one's gifts if that's the case. How can one be both normal and prodigious at the same time? The satirical comedy and style of this anime, which deconstruct a lot of the shonen genre tropes, are pretty distinct from ATLA, but when ATLA arrived on the airwaves, it was a pretty massive break from tradition in Western animation, and for both of these series, that difference of style is tied to the message of the show about the experience and acceptance of difference.

3. Natsume's Book of Friends (2012-present)

"As I encountered kindness, I wanted to be kind myself."

The anime, Natsume's Book of Friends and ATLA both depict the challenge and necessity of facing abandonment, loss, and a deep-seated loneliness with kindness and gratitude despite the persistence of grief. Both take a deeply spiritual view--even a responsibility--of this experience that demands a compassion for all beings including those who intend to do harm. Natsume, an orphan shuffled between houses who is one of the few people who can see spirits called youkai, inherits his maligned grandmother's book of yokai names, becoming a target for them in the process. He hides all of this from everyone in his life, and even five season in, still has trouble admitting to the one person who understands him when he is struggling and needs help. The gentle and light tone papers over a profoundly honest representation of attachment trauma and the wisdom of compassion that develops as a tool to cope with it.

4. Hunter x Hunter (2011-2014)

"You can do whatever you want to hide your feeling. You still have a heart."

If you think that "Radical Kindness" is by definition non-violent, then this show is either not for you or going to change your mind. Gon, the protagonist of HxH, like Momiji mentioned in Fruits Basket, is another rare character whose naivete and optimism are treated with respect. He is allowed to suffer, to be wrong, to be stupid, and to inspire others away from their own cynicism with the persistence of his beliefs nevertheless. But HxH is a show that integrates the most violent aspects of the world (organized crime, capitalistic competition and privileging, state-sanctioned brutality, pure sadism) with its examination of human potential for goodness. And even within a list of shows deeply inspired by spirituality and religions, this show is abundant with religious references as it seeks out meaning, balance, and an ethic for modern experience. On top of that, it ranks with ATLA for the depth and relevance of its magic system to its themes, plus its got gay subtext out the wazoo!

5. Mushishi (2005-2014)

“Make sure to remember, every person and place has a right to exist. It is true for you too, the entire world, as a whole, is your home."

Elegaic, episodic, compassionate, and strange, with some of the best short story-telling of all time, Mushishi is the story of a medicine-man who travels the Japanese countryside helping people deal with the spirits that accompany the little trials and tragedies of life that cling to our minds long after they're passed. The protagonist, Gingko, and the show itself takes the approach of restraint to observe these problems fully and come to a conclusion that's taoist in its balance and acceptance of reality--"Eyes unclouded by hate" as Miyazaki/Gaiman would have it. Each episode is like a therapy session arguing for you to choose to live even as the heaviest burdens sit on your chest.

6. Reservation Dogs (2021-2023)

"See...love doesn't have to be received, it can just be."

We're finally out of the animes, and moving away from the zen and shinto approach into some other options. Reservation Dogs' indigenous humanism was groundbreaking, bringing in distinctly modern American realities (with the kind of true-to-life details only a an on-location shoot could offer) with Native beliefs about ancestry, community, and connection to the land, while rarely feeling preachy. Instead, it's just fucking hilarious and casually heartbreaking. Four friends on the edge of graduating high school on a reservation in Oklahoma try to figure out what to do with their lives after their plans to go to California get abruptly messed up. Radical kindness as a concept often gets focused on accepting the enemy but what about accepting the weird stoner uncle who farts all the time and won't talk about his years in the army. I think that might be a more important goal of radical kindness, in truth, if we are being asked to look and accept reality for what it is, because growing comfortable with disappointment and the mundane let's us live without the relentless striving that drives perfectionism.

7. Skam (2015-2017)

"The second you start looking for hate, you find it. And when you find hate, you start hating."

A Norwegian teen drama that understood internet culture better than any show before or since, four season-long romance plots better than any romance film from that decade, and a masterfully constructed exhortation about leaning into failures of connection to build deeper compassion rather than demonize another person or group. Each season focused on a specific character within a high-school friend group, emphasizing the limited scope of subjective experience, and had them confront the challenges of opening up to others fully. And even when they return into the scenes with new protagonists, their lives weren't sorted perfectly, reflecting how resolving a single romantic plot point would not resolve life. The impact of this low-budget public-television web series (!!!) will be felt for years (it's already been referenced by Netflix juggernauts like Sex Education and Young Royals), but we're not likely to see something that juggles political themes, heartfelt characterization, realistic dialogue, and meta-commentary (it flashed its own hater and fan comments across the screen in the last episode!!) in such a obsession-inducing package anytime soon.

7. Boys Like Boys (2023)

"Because I have always been someone who hates myself, I don't have the courage to face it. Running away is my only option...What if I give myself one more chance to be brave?"

