#ask agu

[agumonger]

shit dude thinking of characters you like that im familiar with and are not your ocs or from... you know, is hard, so uuuuuuh

thomas somnium, 4, 22, 24

Ooo time to channel my 2013 self on this one, I should play Somnium again once I finish Someday

Honestly Thomas could have his own indie movie, if maybe just as a Me spinoff. I love movies that have a weird surreal aura to them, where nothing is quite what it seems... Which is weird bc I don't watch them a lot?

But yeah a movie just following a character we know next to nothing about? Starving in his home? Dreaming about weird shit and leaving it up to us to figure out was going on? I'd watch the fuck out of that. In fact, a book idea I have is actually kinda similar. I just love dreams in stories so much. And Thomas is such a loser and nobody gives him a break, I relate a lot.

Never read a single Somnium fic lol. Do they even exist? I'd like it if they kept things ambiguous about him. Kind of sympathetic, but also slightly off. You Almost feel like you can trust him but every now and then there will be Something that makes you go "hmm?".

I wouldn't like it if they just wrote him as edgy and violent for no reason. Actually I hate that in the whole fandom in general, fans do that a lot and like... I get it in two specific cases but...? Thomas? Comeon.

I thought of Double D by association with you lmao. Weirdly enough I don't know if he reminds me of any other character except... Itsuki. Especially early Itsuki. Terminally confused but with untapped potential. Again, can relate. There's actually someone else from RH that [REDACTED].

[superintendent-b]

I wonder what a sleeveless ODST would look like 🤔

I like the way you think! I did a handful of illustrations to make sure I got what you might've been envisioning

And thanks for the request! It allowed tons of wiggle room for creativity and I loved that

[toytulini]

ouagh the comments on that post

[finnlongman]

Hello, I'm the anon that asked about the Diarmuid and Grainne tale before and you gave such a great answer that I felt like it was safe to maybe send you an ask again? I've read more into the Ulster and Fenian tales and also came across the comparison between Diarmuid/ Grainne and Tristan/Isolde (a lot actually). Does that hold any evidence? Did the Tristan take evolve from Diarmuids story? I was thinking about maybe it up on JSTOR but you're definitely the less intimidating option. Have a great day

So, with the huge caveat that I am not a specialist in fíanaigecht material and also not an expert on Tristan material, this question did come at the only time when I might be able to answer it, because I literally read an article today about this topic. Having said that, I am still extremely not an expert!

First of all, I will say that this has definitely been a topic of discussion in academic scholarship on these texts. What the current consensus is on whether one text is drawing on the other, I can be less confident asserting, because I haven't read a lot of the scholarship on this topic. Although I'm not working on this topic directly, I'm currently looking substantially at the relationship between Arthurian romances and Early Modern* Irish texts (a category to which Diarmait & Gráinne belongs, although I'm working on the Ulster Cycle, so it's not in my corpus), so it's probably something I'll find myself coming back to. It's a very muddy area though -- although Arthurian scholars are often very ready to attribute details to the "Celtic" origins of a story and therefore imply that any similarities mean an Irish or Welsh text is the original blueprint, in this case, the surviving texts are late enough that you get a lot of influence coming back in from French and English sources via the Anglo-Normans and Ireland's general literary contact with the outside world.

When looking for articles on this kind of topic, JSTOR may be able to help, but I tend to find it's a bit limited for Irish material because so many articles and chapters in our field haven't been digitised. Which is a huge disadvantage. However, there are a few ways around this, at least in terms of identifying material (not so much getting access to it). I ran a search for tristan on BILL, the Bibliography of Irish Language & Literature, to see what had been published on the topic recently (but not super recently because BILL tends to be a few years behind with recent publications).

From there, I found Marie-Luise Theuerkauf's 2017 article in The Matter of Britain in Medieval Ireland: reassessments (Irish Texts Society Subsidiary Series 29, ed. John Carey): 'Tristan and early modern Irish romances: James Carney’s Ur-Tristan revisited.' This is a useful place to start. At least, it's where I started while reading today!

In this article, she discusses James Carney's controversial attempts (in the 1950s) to reconstruct an insular "ur-text" of the Tristan story that would have served as the source for later texts. In this study, Carney identifies a number of Irish texts that share motifs with Tristan stories, among them Tóruigheacht Dhiarmada agus Ghráinne. TDG probably dates to the thirteenth or fourteenth centuries, although the earliest manuscript of the text is from the seventeenth century. However, Carney believed that the original story underlying it dated to around 900, and therefore he can count it among his early, pre-Tristan texts.

