#and rues scene as. directly intended to be like coming out

[queenangst]

oh god you guys i was putting away the dishes and then i just. started crying over how validating and wonderful d20 and acofaf is as a queer person. while i was just like. putting forks into drawers and stuff

[blxetsi]

modern sasha braus dating headcanons

lowercase intended !

college!sasha braus x gn!reader

had to write something for my queen 😌✨

- she shares her food with you. I Dont Care She Does

- also since this is a modern au i dont think she would have such an obsession with food as she does in the canonverse (if we can even call it an obsession) i still think she would have a big appetite (and she'd be proud of it tf 😏🙏) but i just dont see her always being hungry as the fandom makes her out to be

- really likes to hold hands with you

- i think itd be really cute if she was studying to become a baker ?? maybe taking a culinary course at the university you two attend ?? maybe you somehow met there or through a friend

- i think she'd still be insecure about her accent (ig if this is au is set in america she'd be from the south 😐🤚) and would speak kind of like a robot to people she didn't know that well

- connie and jean ALWAYS bring out her accent tho,, like with them she can really be herself

- i think when you were starting to get to know her she would be speaking very formally, and youd take it like shes being kinda stand offish or like,, just doesnt wanna talk so youre thinking "okay maybe she doesnt wanna be friends 😁👍" and would back off

- now sasha's upset because you are so cool and unique and she just wants to know so much about you but youve been very distant lately ?? like did she do something wrong ??

- she tells connie, jean, marco, and niccolo one night and connie and jean are on the side of "find y/n and demand to know why their behavior has changed" while marco and niccolo are on the side of "respectfully dm y/n and ask why they havent been wanting to see sasha recently"

- sasha goes with the latter of the two and dms you after passing you in the dining hall, you two literally keep glancing at each other, texting while you sit with your respective friend groups

- after everything gets cleared up sasha is immediately inviting you to hang out with her crew, and even getting some of her other friends like eren, mikasa, and ymir and historia to come join too

- if she has all the people shes comfortable with there, itll be less scary talking with her accent !

- You Love It. You Think Its Adorable.

- you guys would definitely have a friends to lovers type relationship

- like friendly hugs turn into slightly longer hugs, and now sasha will constantly ask to sit next to you during movie nights

- loves to rest her head on your lap while she spreads across the couch

- i think you two would have your first kiss in niccolos apartment

- you two were sitting in his kitchen, with sasha munching on the leftover food he made that night for your get together

- his mom had called him so he decided to leave to go to his bedroom to answer it

- and slowly you guys just kind of,,,, leaned in 🙈✨

- it was slow and really romantic, kinda rough with the crumbs that were around sasha's lips but you didn't mind

- niccolo barged in and ruined the moment 😐🤚 good going pal 😁👍

- you two were so shocked that you two tried to leave

- ended up just walking down the road in silence like wtf i thought yall were trying to get away from each other 😭😭😭😭

- sasha ended up staying the night 🤩‼️

- NOT in a sexual way

- but in like a,,,, rue and jules kinda way where jules comes in through the window (but only sasha didnt come in through the window she came in the front door with you) and you two held each other and gave each other smooches for the rest of the night

- sasha woke up late and missed her morning classes 😐🤚 didnt even care and went back to sleep with you

- i think for the most part you get along well with her friend group

- youre definitely closer to connie, jean, niccolo, marco, and historia

- ymir teases you guys a lot and you cant tell if what she says is just jokes (it always is) or if shes completely serious

- eren, mikasa, armin, annie, along with reiner and bertholdt are more of aquantances to you, just because you dont see them as often as you do the others

- she has such a weird relationship with her english professor

- will literally complain how much work he gives his class and then the next day will gush about how great he his bc he gave her a granola bar for her effort in her assignment

- girl pick a script and stick to it 😐🤚

- has a collection of stuffies on her bed. i dont make the rules.

- anytime theres a carnival in town she drags EVERYONE there.

- you all agree to split up into groups so you can all check out what you want, but you always agree to meet up and eat funnel cake together 🥺

- sasha tries to get you to win her new stuffies

- if you cant do it, or just want some for yourself, shes calling connie and niccolo up PLEADING with them to come find you guys,

- then she claims theres been an ACCIDENT and that you two need help

- niccolo is zooming bc he cares abt his besties 😌✨

- connie texts jean and marco to come find you guys too 😭😭😭

- who gets a kick and a lecture for lying courtesy of niccolo ? sasha. but who also gets a bunch of stuffies won for her courtesy of niccolo ? sasha.

- for your anniversary i think she'd want to do something really fun with you

- she'd set up a pillow fort and have a bunch ot string lights and stuff, have all of her favourite stuffies (which are the ones she thinks of you when she sees) in there too.

- she has chips, she baked little pastries and cookies, and she ordered your favourite takeout

- you guys just watch whatever you want on netflix or whatever and its such a nice night

- it becomes a tradition for you guys, but you two always take turns with setup

- one year sasha did all of the planning, baking and whatnot ? okay now its your turn 😁👍

- you guys even started doing themes now 🤩

- if you guys play board games with your friends youre on sasha's side whether you want to be or not.

- shes also the kind of person that says "i can win fair and square !" but then when bertholdt starts kicking her ass in monopoly her script changes real quick 🙄

- now its "y/n,,, give me some of ur money" and "y/n, buy this property for me" like girl,,,, what happened to playing fair 😍⁉️

- will try and do all of those s/o pranks you see on tiktok

- its hard to get a genuine reaction out of you bc you can TELL SHES RECORDING but she tries anyways

- we love a perservering queen 😌✨

- will call you at random times of the day asking if you guys can see each other

- "y/n ??? are you there ??" "sasha its 2am wtf do you want 😐" "do you wanna ride your bike with me down to the park 🥺"

- also is very observant, knows when youre overworking yourself

- will try and pull you away from what youre working on like "lets go get you something to drink, or maybe we can watch an episode of that show you like before you continue working !"

- if youre persistent that you just HAVE to finish it tonight and cant stop and take a break she'll respect that, until you stay at your laptop for over an hour 😐

- just softly pulls you away like "no lovebug, lets get some sleep okay ?"

- is also very protective of you

- overheard someone making fun of you ?? talking shit ??? her besties better hold her back before she gets suspended 😤‼️

- and since connie and jean absolutely ADORE you, you better believe theyre helping their girl sasha out

- those three are the LEADERS of the "protect y/n club"

- it just becomes niccolo and marco trying to dissolve the situation before it gets physical, and then reiner and armin joining when they walk directly into the chaos

- armin tells you what happened and as much as youre thankful that sasha cares about you so much that she'd defend you like that, you lecture her, jean and connie on not making scenes like that again

- sasha's love language is kind of like,, a mixture of quality time and physical touch

- she just really loves spending time with you, but also very much enjoys being in your arms

- she doesnt shy away from it, and is usually the one to initiate those things

- will hold your hand PROUDLY down hallways or on streets

- always hypes you up too, shes very much so your personal hypeman

- "oh lovebug you look SO GOOD rn oh my god" "sasha pls im in my pyjamas" "and you look like a model baby !"