So how can a reality show make it onto a list of radically kind tv series, especially a dating show!? Well, when that reality dating show casts people who radiate warmth, vulnerability, and respect and seem to have the kind of chemistry that most scripted shows can't even manage, it's a good start. But then, when they elevate that cast with a format that addresses the cruelty of dating, elimination formats, and broader societal exclusion (an important consideration for a gay dating show), it offers a new model for future shows. Boys Like Boys did this when mid-season (spoiler alert) they had contestants vote out a contestant, only to provide the contestants with a vote in which they could retain a contestant who they didn't want to leave. In fact, many of the contestants asked if they could abstain from making a vote that would eliminate a constestant and were allowed to. The final result left one contestant, Jia-Hang, up for elimination--he had voted for himself to be eliminated, and many contestants, recognizing his reticence to continue on the program, didn't want to force him against his will to stay. Then, looking around at nearly the whole cast sobbing, even apologizing to him for not providing him enough support, Jia-Hang chooses to stay on. This is just one of many heart-warming authentic moments in the show that illustrate the vital influence of kindness to impact the trajectory of our hearts.

8. Joe Pera Talks With You (2018-2021)

"I can help you reach things. I can tend the garden. The different hours we keep are a good thing. And when they overlap, I can offer companionship and entertainment."

So much has been written about this show's groundbreaking kind approach, I'm going to quote instead: "It can be difficult to convey how a TV show airing on Cartoon Network’s provocative nighttime programming block Adult Swim can evoke almost nostalgic feelings of kind-heartedness. The premise of Joe Pera Talks With You is so simple as to almost be beside the point: Comedian Joe Pera plays a lightly fictionalized version of himself as a sweet Michigander, a middle-school chorus teacher with small and specific passions. Joe likes breakfast food, obscure trivia, beans, trips to the grocery store, and his grandma. He greets every day with a contented smile, stands beneath a pale blue sky, packs a balanced lunch that contains no surprises. (A turkey sandwich with cheese and a tomato, a banana, some trail mix, and as a treat, some cookies.) Joe, more than anything, is satisfied. His greatest joy is sharing these small pleasures with you, the viewer who exists on the other side of the fourth wall he has cleanly dismantled, often speaking quietly to the camera like he’s sharing a secret, just between you two. That he’s talking “with” and not “to” you is a crucial distinction in the show’s title: Joe never lectures nor rhapsodizes. Instead, he waxes poetic about what he loves and who he cares for and how he leads his life, telling his stories from a vulnerable position of welcoming you into his daily existence.” --“A Great Comedy About Being Good,” Allegra Frank for Vox

9. Anne with an E (2017-2019)

"Her life was not short on challenges, and still she held no grudges, believing instead that grace is perennial like the green, green grass."

While maligned for not being the 1980s version, this Netflix adaptation of Anne of Green Gables takes what many have read as an autistic subtext and made it text, giving Anne a performative quality that pushes a lot of the audience into the same irritation that the characters of Avonlea feel for Anne at first, and, thus, requires its audience to persevere toward the same kindness that Anne inspires in her adoptive mother figure, Marilla, among others, which is much more rewarding than simply identifying with Anne right away. In so doing, it enhances the development of its broader approach to acceptance--an approach in its insistence on the requirement of a community of kindredness (see Sebastian's excitement at finding out about the black community in "The Bog") that is much more rigorous than many other shows will cop to. Expanding far beyond literal adaptation into queer, black, and indigenous characters, without disguising history or disparaging the thematic seed of grace at the heart of the novels, Anne with an E imagines what it meant and what it might still mean to build real joyful community with others through kindness.

10. Little Bear (1995-2003)

"Interesting."

A childhood favorite that disguised in its simplicity a wide-openness to the world and an acceptance of different natures. While most child shows emphasize kindness, few do so with as much patience, wonder, and generosity extended to its viewers. Little Bear is a curious kid who goes on adventures in the woods around his house that can turn into games or small imagined experiences. He is sometimes with his friends Cat, Duck, Hen, Owl, and Emily, whose personalities, along with Little Bear's, bring about small tensions in their games that ultimately resolve, if not independently, then with the help of Mother Bear or Father Bear, who give each other knowing glances about the expected childhood behaviors. This is the first show that initially taught me to observe things while withholding my judgment, that first step of radical kindness.

12. The Andy Griffith Show (1960-1968)

"The key to happiness is finding joy in the simple things."

One really old and somewhat controversial throwback for my last entry. If you have concerns about a sheriff character representing radical kindness, I would encourage you to start with the third episode of season 3 where Andy, the sheriff in question, has to explain to the new mayor why he doesn't carry a gun and lets prisoners go to gather their crops. There have been some fantastic pieces written about the complexities of this show's bucolic fantasy and Southerners (of all races) attachment to it, but they all acknowledge a type of humanistic and deceptively simple virtue found in Mayberry that audiences long to witness, if not emulate themselves. It's a morality that resists the "hyperactive zealotry" and bureaucracy that the show satirizes through Barney Fife (along with guest characters like the new mayor) and instead emphasizes the understanding that one can have for each individual and the trickstery middle paths that one can find to address conflict.

[neuroticbookworm]

Incoherent Old Fashion Cupcake ramblings

I watched Old Fashion Cupcake last night and I've been in a delicious drama brainrot ever since.