It's true that there were definitely earlier versions of the story, since the (descriptive) title of one is found in tale lists: "The Elopement of Gráinne with Diarmaid". The text itself is lost, though, so we only have the title. Theuerkauf notes that "this proves that the love triangle story of Diarmaid, Gráinne and Fionn was known at a date anterior to the earliest Continental Tristan texts, we cannot automatically assume that the Aithed Gráinne story in exactly the same way as the Tóruigheacht does." In other words, a lot of the very specific motifs and similarities that the two texts share might be later, so which direction the influence is in becomes very muddy -- does Tristan get it from Diarmaid, or the other way around? Or do they both draw on a shared source? Or are they coincidental/more general folklore motifs from a common stock?

Theuerkauf cautions: "While it may be tempting to focus on the similarities which exist between the Tóruigheacht and Tristan, this focus has tended to lead to an over-simplification of the nature of the source material" and comments that although they're "very much alike in theme, they are often very different in execution or intent". She finishes by concluding that Carney is wrong about most things, if not everything, and introduces for consideration another 15th-century Irish text with close correspondences to the Tristan stories.

Another scholar who has worked on the relationship between the Tristan stories and the Irish material is Raymond J. Cormier. His article "Open Contrast: Tristan and Diarmaid" in Speculum 51/4 is available on JSTOR. I haven't read this one myself yet, but it looks based on Theuerkauf's citations that he tends to be quite critical of the connections between the two; among his criticisms is the fact that the late date of the surviving Irish texts means influences can enter directly from the French material, so shared motifs don't necessarily mean shared sources or Irish origins for those details.

He's also written about connections between Tristan narratives and the Naoise/Deirdre story, so looking at the love triangle motif in another Irish text. I haven't read this article yet, but it's here, if it's of interest (not sure if paywalled or not, sorry, I'm on institutional WiFi right now so it's bypassing all of that!)

Another article that looks valuable on this topic is Joseph Falaky Nagy, "Tristanic, Fenian, and lovers’ leaps" in Diasa díograise: aistí i gcuimhne ar Mháirtín Ó Briain (2009). Unfortunately, I can tell you nothing about this article because this book is not available to me. I have actually just requested that my library buy it because a couple of the other articles in there are relevant to me, but that means I can't advise on its contents yet!

Nagy has another article on the topic, 'The Celtic "Love Triangle" Revisited', in An XIV Comhdháil Idirnáisiúnta sa Léann Ceilteach, Maigh Nuad 2011: Imeachtaí (Dublin, 2015). Again, I have not read this one (although it looks like my library does actually have it), but it's also cited in Theuerkauf's article and sounds like it could be helpful.

I don't know if this answered your question at all, as I feel like the general vibe of what I just gave you was "ehh well they're definitely similar but the question is Why they're similar and that's more complicated" (ain't that always the way). But hopefully it might give you some sources to follow up on. I'm sorry I can't provide direct links to more of these -- the lack of open access and digitised scholarship in this field is a challenge.

*A point of terminology just to clarify in case anyone was confused: 13th-14th century may not sound "Early Modern" if you're used to thinking in purely historical terms, but linguistically, when it comes to Irish material this label tends to start from about 1300 (and obviously, being found in 17th century manuscripts positions this tale more solidly in the early modern period anyway).

[halovianed]

i love seeing that many of your mutuals followed you really recently .... brother i dint even remember why i followed you you were just thwre forever. i was there for second venti banner. i feel like an elder watching all the young children learning old traditions (loving nini)

SCREAMMMMM yeah youre a veteran. ive loved the multiple years weve had together. youve been with me through the epic highs and lows. im trying to think of what other major things youve been here for. hm. you were here when i got together w my ex. thats crazy. nothing could ever make me unfollow you.

[estonian-is-horrible]

for tallinn street names: ao, hallivanamehe, süsta

Thank you! You're the first, here's a trophy: 🏆

Ao (Agu): Early dawn, daybreak. Built on land occupied by former copper foundry. Part of the dawn and dusk triad. See also Eha. Not only one of the three shortest street names in Tallinn (Although WW doesn't really count), but the only possible anagram of Oa.

Hallivanamehe (Hallivanamees): Literally "grey old man". Two possibilities paraphrased from Kivi: 1) There used to be a very sharp curve here resulting in numerous accidents. Given the, ahem, abstemious nature of Estonian drivers, any mishap that occurred had to be due to Ülemiste Vanake suddenly appearing in the middle of the road (then again the old man of Ülemiste was a liquid spirit); 2) The curve, then street, where a grey-bearded old codger used to live until his house was demolished. And one less romantic possibility: the word hallivatimees means variously grey bird or animal, or wolf (becoming grey-coated chap, i.e. soldier). It also seems to have a deeper history, with its animal forms perhaps related to kriimsilm, scar-eye, wolf of Estonian folklore from kriim, suggesting something soiled, spotted, scratched or wounded, something malevolent. Hallivanimees would be the sanitized version and, quite simply, is easier to pronounce.

Süsta (Süst): Canoe, folding-boat.

- A Rambling Dictionary of Tallinn Street Names, pages 9, 23, 148, © 2014 Simon Hamilton

(other excerpts)

[jubilife-aquarium-official]

We’ve gotten a lot of new followers, so just a reminder! We happily answer asks!