- sasha is very stubborn however, and if you guys ever fight she is NEVER the one to apologize first, or seek you out to talk about it

- even if shes in the wrong she cant bring herself to admit it, she dug herself into such a deep hole with the stance she took that she doesnt want to take the walk of shame in admitting that she wasnt right

- this can cause a lot of problems in your relationship, but after you explain how much it affects you, shes trying to change

- will always work on her stubborn-ness and pride

- and it actually makes her feel a lot better being able to admit defeat, or being wrong

- she really likes being communicative and honest, especially with you

- i think overall your relationship with sasha is very very fun, filled with good memories, good food, good friends, and most importantly, love.

no bc i really do love her 😐🤚 lemme marry miss braus rq 😏✨

hope u guys enjoyed !! remember requests are open so if you have anything youd like me to write DONT BE SHY ❤️‼️

[miserablesme]

The Les Miserables Changelog Part 2: 1985-1986 West End

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. Today, we look at the differences between the later of the two available Barbican preview audios (more on that in Part 1) and the West End variant of the musical as it existed in 1986. Only one rather poor quality audio is available of the show's pre-Broadway, post-Barbican form (though a friend of a friend has multiple masters from the era that she apparently keeps meaning to digitize). It is known to come from 1986, but the exact date remains a mystery. As such we cannot know when exactly most of the changes might have been made.

Reportedly (according to The Complete Book of Les Miserables) the majority of these refinements were made between the closing of the Barbican show and the opening of the West End one. However, some further refinements were doubtless made during the Barbican previews, and some likely were made between the opening of the West End production and whenever the audio was recorded. With all that cleared up, let's get started!

As I mentioned in Part 1, the very early Barbican previews of the opening "Work Song" featured this chain of lyrics (no pun intended):

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I killed a man

He tried to steal my wife

Look down, look down

She wasn’t worth your life

I know she’ll wait

I know that she’ll be true

Look down, look down

She’s long forgotten you

As has also been established, later previews removed one sequence of lines to create the following exchange:

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I killed a man

He tried to steal my wife

Look down, look down

She wasn’t worth your life

However, by 1986 another sequence was removed and the originally removed one was added back then. Thus, the still-current lyrics as of today are as follows:

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I know she’ll wait

I know that she’ll be true

Look down, look down

She’s long forgotten you

A much better choice of cuts in my opinion. The point of the opening scene is to present the prisoners sympathetically, as comparatively innocent victims of an overly brutal and elitist police system. Establishing a member of the chain gang as literally being a murderer doesn't really help send that message!

Everything stays the same until "Fantine's Arrest". The Barbican previews feature this sequence:

(FANTINE)

There's a child who sorely needs me

Please monsieur, she's but that high

Holy God! Is there no mercy?

If I go to jail she'll die

(TOWNSPEOPLE[?])

Take this harlot now this minute

Let there be a full report

Let her go back in the morning

Let her answer to the court

(FANTINE)

Gentle Jesus! Won't you save me?

Are there tears enough to cry?

(JAVERT)

It's the same pathetic story

Please monsieur, my child will die!

I have heard such protestations...

By the 1986 recording, everything between "Take this harlot" and "Please monsieur, my child will die!" has been totally removed. I have a bit of a soft spot for that sequence, though I can't earnestly say the musical lost anything by removing it. Indeed Javert comes across as unbelievably heartless there!

As Part 1 pointed out, the earlier Barbican preview had Valjean shout "You know where to find me!" at the end of "Who Am I?", while the later preview did not. The 1986 recording interestingly reinserts that line, but now Valjean speaks it much more casually, without the slightly cheesy passion of the first recording. This makes me wonder whether or not it was initially removed because it was hard to take seriously, and a calmer rendition was reinstated as a compromise? Who knows.

A subtle change occurs at the beginning of the "Confrontation" sequence. During the Barbican previews, the number opens with a few notes being played and then repeated. However, by the 1986 recording the notes do not repeat. It goes straight into Javert's announcement (which Roger Allam has now learned to sing on time!) after the notes play the first time. The sequence would stay this way for quite awhile before being further shortened - more on that in a later edition!

We now go to the subsequent number, Little Cosette's famous "Castle on a Cloud" song. The Barbican previews give her a few lines before the main number starts (sung in a similar tune to her remarks about Mme. Thenardier's arrival at the end of the song):

They’ll come back any minute

And I’m nowhere near finished

Sweeping and scrubbing and polishing the floor

It’s the same every day, oh please!

Don’t let Madame hit me again

I should be used to it, but then

I know a place where nobody has to work too hard

And where I won’t be lonely again

These lines, taken closely from the original French concept album, don't really add much to the number plot-wise that won't be stated later except for more explicit confirmation that Mme. Thenardier is abusive. Perhaps partly for this reason, by the 1986 recording these lines are removed, and after the opening instrumentals it goes straight into the number we all know.

As I previously mentioned in Part 1, the later recording I have of the Barbican previews cut out the following lines during the preamble to Master of the House. I originally mistakenly claimed that the cuts occured after Thenardier's verse, but in actuality that verse too is removed.

(THENARDIER)

My band of soaks, my den of disollutes

My dirty jokes, my always pissed as newts

My sons of whores spend their lives in my inn

Homing pigeons homing in

They fly through my doors

And their money's good as yours

(CUSTOMERS)

Ain’t got a clue what he put into his stew

Must’ve scraped it off the street

Hell, what a wine

Châteauneuf de Turpentine

Must’ve pressed it with his feet

Landlord over here

Where’s the bloody man

One more for the road

One more slug of gin

Just one more or my old man is gonna do me in

By the 1986 recording, they are back in all their glory. Indeed, as you can read in Part 1 of this series Trevor Nunn himself has confirmed that the crew decided the number didn't work as well without the full preamble (an exception being, shockingly enough, Cameron Mackintosh).

During the Barbican previews, "Master of the House" was followed by a beautiful Well Scene between Valjean and Little Cosette:

(LITTLE COSETTE)

There is a castle on a cloud

I like to go there in my sleep

Aren’t any floors for me to sweep

(A FEW SECONDS OF INSTRUMENTALS)

(VALJEAN)

Don’t be afraid of me, my dear

Tell me your name and have no fear

How cold it grows when the sun has set

(LITTLE COSETTE)

I’m not afraid

Monsieur, my name’s Cosette

(VALJEAN)

Nor will you be afraid again

I come to take you from this place

There is a better world, you’ll see

(LITTLE COSETTE)

Give me your hand, and walk with me.

This leads into the humming duet between Valjean and Cosette. However, in what I consider the biggest mistake of this era's adjustments, the Well Scene was totally excised from the West End version and "Master of the House" is following directly by the humming duet. Trevor Nunn remarked a degree of regret about this in 1990's The Complete Book of Les Miserables. I don't have the book on hand right now, but I'll put down the exact quote later.

Of course, the Well Scene would later return in a much different form, but let's not get ahead of ourselves.

