#asks ;;; the queens answers

[lucyllawless]

For @damnwormholes

[quiddling]

your rhaenyra is biblically accurate canon milf

thank u i wanna scissor the sadness out of her so bad it makes me look stupid

[mysterycitrus]

on a scale from 1-100 how much would members of the arrowfamily dislike jason todd, with 100 being like absolute hatred?

[thewritetofreespeech]

Rhaenyra with prompt 10 plz

Prompt list - 10. Mutual Masturbation [F/F]

--------------------------------🐲-----------------------------------

Rhaenyra sighed as she sat at her vanity. Preparing for bed, but even looking at her own reflection seemed exhausting at this point.

Had she known the burden of taking the crown and wearing it would be so much, she may have just laid it down to begin with.

“Your Grace,” Rhaenyra turned from her reflection and frivolous thoughts, “are you alright?”

“Oh, yes, I am fine.” She told her ladies maid before returning to getting ready for bed. “Just a little tired. That’s all.”

“Hmmm…yes. It has been a long day, hasn’t it.” The young woman came up behind her Queen. Taking the brush and taking over the duties of brushing her long, silver hair. “Any word from Prince Daemon?”

Rhaenyra’s face soured but played it off as if she had hit some knot. “No. Not yet. But we will.” The last part was added as more of a hope than a fact. “I do not wish to talk about that right now. I do not wish to think about anything right now.”

The Queen sighed and slouched in her chair. Her maid chuckled a little and sat the brush down. “Shall I help with that instead, your grace?”

Rhaenyra looked up at the other woman. Her face sincere and non-judgmental. The first face in days she had seen that wanted nothing of her, save Rhaenyra’s happiness. “Yes.”

They come over to the bed and the maid helped her strip out of her nightclothes. “You too.” She ordered. This was not the first time they had done this. Her maid helping her ‘relax’. But Rhaenyra preferred them both to be naked when they did. There was something…vulnerable about it when she was naked and her maid was not. Too much the potential for danger; but perhaps that was her paranoia of late.

“Of course, your grace.” She agreed and stripped out of her simple clothes as well.

They lay on the bed facing each other. A long moment passes over them. Both waiting for the other to move and initiate. No one was sure who moved first, but soon enough they were kissing and the maid’s soft but still calloused hands roamed over Rhaenyra’s body.

Rhaenyra moaned softly into the kiss. Realizing now how devoid of touch she had been since Daemon had left. Her girl’s finger tips brush over a swiftly pebbling nipple. Down her center and over her naval. Finally seeking  purchase between her thighs. “Oh Gods…” Rhaenyra moaned. Hips almost instantly bucking against those practiced fingers.

The digits stroke at her core and moistened folds. Brush over her pearl in a way that makes her shiver. Mind going blank in the fog of passion, just like she wanted.

Rhaenyra’s own hand reached out for her maid and started to touch her as well. “Your grace,” the other woman sighed wantonly, “you needn’t….this is to help you. About what you want.”

“This is what I want.” Rhaenyra told her. Thighs trembling as their panting breathes mix together amongst the whispers of their secret. “Would you deny your Queen?”

The other woman whimpered and leaned in to kiss her Queen.

Their hands continue to touch and fondle each other in the dark. Soon enough, they were rutting against each other like animals. Devoid of the pleasantries of their stations and replaced with the primal urge for climax.

Rhaenyra came first. Apex seizing around her maid’s fingers as her whole body shook. Grasping at her with her free hand while the other toyed with her maid’s clit further to send her over the edge as well.

When it was over, and the fuzzy feeling of the fog had lifted, Rhaenyra turned to slide herself beneath the sheets and felt the bed shift for her maid to leave. “Wait. Don’t go.” The other woman paused, dress in her hand. For a moment looking just a pen drop fearful as Targareyn’s were known to change their mood like the winds. “It is rather cold tonight. I could use a bedwarmer for the evening.”

It was no lie. Dragonstone was much cooler than King’s Landing. Cooler in climate. Cooler in company. Cooler without Daemon here beside her.

Her maid smiled shyly and dropped her dress back to the ground. “Of course, your grace, whatever you need.” She crawled back into bed with Rhaenyra. Coiling about her as the Queen wished before the two fell asleep.