[stridingseer]

for the fanfic ask game!!

👻💖

💖 What do you like most about your own writing?

I guess the pacing also quite fond of the dialogue occasionally since the characters will never directly say what bothers them and the subtext is quite nice to write about. There's a whole lotta dissonance between what characters say and do that ends up coming through in the pacing w/ dialogue that I enjoy writing about it.

👻 What is one WIP you think you may never pick back up?

Oh man I have this one soulmate AU for Genshin for Albedo/Bennett/Xingqiu and I don't see myself finishing it unless Genshin has an event where the three of them get an event together. It's a fine enough fic, I just lost motivation for it halfway through :, D Would love to finish it but I have enough of it done that I'd just have to wrap it up more or less.

[fluentmoviequoter]

For the ask game!

Tell us your favorite thing to snack on when you write

Where do you usually write?

Thank you!! I love ask games haha🤭

I don't snack much when writing! I'm more likely to forget to eat, honestly. If I do snack, it's typically Simple Mills cookies with a cup of Irish breakfast tea!

I usually write kicked back on the couch with my computer and something good (tv or music) playing in the background! Sometimes I'm in my bed or at my desk, but usually it's the couch surrounded by dogs.

writer ask game

[maiteo]

will you change to a Uruguay pfp once copa starts or is side eye palhinha staying put?

okay first of all this has me YELLINFJDBSHSN PLS😭

& eyeee don’t know I definitely have some pics that I LOVE…but we shall see<3

[cat-with-a-keyboard]

i forgot how much fun it is to infodump about hirasawa lore

[agumonger]

1, 7, 14, 18, 26, 37, 55 and 76 (this one specifically about rh) for that fanfic ask post

1 Do you prefer writing one-shots or multi-chaptered fics?

Multi-chaptered. It's very rare for me to do one-shots, but I wanna look more into them because they're a lot simpler to make. I just really like the progression in multi-chaptered fics. 1000noches is kind of both, as its has "chapters" but it's an extremely short and simple story.

7 How do you choose which POV to write from?

It depends on the scene, which character needs to be developed more, and which character does most of the action or undergoes the biggest development.

For example, picture a scene where Alice tells Bob a secret she's been hiding. If you want to focus the scene on Alice opening up, you write from her POV. If you want to focus on Bob's reaction and how he feels about the secret, you write from his POV. I also recommend Alice's POV if the reader already knows about that secret, in which case we'll probably find Alice more relatable since we know the same information as she does. If we don't know the secret either, we're more likely to feel like Bob.

As another example, if a character has to "learn a lesson" in a scene, and we are meant to experience that lesson too, we should be on the POV of the character who goes through that lesson.

Or at least that's how I feel. I also personally avoid writing from the villain's POV for *too long* unless they're meant to be sympathetic - I often handle their scenes from their henchmen's POV. If they're "irredeemably evil", too much immersion into their POV might make them feel like they need positive development - or is this just a me thing? Oh, unless the villain is comedic and cartoony like Bowser. Then go ham.

14 how do you write emotional scenes? Do you ever feel what the characters feel? Do you draw from personal experiences?how do you write emotional scenes?

Oh, ho ho. Yeah? Yeah. Yeah I do. I kind of try to imagine how I would feel, then code it through the character's own personality and background. And sometimes I've noticed my eyes getting wet. But I've recently become the kind of person who cries at movies sometimes. I think at times I almost cried during the fucking Mario movie. When Mario and Luigi reunite. Them feels...

And... yeah. I get sort of inspired by my own experience but I morph everything so it doesn't become the story of my own life. I try to not to indirectly reference real people or real events I've gone through. A good example is Bruno's silent panic attack in chapter 4 due to his bad grades. It was inspired by one time I realized I had to repeat a whole year and cried my heart out at the high school bathroom. Writing that scene felt incredibly cathartic, and it weirdly helped me find some closure after some complicated years.

Something I've noticed about emotional scenes is that they usually need buildup. In order for us to care about a character, we need to through a journey with them, get to know them. Emotional resolutions become more poignant when there's some story building up to it. In book 1 it's gradually hinted at that Briana is not yet okay, and though I feel I should tweak some of the buildup, when it all breaks down in chapter 9, it breaks hard because it's been bubbling up for six or seven chapters. Maintaining a certain degree of relatability, without hammering the point home over and over again, is key, or else we won't connect with the emotion and the scene will either feel hollow or cheesy.

18 Do you title your fics before, during, or after the writing process? How do you come up with titles?

Honestly... before. I'm such an avid pre-planner with my stories, that I usually have a draft of the whole plot, a title, a theme and a bunch of characters before I even start actually writing.

I don't really know how I come up with them. I usually try to think "is there a theme running through the story?", "what kind of feel do I want it to have?", "can I sum it up in two or three words?"