Perhaps to compensate for the deleted scene, another scene is added after the "Waltz of Treachery" number. During the Barbican previews, Valjean's "It won't take you too long to forget" is followed by a lot of vamping and eventually a reprise of Valjean and Cosette's humming duet. The West End production slightly reduces the vamping from about one minute to about forty-five seconds, and adds a scene (sung in the tune of "Castle on a Cloud", specifically the "there is a lady all in white" part at first and the main chorus for "Nor will you be afraid again" onwards):

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The normal humming duet follows. This is a fascinating scene which seems to be exclusive to the brief era after the Barbican previews but before Broadway. It's interesting how it incorporates elements both of the opening Well Scene and of the more well-known later closing scene to the "Waltz of Treachery". It's also intriguing how it incorporates elements not really touched upon this directly in any other version of the musical, specifically just how mysterious and secretive Valjean is to the world in general as well as the fact that Cosette, in fact, is not truly Cosette's given name.

Everything seems to be the same from this point until "The Attack on Rue Plumet". In the Barbican previews, this is how the opening goes:

(EPONINE)

'Parnasse, what are you doing

So far out of our patch?

(MONTPARNASSE)

This house, we're gonna do it!

Rich man, plenty of scratch

You remember he's the bloke wot got away the other day

Got a number on his chest, perhaps a fortune put away

Took off like a guilty man, why would he want to disappear?

Now we're gonna do him right, this time no one will interfere

Everything from "Took off like a guilty man" onwards is removed from the West End version. Later in the number, we hear approximately the following exchange in the Barbican show. Fans have debated what exactly some of the lyrics are, but this is how I hear them:

(CLAQUESOUS)

What a palaver, what an absolute treat

To watch a cat and his father pick a bone in the street

(THENARDIER)

Not a sound out of you

(EPONINE)

What do you care if things scare me

(THENARDIER)

Listen 'Ponine, there might be jewels inside

There could be something for all

There could be bruises enough

You will have your share

(EPONINE)

Well I told you I'd do it, I told you I'd do it

The West End production reduces the vamping prior to this scene. Additionally, everything between "What do you care" and "You will have your share" is removed, meaning the "I told you I'd do it" is a direct remark to "Not a sound out of you". This is a much more linear and succinct way of moving the plot in my humble opinion!

That's it for act one! Act two begins largely the same, up until the scene where Gavroche reveals Javert to be a traitor. First off, Javert's original claim that they will "play their games" is changed to "spoil their games".

Next is probably this version's biggest change in the entire musical up to this point. Originally Gavroche sung approximately the following lines (once again, the recordings aren't as clear as would be desirable) in a unique tune heard nowhere else in the musical:

Good evening, dear inspector, lovely evening my dear!

A charlie for a copper who pays a call

I know who you’re supposed to be, Inspector Javert

Who never showed no mercy to no one at all

So don’t believe a word, none of it will wash

This time you’re reckoned without Gavroche!

The West End version scrapped this sequence and replaced it with "Little People" (which originally appeared in a much longer form later in the musical). This is how it went:

Good evening dear inspector, lovely evening my dear

I know this man, my friends, his name's Inspector Javert

So don't believe a word he says 'cause none of it's true

It only goes to show what little people can do

And little people know, when little people fight

We may look easy picking but we've got some bite

So never kick a dog because he's just a pup

You'd better run for cover when the pup grows up!

This edited placement of "Little People" is often attributed to the original Broadway production, but in fact it made its debut in the West End show. I'm not sure when exactly this was, given that the original cast album uses the long version. However, by the 1986 recording this is how it goes. It should be noted that it's not quite in its Broadway form, however; most notably, "We'll fight like twenty armies and we won't give up!" is not present.

A minor difference occurs during the First Attack sequence. In the Barbican production, this is how the students respond to their victory:

(GRANTAIRE)

By God, we've won the day

(LESGLES)

See how they run away

The West End production swaps the two students' lines, allowing Grantaire's slightly incredulous spirit to have a more poignant and/or amusing effect depending on your perspective.

Consequently given the new placement of the song, the show obviously had to be edited to remove the original "Little People" number. Originally, this is the way the show transitioned between the First Attack and "Little People":

(ENJOLRAS)

Courfeyrac, you take the watch

They won't attack until it's light

Everybody stay awake

We must be ready for the fight

For the final fight

Let no one sleep tonight

(GRANTAIRE)

Only little boys may sleep

For little people need their rest

Little tucks are quickly drained

And little grapes are quickly pressed

Come on little mite

It's time to say goodnight

Cue the original "Little People" number in all of its long, silly glory (in case you somehow don't know it, here are the lyrics). The West End production (and everything afterwards) cuts Grantaire's verse, so that the scene transitions straight from Enjolras' announcement to "Drink with Me". As much as I love the full-length "Little People" number (and I really do love it), I admit removing it was definitely the right choice. It's just so sweet and optimistic, it feels out of place in a musical as tragic and cynical as Les Miserables. It doesn't help that its placement is between a high-stakes action scene and a somber, slightly drunk reflection on the nature of friendships, sex, and romance. It's a wonderful song but a terrible Les Mis song. I do love it, though, and I also love how Grantaire manages to make his pre-song metaphors alcohol-related.

In the sewers, the Barbican recordings feature a unique tune not heard anywhere elsewhere in the musical (it can be heard here) before transitioning to the final Valjean-Javert confrontation. Apparently, this music was accompanied by a short chase scene. However, by the time of the 1986 recording there is instead what is essentially one repeated note which then transitions into an instrumental version of "Look Down". This is followed by the same Valjean-Javert confrontation as before.

And that just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

[nothisis-ridiculous]

Take Me Home Now: Chapter Ten

Chapter Ten: Another Mother's Breakin'

Set after the events of ME3.

A rewrite. Ao3.

FemShepxKaidan

"Jane."

The recruit let the knocking go on for a third round, slowly shaking herself from the rickety cot. While these digs were nothing as fancy as the bunk back at the mall, the privacy was a paradise. Blank, dull, metal-lined walls were a price she was willing to pay over the colorful and plant-lined walls of the barracks. The humming noise of life rebuilding, no she belonged in the silence.

"Jane." This time her name was a statement, backed by a hint of threat.

"Just a moment," she groaned, rubbing the crust from the inner corners of her eyes, pushing sore muscles upright and forcing a shirt over her head but allowing it to fall at its own pace. Her pupils narrowed at the sudden influx of light filling her half of the crate, "morning?"

Helen looked her up and down, that damned frown a returning friend, "you should put a comb through that hair."

"For fuck's sa-"

The woman made a sudden jerk, but it stopped with a simple raising of her arm, brushing aside a fallen lash, "language, dear."

"Sorry," Jane's eyebrows narrowed, had she forgotten she was not a child, "why are you here?"

"Because we are going out."

"Don't I have three more days?" Jane returned.

The older woman in a rare admittance of defeat sighed, offering back a raised eyebrow, "you're well aware that was a ruse."

"I knew it!" she didn't.

"Yes, let's be proud that you are stubborn as they warned," Helen retorted with a hint of a smirk, "but you should be ready. I'm not going to let you slide and get breakfast, either!"