[cbrownjc]

The one thing that I don’t get is if Devil’s Minion happened during the 70s, that means that Armand was basically leaving an heavily injured Louis alone in their house for long periods of time. In the book, Daniel and Armand basically move in together and spend all their time together. The Chase also seems like a full time job. I feel like Armand wouldn’t go do that, as he’s still madly in love with Louis during that time. He’d probably devote all of his time taking care of him. Or do vampires just heal faster, even with significant burns?

Hi!

So see, The Chase is actually why I think it was clever of the show to have Louis attempt what he did when he did, and be so severely injured by it. Because, as I said here, Louis having such extensive burns means there is really only one way for him to truly heal from them quickly and that is if he does the same thing Lestat had to do in the books when he was severely burned in the same way in the books and I feel we will see him be on the show (and probably was doing when Armand contacted him in 2x05 back in 1973) -- and that is to go underground, into the very earth itself, to sleep for a time and heal.

See, that is one reason Louis begged Armand to put him in his coffin at one point after he was hurt. Vampires heal quicker from injuries when they are in their coffins. And they heal even more quickly -- and grow even more strong in their abilities and powers -- if they go into the earth to sleep for a time.

In the books, Lestat went to sleep underground in the earth for 55 years from all the heavy injuries he got -- first when Claudia slit his throat, then when Louis set him on fire, and then, in Paris when Armand threw him off a tower. Lestat went underground, into the earth, to sleep from 1929 to 1984, to heal from all of that.

So I think Louis likely did the same thing for a short time after he and Armand left Daniel at the drug den -- Louis went into the earth to sleep and heal from his wounds.

And when a vampire is in the earth asleep, they are at their most safe from harm. Even during the burning from Akasha, the vampires who were asleep underground were not burned by her, because they couldn't be burned while within the ground. I'm only up to Chapter 15 of Prince Lestat, but that is a word and tactic that is being broadcast by Benji for all vampires to do during the worldwide second burnings -- to go into the earth, underground, if a burning begins where they are to escape it.

So in truth, Louis wouldn't actually need Armand to watch or take care of him once he was in the earth, underground, asleep. Because that's how Daniel actually first met Armand in the books. Armand was just hanging out at Lestat's house for decades, waiting for Lestat to wake up again while Lestat was asleep underground. Armand didn't need to watch or take care of Lestat as he was doing so -- Armand was just there because he had nowhere else to go. So when Daniel stumbled into Lestat's house looking for him, chasing Daniel actually gave him something to do.

And so I think the same will be true wrt the show. Once Louis goes into the earth to sleep and heal, Armand really isn't going to be needed by Louis for however long Louis sleeps underground. Just like in the books when it came to Lestat doing the same thing.

In fact, I can see a parallel with Lestat and Louis now both being underground and asleep at this point in time in the show, both healing from everything they have both gone through, as I honestly expect Lestat to also get severely burned during the events of Paris, just as we saw Louis get burned in 2x05.

So yeah, once Louis is safely underground, Armand will basically be by himself for however long that may last. And I can see his curiosity with that boy Louis called "fascinating" occupying his mind again, and him deciding to check up on that boy out of curiosity. And, as I said here, Daniel remembering the first interview still -- as well as the inspiring words he now had on repeat in his mind -- I think is going to have Daniel first looking for Louis and then, failing to find him again, will have him try to find Lestat.

Because in the books, all Daniel did to find Lestat's Garden District house -- which Lestat was sleeping under at the time -- was to go through property ownership documents in the Hall of Records in New Orleans, and find Lestat's name listed, right there, for a few properties, the Garden District house being one of them. Daniel, of course, would have never been able to actually get to Lestat himself, because Lestat was deeply buried under the earth at that time, but he still found the house easy. And then, when he arrived there, that's when Armand first caught him and locked him in the cage.

One of the things about The Chase I always wondered about before now wrt the show's version of it was what Louis would have been doing during it, as I always thought it was critical that only Armand and Daniel be involved in it. This is the main reason I thought The Chase in the show would only last a year or so, instead of the 4 years it lasts in the books.

But now, with Louis being so severely burned, I think that gives the answer. Just like Lestat, Louis will go into the earth, underground, to sleep and heal. And, just like in the books when Lestat did the same, Armand will be alone and on his own while he waits for Louis to wake up again. Which will probably take some years to happen.

And the only reason I don't think Louis will be asleep for the whole time Devil's Minion happened in the past -- which was 12 years in total -- is because of Louis calling Daniel "our boy." Meaning I think, at some point, Louis was with Armand and Daniel both sometime after Armand and Daniel fell in love and came together while Louis was asleep, and he and Daniel became even closer friends during that time. But who knows? Maybe Louis just calls Daniel "our boy" because of what took place during those 3-4 nights back in 1973 and nothing else, and Louis just sees Daniel as a "testament to their companionship" or whatever, and he really was underground asleep during almost the whole of Armand and Daniel's relationship. That is very possible as well IMO.