I usually try to make my titles: memorable, concise, descriptive, distinct, searchable (!) and honest.

Oddly enough, my only regret with Someday as a title is... how common it is as a word. When I search "yume nikki someday", sometimes I get lots of "oh I'd love to play Yume Nikki someday but i don't have the time right now" and stuff. Since thing happened infamously with Digimon Adventure's 2020 adaptation, called... Digimon Adventure:. Yes, with a colon. And you don't pronounce it. You're supposed to just say "Digimon Adventure" out loud. The colon also doesn't show up in some places, such as a hashtags, so when you search the adaptation online, you find the original from 1999. Terrible choice.

By "honest" I mean, make sure the title actually has something to do with the story or theme. SO many books have the word "devil" in the title to make them more intriguing and marketable but they're just random thrillers or something. For me, two to three words is the key, even better if they can be hashtag'd. Make it relevant to the story or themes, make it pronounceable!!! A lot of people keep calling Digimon Extend "Digimon Extended" for some reason. Really, keep it simple, people don't have good memory. (?)

26 Which of your fics would you call your wildest ride?

1000noches (La noche de las mil noches), for real. I wrote it in a month, one chapter per day (each chapter was about a page long), then I illustrated it, one drawing per day, I posted once a day, I ATE Shinanne's Digimon 02 meta at a breakneck pace and literally changed my entire perception of Daisuke while I wrote it. It was made in a frenzy and it's my most successful fanfic yet. But then again, it's short, simple, and it features popular characters.

37 How do you choose where to end a chapter?

Well, I usually try to center each chapter around a theme. My biggest two examples are Extend and Regulus Harbor. In most of their chapters, the theme is either a confrontation or a lore revelation, or an introduction, or characters coming to terms with something. I like it when you can call a chapter "the one where X happens" in just one sentence.

But I don't think I'm that great at deciding what should go in each chapter... I often just add scenes in order until I reach 15-20 pages because it's the chapter length I like, but this is very arbitrary. Sometimes I have to move scenes to the next chapter because of this... often these haphazard chapters are the ones without a main confrontation going on.

In Digimon, setting up a chapter flow is easy. You introduce some concepts, have a bad guy of the week show up, fight, advance the plot in some way, then point towards the next step.

In Regulus Harbor, I've noticed I usually do it roughly by going through one day chronologically. Which means that chapters often begin with Itsuki or Danny (more or less diurnal charas), and end with Lydia, Fermi, Gakkoros or Jokesta (nocturnal charas). I also like to have an introductory scene and an outro/cliffhanger scene that shows where the plot is headed next.

55 Of the characters you write for, which is your favorite? Has that choice been swayed at all by your followers/readers’ reactions to certain ones?

I absolutely adored writing Goupemon and Blightmon, the villains, back in Digimon Extend. And also Sketchmon, the comic relief. In Regulus Harbor, I love writing Gakkoros and Jokesta, the main uh... antagonistic force? And also comic relief kind of. But I also love writing Danny because he means a lot to me, he's one of my oldest OCs. And of course, my boy Itsuki. I think Jokesta is my fave to write. That has been amplified by my readers' reactions to my comedy scenes... apparently I'm good at writing random comedic characters!? Says a lot, huh. I wonder how I learned that. (Please watch Nichijou.) Usually my favorite characters to write are my audience's favorite characters. Can you guys tell I'm having a great time or...?

76 Did you have any ideas that didn’t make the final cut of [Fanfic Name]?

I know this one's for RH but I'll do it for Extend too. I had this mini-arc at the beginning of season 3 where Monmon and her three uh... former family members...? would be sent to different universes along with the protagonists. I don't remember why I wanted to do it. I also cancelled a lot of stuff season 2 was supposed to have - more Armor evolutions, more time for Iván to shine in his "evil self" (?) but halfway through I realized it was getting stale so I cut all filler and went straight to the endgame before Goupemon's return. Oh and also Goupemon was going to be semi-redeemed - Pandemmon was going to be the final boss. There was also going to be a meeting with the 02 cast full of mistranslation moments.

As for Regulus Harbor, it was originally going to have 14 Reached, and Lydia didn't exist until very late in "production". Before I came up with Fermi, she was supposed to have an unrequited crush on Danny, which is why she acts so weird around him in chapter 1, and why Fermi isn't there yet. I retconned this as Lydia just being really giddy about finding a new Reached with potential and not having to rely only on the children.

Regulus Harbor actually has... tons of scrapped ideas behind, mostly leftovers from when it was a... Spyro fanfic idea? Mixed with an AU with a small Digimon cameo? The original idea was a fangame-type story based on Spyro: A Hero's Tail with 14 player characters with different elemental powers. The 14+2 element symbols are here. You may recognize these symbols as they were used for a map in my game, 311. This was [REDACTED] believe I came up with it so long ago. The scrapped elemental powers are Rock (merged into Earth), Space, Qi (merged into Life), and Crystal (will appear not as an element but something else :3).