This show is brilliant in every way, from acting to camera work to music to incorporating food into the character interactions to body language (y'all know what I'm talking about *smirks*)

gif by @itachis (I'm never gonna get over this scene, btw)

As writing, narrative and character arc fiends, @lurkingshan and I ramble a lot about how shows wrap up all of its plotlines, how satisfying it is, and more importantly, how seamless it feels.

Old Fashion Cupcake has an office romance right at its core. Nozue and Togawa are co-workers, and Togawa is Nozue's subordinate. Which means as soon as they get together, Togawa working under Nozue will be a HR violation. One of them must be reassigned so there is no overlap in their reporting structure.

Now, this is in NO WAY a central conflict that the characters have to work through. But for me, as a viewer, it is a tiny, albeit noticeable problem that will arise wayyyyyy later in the narrative, and it would be oh-so-satisfying to have that plot thread resolved and tied up into a pretty bow within the show's runtime, without it taking focus away from the other, more important themes going on in the show.

And how do the writers do it? Nozue accepts a promotion as the head of another, newly-created department that will also relocate him to a different building. But his decision to move on to a different role is not motivated by the workplace rules, AT ALL. It is beautifully tied into how Nozue *wants* new experiences in his life now, thanks to Togawa.

The HR violation is a tertiary, almost nit-picky problem when compared to the major themes and character arc developments in the show. But it was not ignored and it was resolved exactly how it should be: as a happy coincidence that came with the closure of the main character's arc. So beautifully seamless that I want to cry.

I was rambling about this show to @waitmyturtles and she pointed out that the show's strong writing was certainly helped by the brilliant manga it was adapted from, created by Sagan Sagan. And now I'm very intrigued and might check out the manga (but in the far-off future, I am drowning in my drama watchlist atm lol). Also -- big shoutout to the screenwriter Miyamoto Takeshi. I know Japan is a pro in adapting from print/digital media to TV/movies, but to do it with such a grace? Ooooooof, all the flowers.

I highly doubt that my brainrot for this show ends here and I bet I will go on multiple OFC ramble sprees in the future. Until then, enjoy the resident OFC hamster who has no business being this fucking adorable and sexy.

gif by @bubblegeon

[aspoonofsugar]

do you have a favourite RWBY arc?

Hello anon!

Do you mean story-arc or character arc? I am just gonna go with character arcs because I feel like it :) Here is my list. It combines my personal taste with those I think are best written.

1- Penny Polendina

Penny's arc is the best complete one in the series so far. It is thightly written and very powerful. Her final choice does what every character arc's climax should do: it ties togetyher all the thematic threads explored by Penny's arc in one incredibly meaningful moment. In the end, Penny chooses to be a friend, shows she is an adult and affirms her own humanity. Her choice is meant to be tragic and bittersweet because humanity can be both. Still, it is definately worth it.

1 - Cinder Fall

Cinder's arc isn't complete, but there is already enough for her to get first place together with Penny. Midnight is the best written episode of the series in my opinion and it manages to tie together all the pieces of foreshadowing and subtext present in Cinder's story up until that point. It is also a pivotal point in Cinder's story, where she has to make a choice. Will she recognize she is still a prisoner of abuse or will she ignore this truth? She chooses to repress and fails to develop positively. As a result, she has prepared her own tragedy.

Cinder's story is key to the whole series and it has the potential to end up above all the other arcs, if well executed.

3 - Weiss Schnee and Yang Xiaolong

Ice Girl and Fire Girl are tied for third place! (together with Jaune)

Weiss's arc has a very strong set-up and beginning. She gets a lot of focus at Beacon and quickly develops. After such a solid start her development can take the time to happen slowly, so that we can see how she has silently and beautifully evolved throughout the volumes. She is now warmer, kinder and happier than ever. Points for her having some of my favourite motifs.

Yang's arc is kind of the opposite, in my opinion. She gets the least focus among the 4 main girls in Vale. Still, the moment her arc decides to roll, it gets central stage. Her focus in Mistral is wonderful and her development is beautifully conveyed in volume 5 and volume 6 climaxes. Her confrontation with Raven is especially one of the best scenes of the series.

3 - Jaune D'Arc

Jaune's arc is one of the best executed both in terms of pacing and evolution of the character. If he keeps going this way, he might climb to first place tbh.

6 - Ruby Rose

I am expecting her to climb higher. Her focus in volume 9 was great and a beautiful first step in her development. The choice to mask her LRRH's story behind Alice in Wonderland references was wonderful and brilliantly executed. I think the ending could have been conveyed more powerfully, but the final result is still great. I am looking forward to how her arc will continue!

7 - Blake Belladonna and Oscar Pine

Blake's arc is beautiful and it ties together many thematic threads. Maybe a little bit too much, which is why it is below the other main characters. She is still wonderful though! And the more one analyzes her story, the more gems are found!

Oscar is one of the best written characters in my opinion, as his story is thight and perfectly intertwined with the main plot. Still, I think it has still to enter its climax, hence why he is only 7th place. Totally expecting him to climb higher, though.