Yes, this encampment was a military installment, but it gave no reason to ready herself with the rest of the soldiers. Since Rahna had given up on her she did little to get out of her bunk. So far, her secret remained, but pushing it by becoming a regular around camp seemed too big of a risk. Evelyn gave her some reason to get out, but the kid quickly found friends. Within days she was no longer needed, though the shit still visited at least once a day that prodded her into some form of semblance. The lack of duties cemented her decision to remain secluded, bidding her time with the running videos in her head.

"So why me?" Jane pressed once they cleared the base by a few thousand meters, pulling the ration bar from her mouth.

The woman's dark eyes turned cross, "and don't you waste those rations."

"You'll never want them again after fresh produce," Jane murmured, swallowing down the bland brick of nutrition in three bites.

"The second reason for coming out here," Helen handed over a pistol, "fresh meat and pest removal."

"You know, someplace on Illium would sell Varren skewers as a delicacy," Jane overlooked the pistol with a grin, "man, could that krogan grill up a mean varren skewer."

"The pistol is back up; you should use biotics. No stunts," she warned without heed of her companion's previous comment.

"I'm a paragon of caution," Jane mumbled in response, deciding then it was best to follow after the woman in silence. Pausing only as her leader stopped.

"No stunts," a finger waggled at her, "that kid and her grandfather want you back, and I intend to see that through, despite your best attempts."

Jane giggled, "the LT would love that one."

"Dismiss it all you like, whinge that someone cares about your sorry hide," the woman spat, "you're being selfish. Everyone is hurting if you haven't noticed."

Jane's face drew blank, "while it's true, doesn't it feel better to be pissed off? To be angry that everything is changed? Fuck everyone else. I'm hurting." She looked over the horizon, directly into the blue beam that connected to the Citadel. It seemed so tiny from here, so insignificant.

Helen's gaze followed Jane's gaze, "trying to remember how much worse it could be rarely helps."

"I like to make myself feel better by telling myself that I'm angering out of grief; it's one of the stages, right? But what is there after it? I don't want to let it go and accept my world is gone," Jane's voice mellowed to a whisper, "acceptance is terrifying. It means you have to move forward."

They shared a silent moment together, connecting with a brief touch—neither alone as they thought.

"Who did you lose?"

"My heart."

"Who did you lose?"

"...my heart."

Horizon- Horizon was an awkward fumbling in the dark. An overhanded display The Illusive Man decided to lord over her. He knew her strings and just how to pluck them to make her dance to his tune. Pulling Kaidan into the entire mess with the Collectors was a threat. But as messy and powerless as the knowledge of what the Illusive Man would take from her was the undercurrent of hope. It was foolish to be caught up in the giddy excitement of returned love, But Kaidan loved her. The first confession and bitter tug on her heart. She should have told him then.

Mars- Mars was just as awkward. Running, sliding, and dodging bullets after months of being cooped up in a small apartment awaiting trial. Sideways glances, and a Major who wouldn't stop dogging her every step. He questioned, prodded, and accused her of terrible things. Granted, she well deserved it. He was so close, so in sync as if the years were mere minutes... yet the distance between them was a canyon wide. But the Major loved her, even if it was once upon a time. A lighthearted exchange broke some of the tension, but she still should have told him then.

The Citadel- "What's up" had to be the lamest greeting after an armed standoff. Not a clasping hug, not a gentle smile, instead she vocalized her worry that he was angry. She hadn't taken the shot at Udina, and she had made Kaidan make that impossible decision. To trust her word, to trust an ex-terrorist. It was too much to ask of anyone- but now she was someone he was in love with. Not a past tense, a was, but a current thing. Still, she fumbled, asking him to let her have it and killing any hope of a romantic reunion. Her stolen glances at his backside caught in the act gave him a sheepish glance away and not the confession he was owed.

The Citadel Pt. II- After a shamelessly little amount of convincing, she had found herself in a dress. It was supposed to be simple- a snack on the Citadel. But she had hoped for more, the flirting, the longing stares, compliments, and a little bit of girlish enthusiasm from Kaidan she dared to think they had a chance. It was the first 'I love you' the extra 'I always have' sending her heart fluttering into erratics that she fought to control, lest she make a scene. The graze of his tender lips against her palm relinquished any grasp she had left on that errant heart, the thundering of the heartbeat clouding her brain. The jealousy the rest of her skin felt for her palm stealing another confession.

2181 Despoina- Kaidan would always rue his attraction to adventurous women. Not the woman, but the spark that drove him there. She was always at risk; her daily amount of adventure qualified as a heroic event for most other citizens of the galaxy. For her, it was a normal Tuesday night. But still, he worried, and still, he continued to love her for the constant stress she brought him. Loved her recklessness because it was as much part of her as her freckles. In the wordless hours of the night, his grip always tighter after a harrowing encounter, she was silent.

The Normandy- Neither of them wanted a quick drink. It was a little silly, after all these years, after all his confessions, to still feel insecure about inviting Kaidan up to her cabin. Instead of being direct, he invented the excuse of a short drink to see her. To comfort each other- when they both knew they needed it. Everything felt so final, the end a ticking bomb, an end to the short time they had together. She found strength in him, a safety in knowing she had someone that would catch her. He loved her openly and proudly. He loved her without needing the words returned.

London- It was unreal, after three years finally approaching the finish line. Loss and love in equal measure. Now, it was time for her to go it alone. It was unnatural, and she fought against the notion. She didn't want to be alone- not at the end. Not after this blissful glimpse into the way love had brightened every facet of her being. Kaidan would gladly face a bitter end with her, going arm in arm to meet Garrus at the bar. But it was a fucked kind of love that pushed her to make him leave. The same love that screamed at him to get the hell off the Normandy, the love that now albeit gently pleaded with him to live. It wasn't a roar or a cry of victory but a rumble- a tender declaration. Kaidan knew, even if it took him repeating his love a thousand times over. Six was a good number, short. The heart knew it was needed.

"So refresh my memory," Jane questioned in a whisper, trying not to draw the entire den of Varren upon them at once, "just how many we are planning on bringing back?"

"Are you that keen on vaporizing them all?"

"I certainly can."

"Wouldn't that defeat one of our goals?"

"Well, I don't think you accounted for the transportation of a Varren," Jane noted, looking behind them at the lack of vessel to transport said game.

Jane was ignored with a huff, the woman peering around a blockade, "I want that one."

Jane took a look, the brown striped specimen had to top the list of heaviest varren she had seen, "seriously?"

"Yes. Jane."

"Aye, Aye, Ma'am."

There wasn't time for a seething look or the smarmy reply that would have followed. The creature floated, air-bound as if the weight of the animal defied gravity. It kicked at the air, unable to stop itself from moving toward the barrier that blocked the scent of view of its hunters. Jane yanked her hand forward, dragging against the invisible weight. It felt good, if not for the shred of panic that she might lose time again. The tell-tale sign of blood was not forthcoming.

The blast of sound ricocheting through the plaza quickly overcame any remaining fear.

"Whatever you do, do not approach these things," the recruit barked, yanking the older woman into the corner spot, "they will overwhelm you if they get close."