The AU thing had a cameo from Devimon... who absorbed the power of all Dark Gems in the world (this is a Spyro concept, there were 40 in the game + 150 in my story +10 more in the AU) AND this was the original idea for Gakkoros!!! YEAH. He would eventually become something like "the incarnation of darkness itself", called Darkuro back then. Again, YEAH. It was 2007... Also, a character based on Ophanimon, called Lishiro (later Ilendora) would try to purify him, and I kept changing Darkuro's redeemability. Deciding on a final veredict took me years, and so far I'm really happy with the result.

Ishmael was going to be a human, powerless incarnation of Gakkoros, trying to get his power back. RH was going to take place in New York in real life, only with humans, all of them coming from different places in the world. The cursed mirror idea is actually very old, from ~2010 probably.

Itsuki's inclusion in the story was extremely late, not decided until 2018-2019. An old OC named Nano, the oldest character of ALL of them, created around 2005, was going to be there instead. Nano's personality was divided into Panuk and Itsuki. Interestingly, you can see a door representing him in Someday's Meta-Nexus. All of the Meta-Nexus doors represent OCs from different stories in different universes, most of which I didn't write at all. Panuk's door is actually repurposed from Víctor's, from Digimon Extend. I've actually been thinking of replacing one of the doors with a new one for Víctor or Joaquín, since it was for a Homestuck OC... and I'm so over that phase :')

There are more unused ideas but I still have them around my head just in case I do use them.

Also, if you've read a11 of this, uh, yeah! Thanks! And you're welcome. ???

[kingdom-of-ire]

Eire (agus an chuid eile) teaser

Irelands eye

[aconfusedkitten]

for the ask gameeee

the words: needle-nogging, undertaker anddd death? (just to spice things lmao)

Whole towns starving to death, places unfortunate enough to house a dying plant subjected to every misfortune under the sun

i'm so very late, and it took so long to find a trigun fic that had any of those, but here you go!!!!

[darkficsyouneveraskedfor]

Winter's King 27

No tag lists. Do not send asks or DMs about updates. Review my pinned post for guidelines, masterlist, etc.

Warnings: this fic will include dark content such as noncon/dubcon, cheating, violence, and possible untagged elements. My warnings are not exhaustive, enter at your own risk.

This is a dark!fic and explicit. 18+ only. Your media consumption is your own responsibility. Warnings have been given. DO NOT PROCEED if these matters upset you.

Summary: You are a maid to the Duke of Debray, a lord of the Summer Kingdom. That is, until the king of Winter appears with his particular air of coldness. (Medieval AU)

Characters: Geralt of Rivia

Note: I missed our delulu king.

As per usual, I humbly request your thoughts! Reblogs are always appreciated and welcomed, not only do I see them easier but it lets other people see my work. I will do my best to answer all I can. I’m trying to get better at keeping up so thanks everyone for staying with me.

Your feedback will help in this and future works (and WiPs, I haven’t forgotten those!) Please do not just put ‘more’. I will block you.

I love you all immensely. Take care. 💖

Vesemir is stoic as he faces the king. The younger of the man cannot be described as the same. A tick in his jaw tugs as his eyes move between the Lord and yourself. Finally, the wander to the other woman in the room, a maid like yourself; Ezme. 

“I am aware you have little time to spare before your departure, so you do best to let me speak plainly,” Lord Vesemir begins, “and so I will.” 

King Geralt hooks his fingers in his belt. His overcoat is undone and his hair messy in its tie. He looks as worn as you’ve ever seen him. You feel much the same. 

“There are whispers in my halls,” Vesemir continues, “they speak of the king and his queen. They stir with scandal and distaste alike. Summer lords are discontent and discontent is a virulent as a winter ague.” 

“You said you would be plain,” Geralt demands. 

“Ah, yes, but I hear less of king and queen than of king and maid, those whispers threaten to become a chatter,” Vesemir tilts his chin defiantly. 

“Don’t,” the king warns. 

“I must. You will not hear any others, even those speaking so venomously behind your very back,” the elder lord jabs his finger in the air, “you would risk your victory for what--” 

“You have no place to reprimand me on this,” Geralt walks forward, planting his hands on the table as he glares across at the other man. You can only assume by his stance the dark expression on his chiseled features. “You sit here with your mistress and would scold me for the same--” 

“I am no king. I am a forgotten soldier in his hold. No one might notice me. No, my liege, my lord, my king, I do not scold you, I warn you and I offer my assistance, not my defection,” the broad castle lord squares his shoulders as Ezme sidles towards you. You share with the maid an uncertain glance. “Let her stay. Go and settle your kingdom, balance your crown, sit the throne so all can see your right. When all is even, return, then yo might claim your pleasure but you need to attend your duty first.” 