9 - Emerald Sustrai

Emerald's arc has still to climax, but I like her set-up a lot and she is slowly going through a beautiful inner growth. There is already enough meet and actual development for her to just make the top 10 :P

9 - Pyrrha Nikos and James Ironwood

Both have masterfully written arcs and in terms of writing they could be higher. Still, I am less involved in their stories compared to others. In any case, they are two perfectly executed examples of tragedies. And different kinds of tragedies, as well.

Pyrrha's tragedy lies in the world around her. Ironwood's tragedy lies within himself.

11 - Lie Ren and Qrow Branwen

Both Ren and Qrow have beautiful arcs, but I am less involved with them when compared to others. So, here they are.

I would highlight this list doesn't consider characters like Salem, Nora, Raven, Summer or Mercury because even if set-up, their arcs still need to properly happen on-screen. Among them, though, I would say that Raven and Mercury especially have wonderful set-ups.

Raven's characterization and focus in volume 5 makes her one of the best written characters tbh. She is despicable, flawed, a coward and a hypocrite. And this is precisely why she is so great. She is very human and layered. It is clear she cares about Yang. Still, it is also clear she is too selfish and scared to act on her feelings. The way the narrative peels away her powerful mask to reveal a weak soul behind it is great. As it is the challenge for her to overcome her fear and make amends.

Mercury has so far one of the best set-up arc. His writing has been extremely thight and almost every scene he is in gives additioinal information on him, his background, his bonds with others and his feelings. All in a very subtle way. Basically, his writing is very rich and we can infer a lot, despite his arc having yet to start. He is the embodyment of the cycle of abuse and I am curious to see how this concept gets explored.

Finally, shout outs to Neo and Ilia. Their arcs aren't as complex or long and have less bits than the main characters'. Still, they are thight and perfectly executed.

Thank you for the ask!

[the-egg]

hey how's it going? :) I'd like you to headcanons a humorous female reader who uses a lot of irony and jokes, with Miguel having to deal with her, in a development of a novel. I love her work ❤️ -- @bellaisa2507

-----------------

I’m a little confused on the “development of a novel” part but I’ll try my best!

Word Count: 850

Tags: Implied smut, really bad jokes

-----------------

To love someone like you, one has to make some sacrifices. Miguel was willing to make the sacrifice of listening to your corny jokes for the sake of receiving your love <3

You were like Lyla, except you weren’t an AI tied to Miguel. Witty humor and a smart mouth

You would like to be tied to Miguel tho if you know what I mean ;)

When he first met you to recruit you, he had half the mind to leave you in your dimension without a gizmo and ban you from ever joining the Spider Society

It wasn’t like you were bad at your job; you were a great Spider-Woman and handled your first anomaly so beautifully. By the time Miguel came, all he had to do was pick up the anomaly and head back

No no no instead you decided to use the worst pick-up lines someone could ever hear in their life

"Hey, are you from another dimension?"

"What do you—? Yes, I just said that. Were you not listening—"

"Because you’re out of this world!"

You dropped a few more jokes before Miguel left your dimension

Lyla had to convince him to come back

As an official member of the Spider Society, you became someone who was a light in every room you walked in

You always had a way to bring a smile to someone’s face, either intentionally or unintentionally, including Miguel's, but he wouldn’t be caught saying that

After a few months of working with him, he would keep you around him as one of his right hands

Not only were you a strong and clever fighter, but you had a way to calm him down with your humor

Being the head of the Spider Society was stressful in itself, not to mention the added stress of fixing holes in the multiverse, so having you there to crack jokes helped calm him down

Again, he thought of you as someone very similar to Lyla, except he couldn’t see right through you, he could hang out with you, fight along side you, touch you...

Needless to say, being Miguel’s personal anti-depressant made him fall for you

His heart would soften every time you came into a room, and he would crack a smile at every one of your horrible jokes

You made him kinder, softer—only to you though

While you had already liked him since day one, when he tried cracking a joke back at you, your heart swooned

The only jokes he knows how to make are dad jokes though which made it 100 times better

You went to Miguel’s office platform after a mission to destress with your favorite person. Of course, Miguel was stressed out at his desk as usual, staring intently at the screens. Luckily, you were there to break him out of that mindset.

"It sucks that we’re on a time crunch on missions. My last mission happened at an ice cream parlor, but unfortunately, I had to split right after. Get it? Get it?! Split! Like banana split!" You stared at Miguel as he cracked a small smile; his eyes were still glued to the screen. "Miguel, I’m saying we should go get ice cream."

He let out a small chuckle at your blunt attempt to ask him out for the umpteenth time.

"Hey, do you know if Spider-Cat was in my office today?" Miguel asked as he finally turned his head to look at you. You cocked your head to the side, and your brows furrowed.

"No, why?"

"Because I can’t find my mouse."

You could practically hear the comical ba-dum-tis of the drums after his joke. A smile bloomed on your face as you lightly punched his shoulder.

"You are so corny!"

"You’ve used that one on me before!"

One day he would finally say yes to one of your many attempts at asking him out through silly jokes, which would make your brain completely malfunction

After getting to know him and his devastating character backstory, you were under the impression that he wouldn’t be willing to commit to a relationship of any kind

But after breaking down his walls little by little, you brought a humor to his life he was willing to open his heart to

When you guys start dating, he picks it up with the flirty comments

Some were jokes while others were steamy

"Spider-Woman, we need back up over here!" Miguel yelled through the watch as he and Peter struggled to weaken the anomaly of the week.