"Aye, Aye, Ma'am."

The pack burst from all corners, running full boar in the direction of their fallen packmate. Several running members fell in the chaos, while a line of biotic energy sent the group careening into nearby walls and structures. For what inexperience was worth, Helen held up well, keeping up trained focus on the beasts. The old lady had precision aim, wasting hardly a clip during the charge. Jane didn't have to pick up much slack. Now, if there were a third member, everything would be peachy.

The square was silent for a count of three before a single varren cried out loudly.

The alpha was on scene.

While she had not promised to keep from committing to a hair-brained stunt, biotic shockwaves and lifts were boring. A teenage biotic could perform these moves without a sweat, a N7 needed a challenge. She needed the thrill. Blue waves coalesced and pulsed around her form, the familiar vibration against her skin pleasurable. A fluid vault over the barrier propelling her charge into the lone Varren, sending it toppling from the blow. Jane dove for it, pummeling it with blasts of biotic energy until her knuckles bled.

This was no longer a stunt but a method of release.

"Seems those biotics are back online," Helen murmured, wiping something from her eyes.

Jane cocked her head, "where'd you learn to shoot?"

"That? Oh. I thought they'd go out like a coyote."

The blonde smirked, dismounting the alpha's corpse, wiping her fists against a clean portion of the animal's hide. Nothing from Tuchanka went down quietly.

Helen stood over her prize, after a long minute she looked at Jane expectantly, "aren't you going to grab that?"

"Your trophy, your struggle," Jane folded her arms in return, a sly grin crossing her face, "besides, by the way we snuck out of that base, I don't need any more blame for this... what would you call this, stunt?"

"We did not sneak-" but the woman's face betrayed her guilt.

"Yeah, it's normal procedure to hop a barricade at the precise moment the guard changed," Jane knew a thing or two about sneaking out. She'd even stolen a ship twice.

Helen didn't have to struggle with the corpse long before Jane took pity on the woman; she had an unfair advantage anyway. Genetic enhancements, bone grafting, and a little biotic lifting. Unfortunately, she would still be sore when they got back to base.

"Why the need to sneak out anyway? I'm sure you could have roped anyone into helping you," Jane was under no illusion that the woman had any particular like for her, if anything, the woman looked at her with increasing scrutiny.

"None of them would dare."

"Oh?"

"I don't want to talk about it."

Jane understood the sentiment completely.

[fraink5-writes]

Blue Ceiling - Tablet I

I’m back--again! This time I present to you an Epic of Gilgamesh/Little Mermaid fusion AU, featuring Gilgamesh (as himself) and Kingu (because he needs love)!

Thanks to @leio13 for editing!

Summary: Expecting to become king of the merpeople as son of Tiamat, Kingu is suddenly forced to give up his tail and to go the surface to restore humanity's disregarded respect for the Goddess of the Sea. However, he severely underestimates the Uruks' willpower, especially that of their stubborn king, Gilgamesh.

This chapter can also be found on Ao3 here. Without further ado, please enjoy!

Small bubbles floated past Kingu’s vision towards the distant, blue ceiling. He didn’t bother to follow them once they left his vision. How foolish, he scoffed. What’s so good up there? Before they would disappear beyond the water’s surface, they would undoubtedly disappear from Kingu’s memory. So insignificant, they weren’t worth even his pity. Of course, Kingu had so much unused pity that he could afford to give them a brief farewell as they left his world.

Kingu hadn’t the slightest idea what would happen to the bubbles when they reached the top. Would they drift along the waves like the boats he had heard about? Would they grow in size, filled with the outside air? Regardless, like all things that went up, they would never come back down.

However, Kingu’s curiosity quickly returned to the expanse of blue which stretched limitlessly in almost every direction. The unreachable haze was the nebula of his imagination, and often he would sit at the outskirts of his city and think about dissolving into the current and leaving behind his boring, everyday life. 

Unlike the surrounding ocean, the city Atargata was completely stagnant. The population had hardly changed since its foundation. Because merpeople could not die of natural causes, most of the civilization’s founders still lived in the city and occupied the same civil positions they had from the beginning. Without fear of extinction, reproduction was completely unnecessary. 

For that reason, the news of the king’s passing by a human hunting incident came as a huge surprise, and the news that Kingu would replace him, an even bigger one. The population did not hesitate to make their discomfort known to Kingu, constantly arguing over who would “actually” become the sovereign. Kingu laughed at this useless activity, for none of those contentious fossils could ever be king. Kingu, on the other hand, was born to be king. He had been created by the mother goddess Tiamat to freshen the stale waters and guide them away from their old-fashioned ways. 

Kingu threw one more glance at his unreachable, endless horizon, sighed, and trudged into the city.

***

Atargata was a grid of searock. Due to the currents, the buildings lay flat at only one story. Instead the city slowly stretched across the sandy floor. Despite its boring foundation, the city was bustling with color and life; every wall was decorated with a coral mosaic, which had grown into an entirely separate community of fish. Far from an invasion, the mercommunity had accepted their right to live there and simply left them be. Kingu admired the way they swam peacefully in their large communities—no fighting, no competition. They were undoubtedly the best inhabitants of the city.

Kingu was thoughtlessly watching the school which passed through the market, blissfully aware of the carnage of fish for sale, when his imagination was interrupted.

“Oh, if it isn't Kingu. How strange seeing you here.” The snooty voice belonged to Atargata’s no. 1 diva, Ishtar. Her lips curled, excited by the storm of insults that brewed between them. “Shouldn't your mommy being doing the groceries?”

“She isn't my ‘mommy,’ and I'm not a kid. In fact—”

“Yeah, yeah, we get it. You're going to be king. You know, a king shouldn't throw a temper tantrum because of a little teasing.” With her hand waiting impatiently on her ruby-scaled hip, Ishtar’s eyes danced; Kingu’s resentment fueled them like oxygen to a flame.

Kingu wanted to smother them. He said nothing.

“Huh? Are you going to ignore me?” Ishtar folded her arms. “I’m giving you good advice, you know. That was like elementary school teasing. If you can’t even take that…”

“Aren’t you too old for child’s play?” Kingu returned his disappointment with his gaze.

“Excuse me! I am not that old.”

“And I’m not a child.” Kingu turned away, hoping to return to his business with the fish.

“Jeez… it's all because of that witch…” A muttered comment, only half-intended for Kingu to hear.

“She's not a witch. She was a mermaid too.”

“She's a traitor, flirting with humans.”

That's not—Kingu didn't know enough to say it wasn't true. But Gorgon, the supposed sea monster, hated humans. She would have never flirted with them, Kingu was certain.

Ishtar sighed. “You may be a brat, but you're still a merman. You should be on our side, not that monster's.”

“It's because you’re irresponsible..” Kingu had been holding that comment back longer than he had even realized. “All of you are too self-centered. Only Gorgon tried to take care of me.”

“Well.” Ishtar's face scrunched with displeasure. “If you're insistent on being on her side in spite of everything, then I assume you're prepared to take responsibility for her, ‘future king?’ What do you plan to do about the human issue?”