The king is silent. He takes a deep, gritty breath and drags his palms across the wood, standing slowly. He exhales in a winter draught. He dips his head slightly as you wallow in the frigid lull. 

“I have put down a summer king, I have marched the lands from hinter to sunlight, I have overcome more than your fears, old man,” Geralt snarls, “I do not care for gossip on the tongues of foolish ladies and their thin-skinned husbands” 

“Yet, you should,” Vesemir insists. 

“Who are you to tell me what I should do? Lord Vesemir, you have served me well and loyal, I do not doubt you, but in this you have no place,” the king grits. “My wife has an heir in her womb, I have my victory, I have done my duty. I have bled, I have wept, I have given my very being for these people. Why should I be deprived of one sliver of selfishness?” 

“It is treacherous--” 

“My father had three mistresses at once. That was treacherous. He was clumsy and careless. I am not the same--” 

“She wears your cloak. You would flaunt it in the faces of all. How is that not careless?” 

“Your integrity stands by the hearth, watching us, and she will lay in your bed,” Geralt accuses, “why should I care what judgement you put upon me?” 

“I am a lonely old man, not a king with a new bride--” 

“Enough!” Geralt roars and grabs the table. He jerks it to the side, throwing it to the wall so it bounces and rolls onto its side, a split renting down the wood. “Lord Vesemir, we will leave your vulture’s nest and you will be sure that you shall not need to trouble yourself with your king ever again. Your dues are paid, keep your gold and your bedwarmer, and I will keep well my kingdom.” 

You stare stunned from the corner. Ezme winces as the furor of the king’s fury lingers in the air. That horrid bang echoes over and over in your mind. You can’t help but whimper in surprise as suddenly you are seized around your sleeve. The king moves quicker than you can think. 

He hauls you away from the wall and towards the door Vesemir’s sigh fans from his nose, “I tried, dove.” 

The king swings the door inward and urges you without. He does not close it as he marches down the corridor, his grasp tight around your wrist. You scramble to keep up, soles scuffing, fingers throbbing as his grip threatens to crack your bones. 

You whine, “your highness.” 

He carries on as your toes flutter over the stone. You can’t keep up. You will surely fall and your hand should fall off for the swelling of blood. You grab at his sleeve and speak louder 

“Your highness, please, I beg you, it hurts,” you plea. 

He falters and spins back to you. He stares at you with his golden irises and the angles of his face soften. His gaze meets the vice of his hold on you and he releases you all at once, hovering his hand, turning it to examine his own palm. He drops his arm straight. 

“My summer maid,” he breathes, “I apologise, I did not... I would never hurt you. Not with meaning. I was only...” He reaches sheepishly to pet your shoulder, “are you alright?” 

“Your highness,” you rub your wrist, “I understand. I was only afraid--” 

“Yes, yes, the lord does mean to sabotage us,” he growls, “I will not let him. You cannot stray. You will remain with me for the night and in the morning, we shall go.” 

“As you wish, your highness,” you accede and dip your chin. 

He sighs through his nose as he tickles your neck then slowly draws away, “would you stay? If he’d asked you and not me?” 

You keep your eyes down. You cannot let him see your doubt. Truly you do not know the answer but that uncertainty is as wretched as disloyalty. 

“I would go wherever you will have me,” you assure him. 

“Yes, I know, treasure,” he brings both hands to cradle your face, raising it up, “it is fates that prized me with a creature so loyal as you. I would not squander this good fortune which has brought us together. I will not risk it, I will not risk you. I will protect you forever, my treasure.” 

You try to smile but your cheeks tremor and your eyes glisten. Your heart is racing and you shiver for more than the corridor’s chill. You can sense the danger of his words and that very moment. 

“You fear me?” He searches your face. “No, you needn’t. It is those who wish to oppose us, who should ever dare plot against me who should fear me.” 

His thumbs run over your cheek bones as his lip curls and again, he pulls his touch away from you. He reaches for your hand, twining his finger through yours, and clings to you, firm, but much less painfully than before. He leads you onward and you can only follow. That is your only course from there on, to go where he bids. 

He is intent on his path, he does not waver. He takes you to the tower and points you up the twisted stairs ahead of him. You climb up to the chamber that greets you with the same ominous air. It feels a cell even with its blazing hearth. 

The king follows you in. The hinges whine, the hooped handle clangs on the wood, and you’re shut in once more. The winds wail outside the walls loudly. 

“Where is your cloak?” The king asks as he trods the wooden floor. 

“In... the chamber I slept--” 

“I will have it brought in the morn,” he assures, “you won’t need it until then.” 

He pulls his sleeves down his arms and sheds his overcoat. You linger by the door and watch him with dread. He is intent as he tugs the tail of his shirt free of his breeches, half of it is already untucked. He is dishevelled in his own way. You’ve always noted he is rather orderly in his appearance, even amid the dirt of the road. 