"I’ll be over in a second! I’ve almost nailed this villain!" you responded through the watch as you nearly captured the other anomaly about a block down from Miguel and Peter.

"If you’re not over here now, I’ll do more than nail you to the ground when we get back to HQ!"

You have never swung over faster in your life.

But seriously, he loves you so much

You are his sunshine!

He has never smiled so much since losing his daughter, and he hopes to continue smiling with you till the end of time <3

[robotlesbianjavert]

10 fav things about spinner + 10 fav things about shigaraki

this is like asking me to describe my favourite things about the gentle warmth of the sun on my skin on a cloudless day at a beautiful lake that is good and fun to swim in. how can i put words to how perfect something like that is.

TOP TEN THINGS ABOUT SPINNER.

gay little hench fella. most important character trait always.

the bravado and bluster he gets introduced with being a cover for his deep-seated insecurities and internal struggles...

...his claims of high-minded idealism and lofty goals when his true wants are so simple (HOMOSEXUAL LOVE) (and to matter in some way i guess.) (mostly love. though.)

i know he is an annoying backseat gamer. i have said this before but it's so charming to me.

how surprisingly well his character development elevates the Themes & Motifs around how important human connections are for the ostracized. and he doesn't have to be annoying about it.

the charming little touches of characterization. him shrieking GRAND THEFT AUTO as a battle cry in 160, when he has to move his headband tail out of his eyes when trying to deliver a speech to toga. they make him feel so that much more real.

he's so poetic. he should be a writer. that warped, crumbling horizon...i'd never seen anything prettier GOD i know he was writing angsty poetry.

as someone who usually prefers secondary/side character to the mains, he is like. such a great example of a side character done right. he's like commentary on the nature of being a side character (monoma is another example of this in the manga), of the interplay between dehumanization/discrimination (Shoji Arc DNI) and crime, of connection with others and how they inspire us pushing us, etc etc etc. lots of the fun themes.

he is so sincere. so crazy sincere, once you have his love, he is so sincere. and so determined. he has the soul of the troubled outsider type of shonen hero who has to become stronger through the strength of his bonds. but also the energy of that shonen hero's love interest. all trapped in the body of a secondary character. he is so amazing.

when his face is drawn so small and cute and squishy like you can eat it :3

TOP TEN THINGS ABOUT SHIGARAKI

the reason i read bnha in the first place was because i stumbled upon the leaks of chapter 222 with the tortured flashes of shigaraki's past when i was discourse diving for fun. and then looking at that chapter in full, the way that shigaraki delivered what he remembered of his backstory, the Insane Tragedy of it all. well how could i not love him.

when he wants to murder highschool students. who wouldn't!

i love his physicality, the way his body language is portrayed - like he's generally pretty loose and slumped (especially early on), but he's also very purposeful? it's something that i think horikoshi generally excels with in art, but shigaraki just takes the cake.

for that matter his whole character design is perfection. early on with all the hands was such a unique and creepy look that tied in beautifully to his backstory and also Themes & Motifs. and even when he loses most of the hands, his face is so <3 with all the eyebags and scratches and wrinkles. he's also the character whose appearance has changed the most, in a way that goes hand in hand with his character development.

when he gets pissed off when he first starts trying to recruit people so he goes to the mall. to angst publicly. he wore a hoodie <3

he's a character that's really easy to reduce down to his victimhood and trauma - and lots of people sure do that! - and his victimhood and trauma are essential parts of his character, but even with the dumbass possession arc shigaraki never loses sight of who he is and what he wants, even beyond AFO's influence. it's also really easy to make him Just a villain, a straightforward villain who cares for nothing and no one. but he does care about things, he cares about the league! he does it all.

much like spinner and in fact more than spinner, he has The Most shonen hero energy despite being thee villain. and he's so cool about it. he even gets a love interest.

petty misanthropic bitch but as soon as you know you're place he's chill. this is how shigaraki/resdestro is real.

chapter 379. everything about it but also how he called nagant a flip-flopping screw up. i'm ignoring how he said the same about my friend gentle criminal.

his smile :)

i feel like both these lists do not do enough to really encapsulate why i love them. but one must try.

[osatokun]

Is there anything you want to tell us about Charlie that you didn't get to develop yet? 👀

That's a hard one! I don't think there are things I didn't tell, but totally things I didn't draw! First of all I want to draw his entire flat. My dear friend designed it for me and I plan to draw it by hand sometime

I don't even know how long he's going to live here, but I'm thrilled he has his own home for the first time in 200 years. Even tho his coterie leader paid for the rent haha. I want to draw much more pictures of the whole family in this flat, doing regular and not so regular things ( like idk, summoning ghosts (they did it)) I want to draw more of the times before Glinda,but I just can't get enough of her..She is a pure perfection, our Dm is a wizard ! For example, Charlie traveled with Wicca witch and her student for 2 and a half moths.And slept under her bed haha. She herself is a dhampir, a very sweet and calm character. In the world of very serious vampires he needed someone who keeps that spark of wonder and a desire for adventures. They never had any romantic relationship (the hot threesome was purely for the ritual *cough*) but first in many years he felt so calm, like if he was a part of a family. Witch's student later on became a student of Garry Dresden ( because our ST loves him very much as do I, so he made this lil cameo).