Kingu couldn't care less about the humans. As long as they remained on land, they were outside of his little world. Completely irrelevant. “What issue?” he asked, feigning the vaguest interest.

“‘What issue?’ Ugh! Does anything matter to you outside of your moody internal monologue?! It's the lack of respect! The humans have forgotten their origins and parading around like they're kings of the world!”

“Does it matter? The opinions of something so insignificant such as humanity shouldn't mean anything to our civilization. Let them think what they want. They are just fools.”

“Hah, so you're not on the side of humans either.” Ishtar looked surprisingly delighted. “You really are naive. If you want to be treated seriously, you should find out where you want to be.”

***

“You can just ignore her,” Gorgon spat, baring her fangs at an enemy who wasn't there. “Her head's just inflated because of her little cult. Even her fellow council members know she's just an idiot. So, you don't need to worry about her becoming king.”

“Of course I don't.” Kingu hastily dismissed the idea, which had never once crossed his mind. “The only one who will become king is me. It's my destiny.”

“Yes, that too.” Gorgon's sharp, purple eyes stared King up and down then drifted in the direction of the city. She grimaced. “Say, Kingu, why do want to be the king of those people, anyway?”

That should have been such a simple question—it was his duty to lead the people—yet it brought him to a halt. Indeed, he had no desire to rule those people; he hated them. But he had never questioned his own resolve to rule over them, and he wouldn't start then.

“I know what you're thinking, Gorgon. They're stupid and selfish, cruel and jealous. But that's why they need someone like me. I will mercilessly teach them how to behave.”

“That's quite a forgiving offer for such a despicable bunch,” Gorgon muttered, bloodlust seeping from every scale which covered her body.

That bloodlust was Gorgon's greatest flaw, Kingu thought. It'd really do her some good to let some of it go, or at least conceal it better. The rumors about Gorgon which had been circling around town since the previous king's death were not completely implausible, he had to admit. For his part, Kingu was certain that his suffering would be repaid in due time without needless acts of violence. Tiamat was on his side after all.

“Right?” He grinned. “They should try to be more like me!”

***

When Kingu next returned to the city, he had already forgotten about Ishtar and any other annoying face which plagued his usual visits. He ignored even the schools of fish as he swam through them, for his eyes were set on only one thing: the grand temple at the center of Atargata. The temple of Tiamat stood taller and more colorful than anywhere else, and because no person dared enter it, it was a bustling haven for fish. This time, however, Kingu had an invitation, so it could hardly be called intruding.

Inside, the corridors of the temple echoed with a doleful song. Although unfamiliar, the voice filled Kingu with an unplaceable nostalgia and an unfathomable sorrow. Without knowing the cause of her grieving, Kingu vowed to resolve it. 

The still figure of Tiamat was the eye of the storm of fish which, driven by her music, raced around the hall. Yet she was blind to her surroundings. Her song had wrapped her protectively, sheltering her from the saddening world outside. 

“Mother, I’ve come as you requested,” Kingu barely whispered, awed by the scene before him. 

“It is a truly grievous situation.” Tiamat’s eyes stared into a world beyond Kingu’s small one. He could see nothing in their nebulous purple. But her wordless song he clearly understood; it spoke directly to his heart. It ached with loneliness as it pleaded. Who could allow such sorrow? Kingu scorned the apathy of people and fish alike. But Kingu was different from those ungrateful people; he would do his utmost to heal her grieving heart.

“What can I do to help? Please tell me.”

Kingu’s heart stopped with Tiamat’s melody. She spoke with a soft voice. “The humans have forgotten me, their mother. They continue without thinking of the sea, of their roots.”

...The humans? As Tiamat’s singing vacated his mind, confusion seeped in. Of course, the humans are the most ungrateful of them all—above all, completely unaware of their insignificance. If Kingu’s enemy was humans, it would undoubtedly be an easy task. 

“How arrogant—those pathetic humans. They will no doubt rue their pride.”

“You must go up there and amend their ways, teach them reverence for their mother. Their young king, Gilgamesh, is especially insolent; you must correct him.”

The words repeated ad infinitum in Kingu’s head, blurring into meaningless but maddening sounds. He exhaled to clear all the clutter. “How should I do that?” The question floated in his vicinity, afraid to get an answer from Tiamat.

“You must join them. Become human. They won’t listen to anyone else.” 

The words knocked Kingu like a strong current, and he struggled to regain himself. He could not imagine being a human. To become human was to abandon his home, his aspirations, his pride. Kingu was a merman; to discard that was to discard his identity altogether. The possibility of becoming human had never crossed Kingu’s mind, yet suddenly, it was his reality. Even if he still had his emerald tail, Tiamat’s words had stripped him of his mermanhood on the spot. 

“Once you’re human, you must never mention your origins to anyone. You must live completely as a human.”

It was so lonely. He had been alone for most of his life, but never had he felt true loneliness, the kind that caused Tiamat to sing. It filled his heart with solid lead. “And when I’ve finished my mission…?” He choked out.

“I have arranged your meeting with the human king. There will be a storm on the waves; you must meet him then.” Tiamat’s song started again with the swirl of fish, signalling the end of their conversation.

As Kingu left the temple, the sorrowful melody chased after his tail.

***

Kingu held his breath before breaking through the water’s surface. The outside world was just gray. Gloomy, voluminous gases hung in the air as far as he could see, and water poured from the sky. Even the ocean was, from the top, a shifting surface of darkness, wave after wave trying to topple Kingu and throw him back underneath. He had never imagined water could be this unpleasant.

But the air was worse. Each breath was an inhalation of poison, scorching his throat. Yet, he kept inhaling—faster and faster. His lungs heaved, quickly moving the toxin in and out. But something wasn’t enough. Faster and faster. His heart raced to keep up. 

“King Gilgamesh!” The sound of a voice stopped Kingu’s breathing entirely. It came from a medium-sized vessel which swayed drunkenly atop the angry seas. Standing proudly at one of the curved ends was the only color in the depressing scene: a golden human. His short hair shone as golden as his armor. That man could only be the king.

The lustrous man disappeared under the waves along with his vessel. 

Oh. Kingu had to rescue him. As a mere human, the golden man could not breath underwater and would quickly die. How pathetic. Such weak lungs. It was probably more convenient to just let the human die. He was the source of their problems, after all. If the humans lost their insolent leader, maybe they would relearn their respect. What value did this human have which was worth saving?

Despite himself, Kingu dived back below the surface of the waves and sped after the human king. But the sinking human had already lost consciousness by the time Kingu had caught up to him. Hoping he was still alive somehow, Kingu grabbed him and raced to the surface. No response. Kingu needed to find land somehow. In the distance, he made out a faint moving light. Maybe it was the sun. In any case, it meant calmer water, so he pulled the body towards it. 

As the storm began clearing, Kingu realized the light was actually from a peculiar tower on the beach. But his surprise was drowned out by his relief at finding land. He threw the human on the ground and waited for him to wake. 