He strips his shirt off and piles it in the seat of a chair with his coat. He strides to the table and the basin of clear water atop it. He scrubs his face and hands, then his chest. He is intent in the act as you teeter on your feet. 

“Please, you will retire,” he insists without looking back, washing himself as fervently as he can. The noise of the water plucks in the air, “I will join you short, treasure. I only seek to scrub away the day’s filth.” 

“Yes, your highness,” you acquiesce. 

You sit to unlace your boots and peel off your stockings. Next, you remove your apron and loose the top of your dress. You fold it all neatly on the bench at the bottom of the bed. You approach the towering post in all but your shift and nestle under the blankets. You lay and listen to the king’s activity. 

Despite it all, the bed is warm. You can’t help but bask in the welcome of the layers of wool and linen. You’re startled as the king’s silhouette appears at the bottom of the bed frame and he lifts the end of the heavy covers, slipping a warm shape beneath. The hot brick radiates from the foot of the mattress nicely. 

He retreats and a sharp blow puts out the flame of the lantern. The hearth provides the only light as it flickers around his looming shadow. You stare at the door as you fold into yourself. 

He circles around the other side, behind you, and his weight jostles the mattress as he crawls in behind you. He moves close to you, his hand grazing over your shift, lingering on your hip and creeping up your side. He pulls you onto your back as he slides his arm beneath your head. 

You let him move you as he desires. He commands without words. The thick hair along his torso is still damp. He holds you against him, touching your cheeks, tracing your jaw and throat, admiring you in the dim glow. He purrs and presses his lips to yours. 

When he pulls away, he lets his head rest on the pillow. You feel his gaze still as he plays with the strings of your shift. He moves even closer and nuzzles your hair. 

“This is where you belong, treasure. Near to me,” he rasps, “I shall never let them take you from me.” 

⚔️

Sleep is chased away by the wind. That without keeps you awake, along with the hot gust of the king’s breath. His snug hold on you, his constancy even in his slumber, the heat of his body adds to your restlessness. 

You feel him stir and close your eyes. You feign the sleep you’re so desperate for. His breath rises from his nose like a wolf’s growl. He shifts cautiously, as if not to disturb you, and drags his arm out from around you. He leaves a doleful kiss on your cheek and sits up. 

The bed groans with his weight. You dare to peek through the slits of your eyelids as he turns to sit with his back to you. His flesh is ridged with scars, rippled with the battles fought and won, the years marked into his very body. He hangs his head and holds it in his hands. You languish in his rumination. 

The fire crackles softly. He looks over stiffly and stands with a heave. He is completely naked. You hadn’t realised. He goes to the hearth and feeds it. He groans at the effort and stands straight. 

His figure is lit by the amber glow as he watches the flames. You can see why he has no fear. He is built unlike any man you’ve seen. He is power incarnate. He is the king of legends. 

“I would lay down my crown in this very second for you, treasure,” he says.  

You squeeze your eyes shut. Does he know you are awake? You don’t move for fear that he only speaks to himself. 

“How cursed I am. I’ve won a kingdom I could not care for. Not if it would cost me you,” he murmurs to the fire. His voice is so low that he cannot possibly mean for you to hear. “How I dream of sweeping you away. We should steal a horse from the stables and secret our love away into the wilds.” 

He sniffs, “we would find a place in the hinter. I could build a house, you could mind the hearth, and I would hunt the elk... we could be just husband and wife. Not king and maid. We could be... happy.” 

He heaves as your heartbeat pulses behind your ears. You hear him moving, towards the bed, towards you. The mattress once more shifts and the blankets lift. He slips in next to you and lays back heavily. 

“My treasure, what you cannot know. How deeply I love you. I long for you with my entire being,” he lays flat next to you, rigid and hot as his arm presses to yours. You will yourself to stone; still as a statue. “I ache for you... to hold you, to kiss you...”  

His arm moves and the blanket ripples against you. You focus on your breaths, keeping them slow and deep, hiding beneath the facade of slumber. “...to have you under me...” the subtle brush of the blankets continues, tickling you, threatening to break your defence, “to have you touch me too...” his voice is strained as the bed shakes with the building tempo. 

What is it he does? Why is he so breathless? It is only his long groans that assure you of his elicit act. That he touches himself as he speaks of his desire. 

“I should like... to taste you...” he puts his hand on your thigh. You nearly flinch as he swirls his fingertips against your shift, “I should like to feel you around me. How delicate... how warm... how...” 

He moans and bites down, carrying on as his fingertips curl into your thigh. His words fracture around his grunts and he pumps himself fervently. You shield yourself behind your eyelids. You try not to hear, not to feel, not to be. 

When at last his voice piques and he spasms beside you, your name wafts from his mouth, silty and thick. His hand slips between your thighs and lays over your cunt. He lingers there, pressing down to feel you before he retracts his arm, rolling onto his side. 