I totally want to explore more the changelings of our game. For example we had a wonderful, beautifully described woods in Umbra, near Arcadia. Charlie went here on almost suicidal mission with witch's student, to get an ingredient to heal Gilnda and Monica. He sang to the trees asking them to let them through haha (it was a super scary session) And I want to draw local changeling's freehold, on a chemistry. And ofcourse more changelings that we met ( a changeling king, chimeras, pookas, eshu..ah..) Surprisingly for me, I got VERY into that part of our game and thanks for our ST he gave me plenty food for future drawings! I want to draw more pictures with Folly, the demon who Charlie let out of his prison and made a contract with. He is insanely (ha!) cruel but devilishly charismatic entity. Little by little he is trying to take charlie's soul,what's left of human in him. But only when he's in the mood, he has a lot of other stuff to do, he is a busy demon. I want to draw Adzone, demon's jailer and the oldest vampire of the city, in his changeling plane outfit. Black plate armor with the cloak made of chains ended with hooks, a little dead body on the each hook. And a broken tower symbol on his chest. Adzone is the one who always helped changelings and keeps contact with them. (look at him he is so sexy haha)

I want to draw more pictures of Johnny, Charlie's friend and another malkavian of the city. I love him so much I made a similar character to play in another game >W<

Speaking of demons.. I want to draw an angel of our game. Yes, a real angel that keeps and old gangrel, Enkidu, prisoned, shopping his head off every day, every night. The place Enkidu trapped in is in the deep Umbra. But every time gangrels falls asleep they see a "dream" of that place. Enkidu lures them in, as an astral projections I suppose. Demon was there. So do Charlie.And Monica..again, so many wonderful, scary visons!! I already have a face claim for that angel just didn't draw them yet.. As for Gangrels, they had they embrace night described, showed in that dreams. Again, it was very inspiring and I hope to draw some of them someday. For now I even barely drew gangrels at all when there are SO MANY and the main plot of the game is tied with them. I..didn't even draw Enkidu, a fucking super duper old vampire who is (partially) here since second arc! See, I was so hyperfixated on Charlie's "save the princess, save the queen" quest i didn't even tell much about main theme of the game!! To see more gangrels of our game please check out @fj0rge ! and there are so so so much more! Salubri that once saved Charlie in 1910th, when he and his sires jumped into apocalypse. Apocalypses. His sires. His human family. His time in Cairo before he died.I want to redraw the pictures of when he killed a priest, because I find it an important part of the character, that feel of justice. I want to draw fomori we fought. I want to draw bug shaped werewolf that now our ally. I want to properly draw the horny Wicca ritual it was COOL. I want to draw the story of when Charlie killed his first human lover/his ghoul.. oh there is so many you have to stop me haha my brain never stops

closest to be drawn- Glinda riding her chimera and circled by ghosts and changeling freehold

[eurydicees]

Random ask, who are your top 5 (or top 3) fav characters from Haikyuu? And why do you love them? Also, what are your top 5 fav moments from the series? Thanks if you want to answer....

oh i would LOVE to answer !!! sorry it took so long to get to this!! this was sooooo hard to do. it's not in any particular order because i can't bring myself to do a favorites list like that, as i have so much love in my body to give to the world and also haikyuu specifically. under the cut because this got long!! there ARE manga spoilers in this post!!!

top 5 characters

oikawa

yeah we all say this one coming let's be honest with ourselves here. his growth as a person genuinely makes me crazy. he's so well developed and he's truly such a fascinating character. his arc is beautifully tied in with the MCs and beautifully ended. the way it all ties together and comes together with him at the end...chef's kiss. i have a whole theory about the way it all comes back to oikawa that i have ranted about on discord but i have not posted it...oops.

bokuto

my beloved............he means so much to me. he's so special in my heart. adhd representation fr. he's so much smarter and has so much more depth than people give him credit for--which drives me crazy and i hate it--and he genuinely has such an impact on the narrative that doesn't get appreciated enough. i love him so much.

atsumu

i really don't know how to put this into words but i'm so obsessed with him. he's so important to me. it's smth about the drive and hunger to get better at what you love, the absurd confidence in yourself that is earned rather than a facade, the way he never sees another option but putting all of your heart into what you love and want to do....he means everything to me.

akaashi

i don't know if this one will come as a surprise to people, but he's fr one of my favorite characters. he's so interesting. his mindset is really interesting and i absolutely loved seeing him in the fukurodani v mujinazaka game--it's about how he recovers, how he learns to keep trying as best he can no matter if he's worth it or not or strong enough or not, how deeply he loves his team and how deeply they love him, how he learns to love them rather than try to control them. it's just like. you and those you love being the most important people in the world, the protagonist of your own story and life, but also not being afraid of losing. not being afraid of trying, even if it means you may fail. give me your 120%. i know you can. man. i don't even know. he makes me crazy.