Maybe it was better if the human didn’t wake up. He was the greatest obstacle to Kingu’s objective. Instilling fear in the other humans would be easier if this one wasn’t around. And, at least, Kingu could say that he tried to save him. But then Kingu’s rescue attempt would have been in vain... 

In any case, it was out of Kingu’s hands. He decided to study the surrounding area to take his mind off the stress of waiting. So this was the land where he was forced to live. The sand, or so he figured, was a grainy substance the color of the human’s hair that stuck grossly to his wet skin. Beyond the beach, far in the distance, there seemed to be a stone wall. 

Before he could get a better look, Kingu’s attention was grabbed by the human next to him, who had begun to cough. Seriously? You’re on land now. If you humans can’t even breathe on land, what good are you? Kingu scoffed at the human as water sputtered from his lips. But if there was water still inside the human, then, Kingu realized, it was up to him to draw it out somehow. Reluctantly, he leaned in for a closer inspection. He had no idea how to deal with humans—much less a drowning person.. If he turned him over, would the water come out?

During his increasingly panicked contemplation, Kingu was startled by two ruby-colored eyes which stared at him. His heart skipped a beat upon realizing he had never been so close to a human before. He couldn’t move; the bright eyes, which had locked their gaze after a final coughing fit, commanded him to be still.

“Who…” The human began. His eyes drifted down from Kingu’s face. “...Are you?”

Kingu felt he had no choice but to follow that stare. There. Long, fleshy, and undeniably human. Legs? Since when? Kingu’s mind went white. 

When Kingu came to his senses, the man, who had slithered out from underneath him, was scowling. Nevertheless, he extended a hand in Kingu’s direction. 

Kingu could only stare blankly at the strangely amical gesture before he was ripped from the ground and placed on his feet. 

It hurt. Kingu’s new feet were brittle; they could break just from the weight of his own body. He immediately toppled over. The human grabbed him with another groan and started to drag him towards the wall. Kingu, unsure of what to do with his new legs, tried to imitate his helper, but it was too painful. One foot in front of the other. It hurt, it hurt, it hurt. 

Water droplets began welling up in the corners of Kingu’s eyes. Was this what it meant to cry? The tears which rolled down Kingu’s cheeks and met his lips were warm and salty. It was a miserable taste.

***

The walk through the city was lost on Kingu, whose consciousness was largely suppressed by the pain. But somehow he and the man he had rescued ended up in front of a decently sized brick building. It was someone’s home, Kingu guessed.

“Shamhat!” The blonde man barked.

After a minute or two of shuffling sounds, a human woman appeared at the doorway. “I’m sorry for the indecency, your majesty. I was with a customer.”

Kingu found nothing indecent about the woman. Wearing a plain, white dress, she had a simple but radiant beauty. Her brown hair shimmered green in the reappearing sunlight.

“Not anymore,” the man quickly dismissed. “I’m leaving this man to you.”

The woman, Shamhat presumably, eyed Kingu up and down then smiled coyly at him before turning back to the human king. “Yes, your majesty.”

“Also, fetch me a fresh pair of clothing before I go.”

“Of course.” Shamhat’s inspection had completely moved to the man’s sopping garments. “... What happened?”

“I’ll explain later. Just hurry up. Take him with you.” 

Having no control in the manner, Kingu was thrown harshly at Shamhat, who caught him surprisingly gently and eased him into the home and onto a bed. She quickly hurried off after that, giving Kingu a few minutes to reflect on what happened. 

He had rescued the human king, Gil… Gil-something and was taken to a mysterious woman’s home. He couldn’t make much sense of anything beyond that. 

He had legs now. Although the bed was a significant relief compared to standing, just the thought of his new legs sent him a painful shock. He never wanted to walk again. How could the humans do it every day, all day? They were undeterred to the point of foolishness. 

Shamhat returned and sat near the head of the bed. “Here you go.” Taking a cloth, she wiped Kingu’s cheeks. Apparently, tears still lingered. How embarrassing. To hide or at least avoid looking at Shamhat, Kingu turned his cheek. This action only made Shamhat giggle, so Kingu gave up and turned to face her. With a small smile, Shamhat seemed to be more than a human. Her unparallelled kindness and beauty could not be attributed to the selfish and arrogant humans.

“How are you feeling?” Shamhat asked. “Do you have a name?”

Shamhat’s gentleness had caused Kingu to drop his guard and he blurted out his name.

“So you can talk!”

Kingu nodded, aware of the irony, but he was too busy planning his next responses to the questions which would inevitably follow. He couldn’t slip up again.

“I’m relieved to know that. So then, Kingu, where are you from?”

“I don’t remember…” Kingu’s voice faded away with feigned shame. 

“You don’t remember?” Shamhat questioned him. “That’s troubling… What do you remember?”

“When I came to, I could only remember my name, Kingu.”

“Oh my!” Shamhat pursed her lips but quickly went back to smiling. “Well, that’s a good place to start!” Then she added, “Are you hungry? What foods do you like?” 

The question troubled Kingu, who hadn’t the slightest knowledge of the human diet. As he racked his brain, Shamhat chimed in again, “How about bread?” With a nod from Kingu (what did he know about bread?), Shamhat disappeared into a different room.

“Anyway.” Shamhat quickly returned with the strange food, apparently called bread. “I heard you can't walk; is this true?”

“Yes.” Kingu's voice was tinged with bitterness leftover from his miserable experience.

Shamhat blinked as though surprised Kingu confirmed her beliefs. “Then, how did you rescue King Gilgamesh?”

Even Kingu couldn't adequately explain that one. “I don't know. By chance?”

Shamhat inspected him. “Well, I'm very grateful, as is all of Uruk, I'm sure.”

“What kind of person is uh Gilguhh…”

“King Gilgamesh? He is an awe-inspiring person. Uruk's greatest king. He is responsible for the city's grandeur, its prosperity, and its safety. We owe our calm and happy everyday lives to him. And to you. If you had not saved him earlier, we would have been in trouble. So thank you. Thank you from every citizen of Uruk."

Kingu was ashamed to admit he understood her reasoning. When Atargata's previous king died unexpectedly, the city was taken over by chaos. They were disturbingly similar to humans in that regard. Kingu scoffed at himself. Why was he saving the human kingdom? He had to hurry back home and fix things in his own city.

[princesstutufandemonium]

Presenting my huge theory, or: Why Duck might actually be Princess Tutu, reincarnated into the real world

(In a series of points that grow more coherent as you go along)

*Now that I’ve had a little more time to think about this theory, I’ve added to this. New parts have an asterisk.

Point one: Duck is never shown to have any memory of her life as a duck. After becoming human, she seemingly has no problem whatsoever adjusting to human life. She goes to school, dances, gets dressed, eats, speaks the human language perfectly, understands what is 'normal' and what is not, etc. The idea of becoming just a duck once more terrifies her, as shown in the series finale. She has no attachment or fondness for her life as a duck despite the fact that she has supposedly been a duck for almost her whole life.