“I will wait,” he resigns, “but I shall claim you, my treasure.” 

[tothecrucifieddeer]

PROPHETIC SIGNS/COMMANDS/IMAGES

Moonchild by Santiago Caruso

Untitled by Liz Mamont

She Laments by VikiGrindhouse

Dumb (acrylic on board) by Wilqkuku

Untitled on Zegalou's blog

ヨコイジュウ @4kuda5rana1

Nightmare (acrylic on canvas) by Vaxolong

Survival (acrylic on canvas) by Vaxolong

Untitled by Cult of Mortem

Divine Ammonitic Fluid Harvest System by dariuszkielisszek

The Crucible by dariuszkielisszek

Ten Piedad by bawdysuojb

Untitled Painting by A Bearded Artist

Split (acrylic on plywood) by Vaxolong

Untitled by A Bearded Artist

English explanation of signs will be under the cut--beneath the Irish.

Míníonn an Doe cad as a dtagann sí agus cén fáth go n-éiríonn sí san Oíche den chaid is mó. Rugadh ar an ngelach í. Mar leanbh gealaí tá sí os comhair réalta na maidine agus oi bríonn sí i groinne draíocht chun on Meisias a chosaint.

Bíonn Doe le feiceáil lena fenn sainiúil ar lasadh--ní raibh mé einnte cad is aiis leis sín Creidim gur rabhadh é seo a bhaineann leis an spiorad naounh agus éirí amach na marbh.

Déanann Doe caoineacdh m'easumhlachd agus an suithheadh atá le tacht ar son an domhain-molann sí mé chun gnimh. Tá a fhios agam nach féidirleon. Ach iarran sí orm orcas agus gan dula chodlaoh. Chun gniomhá or bhás ag teacht. Meisiasa thabhairt chun a chuspóir.

Sampla de na mairbh agus a reachtanaas oerach.

Meabhrúchán ar hamlinté atá ag titim as a chéile, lena n-áiritear amlinte ALfa, Bunscoile, agus Órga a bhaineann le héabhlóid mé féin go Macalla, Ocrais, nó Ascended. (Is tuar níos oimhe níos sine í seo nach mór amhiniu uair elle)

Taispeánann Doe í féin leadharca laasracha angus clóca suíle. Tá si at afire angus at cosaint dom í rith an hamlinte chun né a bheannú. Fiú má bhí né ag mí-iompar den chuid is mó.

Fulaingt an march in Ifreann a mheabhraíonn Doe dom go bhféadfainn die ready a chur leis and tascannanach ndéanfaídh mé.

Níos marbh

Comharthaí lobhadhi *súile brevity (féach orthodontist see ionam féin angus a ngaolta—ciallaíonn sé breoiteacht, olc, easpa cosanta)

Caireadhchun athbhreith an Mheisias a Chríochnú ó sofa go diaga.

Arís ag impí orm an rad nach ndéanfaidh mé a dhéanamh.

Meabhraítear gurb é an Melissa’s a lean hour agus cé go bhfuil fears uirithi teastoionn uaithi abhaile é.

Foirm leathfior Messiah.

Na Mairbh ionam agus na hamlintie a rialaíonn mé. Tá Doe ag iamaidh orm iad a shaoradh.

Mo chimiúint má éiríonn Orcas orm leonta le Lobhach.

Doe explains where she comes from and why she mostly only rises at night. She is born of the moon, the moon is her womb. As a moon child she is opposite but close to Morningstar and works in opposite magic to protect Messiah.

Doe appears with burning head. I’ve never bee sure what caused it. I believe this is, the warning the involving of the Holy Spirit and the rising of the dead..

Doe laments my disobedience and the coming turmoil for the world. She urges me to act. I know I cannot. But she asks my to act on the Death coming and inevitable—to bring Messiah to he’s true purpose. To bring him home.

An example of the dead and their ravenous need.

A reminder of the collapsing of Timelines in on each other through including theAlpha, Primary, and Golden Timelines including the evolution of myself into Echo, or Hunger, or Ascended. (This is an older, deeper prophecy that must be explained at another time…)

Doe she’s herself again. Flaming antlers, a cloak of eyes, she is watching me progress through timelines, trying to bless me even I have been mostly disobedient. She doesn’t want to punish me even though I have jeopardized a great many things in my stubbornness.

The suffering of the dead of Hell.

More dead.

Signs and symptoms of rot: *Sick eyes (watch for these in self and loved ones—sickness, evil, unprotected)

Invitation to complete Messiah’s rebirth from Holy to Divine.

Again begging for me to do what I won’t do.

A reminder Messiah is Doe’s child and that she is angry and she misses him. I know what she wants me to do but I won’t do it.

Messiah’s semi-true form.

The Dead within me and the timelines I control—Doe wants me to free them.

My fate if I become the Hunger filled with rot.