At any rate, I do think there might be something to Armand saying that he and Louis have been together "for 70 years" in the bedroom scene in episode 2x01, but then Louis saying they've been together "for 77 years" at the top of episode 2x02. Armand could have just been speaking in general numbers, or . . . maybe there is a 7-year gap when they weren't together. And maybe that gap is talking about the years Louis spent underground asleep and healing -- which it's clear that Louis himself wouldn't remember in the present-day, since he didn't even remember attempting to kill himself in the first place (thanks to Armand's memory reprogramming on him). And, during that 7-year gap, that is when The Chase happened, as well as 3 of the 8 years Armand and Daniel were fully together after confessing being in love with each other as well.

Which, come to think of it . . . if you do the math on that? 1973 + 7 years takes you to the year 1980. And if you look at Daniel's LinkedIn page, his writing credits didn't really start accumulating until 1981. As Daniel said himself, the 1970s are just a blur to him. And this could be why.

So I can imagine Louis waking up around 1980 or so and learning from Armand that he and Daniel are now together. And yes, I think Louis would be okay with it -- because hell, at least Armand wasn't alone while Louis was asleep healing, and Louis himself already has a fondness for Daniel anyway. (All of this happening being something Louis doesn't remember anymore now of course).

But between Daniel's growing career and Alice somehow coming into the picture sometime in the 1980s (because yes, I do think Alice is real, even if I also think a lot of Daniel's memories of her are really memories about Armand), things begin to go sour, with Daniel probably insecure because -- like in the book -- Armand kept refusing to turn Daniel so they can be together forever, and Armand reluctant to turn Daniel for a host of reasons I mentioned in this post, as well as probably not trusting Daniel to not run off and leave him once he is immortal (which is also a fear that Armand had wrt turning Daniel).

Anyway, so yeah, I actually think the reveal of Louis' burns strengthens the argument that Devil's Minion happened in the past because it now gives us an idea of what was going on with Louis not only during the time of The Chase, but also quite possibly the first 3 or so years of Armand and Daniel being a fully in-love couple. And that is that Louis went underground, into the earth, to sleep and heal. Just like Lestat was probably also doing from his own post-Paris wounds and injuries at that same time. Louis and Lestat both were safe underground in the earth -- which is the main way for vampires to heal faster from heavy wounds while being safe while they do so -- and didn't need anyone watching over them or taking care of them.

And so, just like in the book with Lestat when he was underground asleep (because in the books Armand and Louis had already long broken up and gone their separate ways when Armand was just hanging around Lestat's house waiting for him to be fully healed and wake up again), I feel the same thing likely happened on the show with Louis. Louis was asleep underground, in the earth, healing; and Armand was alone and left to his own devices because of that when The Chase between him and Daniel first began.

[yuwuta]

MORE KNIGHT YUTA PLEASE I BEG OF YOU!!

yes ofc. he’s obedient, but still sly...... to me, knight yuuta will do as you say, but he will also act before you speak if he thinks that’s what’s right to protect you...... it’s like..... he thinks he’s the only person who can protect you, and you’re the only person who can protect him from himself........ anyway, enjoy this teehee cw mentions of murder (what else is new)

Yuuta sighs when he sees your silhouette in the moonlight, peering over the grand balcony. The heavy fabric of your dress resists rustles in the shallow winds of the evening; it tells Yuuta that you have not gone to bed, that he did not wake you, that you waited for him, that you anticipated him. 

From his position below, standing center in the courtyard, you appear something like a goddess, but he knows better than to compare to something so fickle. Gods are fable and you are truth, you are real. 

“Princess, you should be asleep. Might I help you to bed?” Yuuta offers, voice loud enough for you hear him one story higher, but quiet enough not to rouse the other knights on watch for the night. 

Yuuta watches intently as you shake you head, trails the smooth movement of your fingers grazing across the stone ribboning of the railing. You stop at the center, resting your clothed forearms against cold stone, wrists and hands hanging over the edge, and the lightest hum escaping from your lips, “If I were to fall, would you catch me, Yuuta?” 

Yuuta nods, without hesitation, “Yes, princess.” 