So, really, was she truly a duck to begin with? At least, a normal duck? After all, Duck is the only animal in the show to always possess human intelligence, even at the end when all magical animals have reverted back to their original human or 'normal' animal form. In other words, all enchanted beings return to what they were before. However, direct creations of Drosselmeyer's, like Mytho and Uzura, stay the same. They don't disappear or change; they exist exactly the same as before. This implies Duck was never a normal animal or person, and was directly made by Drosselmeyer.

But, okay, why did Drosselmeyer make her into a duck? To make things that much harder for her. heh

But in all seriousness, we don't KNOW what the 'original' Princess Tutu was. Was she really just a spirit? Was she a magical girl too, a clumsy girl who fell for a prince, just like Duck? Is it possible she was originally a duck too? Remember, Drosselmeyer never finished writing The Prince and the Raven. The version that exists only has a small part with Princess Tutu, but it's entirely possible he had a whole arc fleshed out for her, as the entire plot of the anime seems to imply.

Point two: Mytho never differentiates between the two Princess Tutus that he knows. Even after most of his heart is restored and he seems to regain the memory of his storybook past, he never treats Duck Tutu any differently or even seems to recognize her as separate from the one in the book. He continues to call her Princess Tutu all the same. Does he just not care? Does he see no point in making the distinction? Or does he think she's the real thing?

*Even at the story’s end, when it is clear the current Princess Tutu he knows is truly a duck, he continues to address her as Princess Tutu. This also carries into the epilogue skit.

Also, we don't see much of him, but the Raven himself recognizes Duck Tutu as THE Princess Tutu. He calls her by name and knows who she is just by looking at her. Either she really must be a dead-ringer for the storybook one, or she is the real thing.

Point three: Here's one that sticks out sorely once you shine light on it. Out of all the girls already infatuated with Mytho, why did Drosselmeyer choose a random duck? Remember, he's got a huge master plan that by that time was years in the making, and Princess Tutu is a major player. He's gambling a hell of a lot of his story on the supposed feelings of an animal. It doesn't make any sense, especially considering how well thought-out Drosselmeyer's plan for his tale is. He would only choose someone who he knew was a perfect fit, who would act and feel exactly how he wants them to.

This leads me to my next point.

Point four: Drosselmeyer knows exactly how Duck feels and thinks, and in the first season is almost always a step ahead of her. He knows what she's going to do and why, and even the actions she seemingly decides for herself have been accounted for by him. This is shown at the end of episode 13, when, despite having seemingly defied her fate of vanishing and outwitting Kraehe, Drosselmeyer implies he knew and planned for things to develop this way. Obviously, the only way this would be possible is if he has a deep understanding of Duck and what makes her tick.

Point five: Duck seems to fall for Mytho at first sight. Interestingly, Drosselmeyer's first words to her are, "Do you care for him, little duck?" He doesn't ask her if she thinks he's handsome, or if she wants to get to know him. He asks her if she cares for him, and of course (since he needs her to agree) he asks already knowing what her answer will be. Drosselmeyer needs someone selfless who passionately loves the prince, who is willing to die for him. Someone who maybe already loves him from before the story in the real world began. After all, how else is it that Duck could care for someone she just met, let alone take on the duties of Princess Tutu shortly after to save him, someone she doesn't know?

Point six: Duck is a hell of a dancer. No, really. Everyone around her, from her teacher to her friends, has her convinced she's awful at it. However, remember that scene early in the first season when she has to stay after class to practice? When alone and at peace, she begins to do some perfect ballet positions to rival Rue's. The implication that it is really her confidence that decides her performance in dancing is also hinted at in episode 13, when Kraehe's mocking makes her stumble and lose her grace, even as Princess Tutu. Contrast this with episode 25 when Duck dances a perfect pas-de-deux with Fakir. This idea is again reinforced in the final episode, when despite being confined to the body of a duck again, she pulls off moves that previously she could only do in form as Princess Tutu. Duck's dancing ability does not come from transforming - she already has it; it just tends to show when she is at full confidence as Princess Tutu. What is Princess Tutu's most renowned ability? Her ability to dance.

*Point seven: Duck is the only supposed non-storybook character to ‘flourish’ within the role she is given. Rue and Fakir, both ‘story outsiders’ chosen to play roles, become unable to fulfill or rework the role given to them by Drosselmeyer and end up abandoning it entirely. Rue completely leaves her role as the Witch, and Fakir gives up on any idea of being a Knight. This is because, ultimately, their roles do NOT suit them - they were not ‘hand-molded’ to play the part. Drosselmeyer was trying to force them into a box that they don’t fit.

 However, Duck not only sticks with her role as Princess Tutu to the end, she even uses the abilities given to her as the character by Drosselmeyer to rebel against him. Even when she struggles and is doubted in her role by others, she continues to successfully act and identify as Princess Tutu - within the ‘parameters’ of the character. Mytho does something similar by finally defeating the Raven and rescuing Rue once he is restored to his full state as the prince. To summarize this point, Duck continues to act in character as Princess Tutu and succeed in her own way. The only other person to accomplish this is the actual storybook-character-brought-to-life Mytho.

Point eight: Here's some more food for thought - why is Duck such a dead-ringer for the storybook Princess Tutu? By that, I mean two things: Her 'idiot' hair, which is supposed to be a hint towards her true nature as a duck, is also present in the storybook Princess Tutu. *(I did find an illustration of story Tutu without the hair. Interestingly, promo art for the series, however, always depicts story Tutu with it) Storybook Tutu also has... wings. Duck is never depicted with wings when transformed as Tutu. Princess Tutu has no 'bird' abilities, so why the wings? Are they just symbolic of book Tutu's status as an ethereal spirit? Well, hold on, because things are gonna get a little meta.

The last, most intriguing piece:

Point nine: Episode 26. Duck no longer has her pendant, and shouldn't have her abilities as Princess Tutu anymore... Until, THROUGH DANCE, she SUMMONS A SPIRIT AURA OF PRINCESS TUTU AS DEPICTED IN THE STORYBOOK. And it becomes clear why the storybook illustration of Princess Tutu has wings - it is the marriage of her two forms, her current duck self and Princess self. Princess-Tutu-with-wings represents Duck at full power, using her full being and summoning her true magic.

Magic that only the Princess Tutu could have.

*It has been mentioned that Fakir empowered Ahiru in her moment of magic, and this is totally true. However, why did her aura take the shape of the storybook Princess Tutu and not the form Duck has when she transforms?

So, in summary, my theory:

Drosselmeyer wrote Princess Tutu out of the story and into the real world to get the gears for his tragedy moving again. Princess Tutu did die in the story, but Drosselmeyer, placing great importance on her character and needing her to act exactly as he had intended, brings the original back to 're-use' her and have the story he wants.

Which, obviously, if true, is totally screwed up, because this time around, although she didn't die, she still didn't get a very happy ending.

It's late and I'm sure this sounds mostly like rambling, so I'm going to bed, but let me know your thoughts. I know there are holes in this thing, and maybe I'm just connecting cracks in the anime's plot that weren't meant to be pondered so deeply, but I think this theory holds just enough water to be true.

[mishm0740]

GTA Online ALL 카지노사이트 HEIST SCOUTING CLUES - 6 Access Point Locations & 10 Points of Interest #1557

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