kenma

oh man. his journey and arc makes me...i don't even know. it means so much to me. the promise to make him say something was fun or frustrating--then nekoma's loss, and him saying it was fun anyways. oh my god. crying about it tbh. his development as a character: not particularly remarkable at first sight, but cunning and smart underneath what he looks like, learning to put every piece of himself into a game, learning to have fun while playing even if he loses. man. yeah. kenma.

top 5 moments

tanaka's mediocre me monologue (chp 263)

aaaaaaaa. this idea that you may be mediocre but that doesn't mean you can't risk it all and push yourself further and be the best. it's the whole POINT of haikyuu. don't limit yourself because of your insecurities or because someone tells you that you can't do something. you don't have time to waste by giving up or doubting yourself, because there's so much you can do. this is the moment that solidified tanaka's character for me; i hadn't super loved him before this moment and then i got to this and went. oh. yeah. ok. that's really good actually.

nekoma's loss to karasuno (chp 324)

oh my god. this makes me crazy. i don't even have words for it. don't make me think about it. i'mc rying.

kiryuu's monologue (chp 334)

it's just. the idea of this top 3 ace who doesn't have enough confidence to believe in himself learning to "channel your inner narcissist." AND ITS BOKUTO WHO INSPIRES IT. CRYING. and like just this idea that well, you may not have confidence in yourself, but other people believe in you and you believe in them, so don't let them down by talking down to yourself. and like..."it takes everything i have to keep up with this man, it takes everything i have to play volleyball" and playing anyways...i'm biting things .

oikawa's volleyball is fun moment (chp 373)

oh my god ok. this moment means everything to me. it's about the burn out it's about the passion it's about the rediscovery it's about the fun it's about the love it's actually the point of everything it's what matters it's one of the best chapters in the manga, one of the best pieces of development for oikawa, one of the best pieces of development for hinata, i'm going crazy i'm so insane about this moment . i actually cried reading this for the first time. tears streaming down my face. i have a more in depth post about this moment here!!! but like genuinely as someone who experiences artistic burnout so easily and so often, the reminder that what you love is fun is so important to me. easily one of my favorite moments in any piece of writing ever.

the ending (chp 402)

i'm not gonna include the whole monologue but it makes me fuckign wild. i just. yeah. yeah. yeah. haikyuu. it means so much to me.

honorable mentions for top moments:

"if i'm here, you're invincible" don't touch me i'm crying

NISHINOYA FOOT RECIEVE

yamaguchi's failed serve and the way karasuno recovers & yamaguchi's six points & tsukki and yamaguchi's serve and block panel with the shield and spear. going insane.

"when oikawa is backed into a corner, he'll set to iwaizumi" i'm actually crawling up the walls about this

the last point in the second aoba johsai game. enough said.

tsukki's Moment TM . you all know exactly which one i'm talking about.

kenma calling yamamoto tora

"volleyball is a sport where you're always looking up".......garbled screaming at this

HINATA PERFECT RECEIVE

tsukki's "if i could stuff this now i'm sure everyone would go crazy, but i can't, so...you better be there hinata" !!!!!!!!!!!!!!!!!!!

the last inarizaki point. the reflection in kita's eyes. the flashes of we don't need the memories. this angle, this position, it's perfect. the parallels to the last aoba johsai point. speed isn't invincible...those two understood that a little better than everyone else. oh my god. shaking.

can you tell that my favorite game is the inarizaki one. because really i should just say my favorite moment is that entire game.

kenma's "it hurts. it's painful. i don't ever want this to end." & "don't give up on me now hinata"

the kenhina knife fight. oh my god. i feel deranged with the way i talk about this panel.

"someone even better will find you" oh my god kageyama my sweetheart

[a-rum-of-ones-own]

You’re one of my favorite authors in the fandom and I love how many different ships and characters you’ve created for us. Thank you!

Most of your stories are heavily character focused and I’d love to know your approach and tips for writing this way. How you develop characters so beautifully?

Thank you SO much! I'm always so glad when people like my character writing. It's why I really enjoy writing fanfic - with fanfic, the characters are what's drawing people in, so you just get to indulge in all these meandering explorations that could never fly in original work.

Honestly, the best tip for writing characters I ever got was to keep in mind that they're characters, not people. To read as 'real', they have to interact with their constructed worlds in ways that aren't necessarily like how actual, real people do it.

Almost everything I write (including the little bits of original work I dabble in) is centred around one or two overarching themes. Like, Cosmology is very much about forgiveness and isolation and The Ghosts of Familial HistoryTM, Books of the Netherworld is about facing all your great, unknown potentials (for love, for violence) and seeing that they won't cause the world (or yourself) to go full-on Egyptian 'trial of the dead' on you and devour you for your sins. Méduse is about pride and its limits, adulthood, and the sacrifices you make for those you recognise as 'yours', Tromp as Writ is about womanhood and power and all that.

I think that in the end, for your characters to seem coherent and believable in the world you're creating, they have to fit in with these themes and motifs in ways real people obviously seldom do. That's why the Draco in Cosmology notices so many details about the Manor, Andromeda's cottage, or other houses - houses are metaphorical for histories and families in that work, and he's obviously interacting with family history throughout the entire story. Fleur in Méduse had to have a friendship with an older adult (I actually considered making her buddies with Minerva for a bit before I settled on Mad-Eye) for that theme of 'who's in adult, who's a child, and who is an adult/child in relation to whom' to work. And obviously, all these things are maybe not 100% fully realistic to real people - few people are that into houses, or have as thematically appropriate jobs as the Hermione in Books of the Netherworld - but I always feel like that's what makes the characters seem 'of their world', which makes them feel more realistic even (and especially) if that world is fantastical. I just always try to make the character interact with a main motif in some way throughout every important scene, and if I notice that a scene is devoid of interaction with the motif, I ask myself whether and why I feel like that needs to be in the story, and how it can be rewritten.

Also, I'm a firm believer in that characters should keep some secrets from the reader. At their most minimalistic, you really only need to give them a personality, and use that personality as a means of relating to the themes of the story - the reader can flesh out from there. One of my personal favourite little people I've ever written is the Mad-Eye in Méduse, and he's really just such a rough sketch. You just get these glimpses into him: That 'you're all so fucking young'-line at the table with Fleur, him taking a curse for Tonks, his horror at his birthday, him calling Fleur/Tonks/Bill/etc 'the youngsters' , him having been the one to debrief Andromeda after she ran off and obviously having some kind of relationship to Tonks' parents.... And it all ties in with that motif of adulthood and the sacrifices adulthood demands, so of course, he has to die in the end, because he is that motif. But beyond the motif, we know almost nothing, and we kind of just don't need to - anything more would just detract from his position in the world of that particular story.

Anyway, I could ramble about this all day, because I'm a sucker for thematically stringent, but otherwise meandering writing- I hope it helps somewhat!

[lemmingsunday]

Okay, so most of you wanted this. Here is the in depth analysis of how the bright eyes scene in watership down 1978 manages to evoke so many emotions.

(Under the cut)

So this analysis is mostly practice to improve my grade in english, so dont expect anything good.

So the scene starts out with hazels "death". I think the reason so many people thought he was dead to start with is because of how richard adams presents death within the book and by extension the film. In all cases of death in watership down, it is sudden. It starts off with violet in the cornfield, and fivers short statement of "violets gone". There is no greiving for her, no remembrance. The group keeps moving on. The same is with hollys memory of the warren, the rabbit whos throat is ripped out by woundwort (i think he was blackavar, but i cant be sure) and eventually hazel himself at the end of the film. The exception to this pattern is bigwig when he was caught in the snare, but he wasnt dead, and that scene wasnt as such a deception, but a way to keep the stakes high and further illustrate the corruption of man and the land. Hazels false death follows the trend of swift sudden death (and i could talk for hours about how this is to reflect the true fate of many animals and how the 2018 remake just couldnt capture that, but i cant rn), and so because the viewer already associates this with final death, they think hazel is gone (also causing a shit ton of childhood trauma but anyway). Another reason the death feels genuine is because the film isnt afraid to kill off characters (violet, the warren ect) while other films are, and so this already deviates from status quo.

Anyway, ramble over, on to the actual scene. So we have all these emotions and shock built up from this moment. Fiver (the moral heart of the story) is in shock. He doesnt believe it, hes in denial and begins to look for his brother. Then the animation begins to shift. It gently flows into that sort of abstract, pale style of fivers visions, the first hint to hazels life, and the first section of bright eyes starts to play. Now there is hope. This is different to every other framing of death, and is so beautiful/heartbreaking. Then the lyrics kick in. This really cements this scenes deviation from the tone of the film (but not in an way that feels out of place) and the viewer gets hope. If you really listen, the lyrics "how could a light that burned so brightly suddenly burn so pale" and "down the river of death" allude to hazels death, however this is juxtaposed to the imagery of fiver chasing the black rabbit/vision of hazel (they both appear at times). Both of these things represent the conflicting emotions within the viewer, and just fit in really beautifully, while showing that it isnt hazels time. The other rabbits dont get this, they dont get death leading a rescuer to them.The scene flits between fiver searching for hazel and younger, simpler version of the pair playing together, which reminds the audience that the two are indeed brothers and have the closest friendship in the group, which further adds to the pile of emotions going on and just ties everything together perfectly.

Forgot to add, but the fact that this song has lyrics is another deviation. Sorry for missing that and not having time to develope it.

Anyway, the ending. The music dies down and fiver approaches the farm. He rounds on to the pipe and we hear this deep, echoing heartbeat. Hazel is alive. I cant express just how perfect this ending is for that scene. There is just nothing to add. We dont need to see hazel or hear fiver say "hazels alive!" It is the perfect example of show not tell. The remake could only dream of being that good. The impact of that ending is just too good and satisfies the audience, while also keeping that sense of suspense and apprehension.

Thats going to be it, since i have to eat now, but i hope this satisfied the people who wanted this, especially you @kazbrekkerfast

Bye