His eyes remained glued to you, carefully tracking your movements as you slowly sway to your left, delicate footsteps carrying you to the top of the stairway. Yuuta’s body turns with yours, standing at the base of the stairs, awaiting your arrival. 

Your careful to lift up the skirt of your dress with one hand, press your palm to the railing for support with the other, tilt your head down enough so that Yuuta can see your face in the moonlight, “And if I were to ask you to escort me to the kitchen, would you?” 

One, two, three steps, and you pause. Yuuta answers, “Yes, princess.” 

A hum, another step, then three, then four, then another question, “And if I said I craved fresh berries, and asked you to gather and wash and prepare them for me, would you?” 

“Yes, princess.” 

You continue at a slow pace, three steps, another question, three more, and Yuuta answers; always yes, always willing. You stop, three steps before the end of the stairs, and yet it only makes you a head taller than your knight. You drop your dress, take the smallest step forward, but not down, before you pose your next question. 

“And if I asked you to return to your quarters and not kill Lord Hajime tonight, would you?” 

This time, Yuuta cannot meet your eyes, head turning down, gaze set on the cold floor of the courtyard.

“Would you not do what is asked of you, Yuuta?”

He hears your voice first, then feels the warm touch of your fingers when you reach out to comb through his hair. Your fingernails scratch against his scalp, tugging with gentle vigor until you’ve forced his head up, until you’ve forced his gaze; and then, slowly, you bring your other hand to join its companion, and you have him between the palm of your hands. You always do. 

He holds his tongue, still; he wouldn’t dare say no to you, even if he thinks it. 

“Or do you only do as you please?” you tilt his head between your hands, “You would lie to me, wouldn’t you? You’ve done it before.” 

“Only for your protection,” Yuuta says, pleading, “I promise.” 

You hum, warm fingers brushing against his cold skin in the night. You look daunting, beautiful. 

“I might not be as conniving as my guards, nor as divisive as my cabinet, but I am still the princess, and you still serve me,” your words are calm, steady, eerie; Yuuta shudders into your touch when you trail you left hand down, pointer finger tracing along the frame of his face before hooking under his chin, forcing further accession between you and him, “Do you no longer wish to please me, Yuuta?” 

Yuuta sighs, raising his hand to wrap around your wrist, the cold metal of his armor whistling with his movement. With worried words and weary expression he asks: “Would Lord Hajime please you, princess?” 

He watches as your face falls, eyes sad and lips solemn, moving your hands down his face to swipe your thumbs against his temples. Yuuta lets go of your wrist, but he remains pliant in your hold, obedient under your touch, grateful when you shake your head.  

“Then why can’t I kill him?” Yuuta questions, earnest and upset. 

“Oh, Yuuta,” you muse, brushing away a fallen eyelash before bringing his head to your chest and cradling it between soft palms and soft cloth, “My Yuuta,” your words are spoken against the top of his head and the warmth radiates down the rest of his body.

“Lord Hajime will be dealt with accordingly. This is not how I wish to resolve things,” you assure him; Yuuta doesn’t like your solution, but you are his princess, so he will listen, he will stand and be warm against you, “And you are obvious. Another murder would only raise suspicion.” 

“They do not know it was me.” 

You chuckle, only lightly, and Yuuta can feel it against your chest, “But now I know.” 

Yuuta looks up, chin resting against your chest, his hands reaching up, resting greedily against your waist. Your palms find purchase against his cheeks again, and his eyes flutter closed for a moment, sinking into his dream. 

Slowly, he opens his eyes, blinks up at you. “I will accept whatever punishment you see fit.” 

This time, you tilt your head, allowing the moonlight to strike his face. Yuuta glows in anticipation, awaits your word. A moment, and then a hum. 

“I’m sure you will,” you tell him, before removing your hands from his face. Yuuta whimpers, pout growing deeper when you turn around in his hold, your back to him as you begin to ascend the stairs. 

Again, he waits, hands falling to your side as he eyes your silhouette. He counts ten steps before you turn your head over your shoulder, “Come. That’s an order.” 

Yuuta dips his head down, clasps his hand behind his back before he begins to follow you up the stairs, “Yes, of course, princess.” 

[timbit-robin-art]

… would you mind drawing Warren Worthington and Emma Frost holding the trans flag?

(both of them being trans is a somewhat popular headcanon for the both of them and I think it would be cute!)

This is a very cute idea.

[signanothername]

What does the gang think of nightmares new outfit?

(By the way she looks fucking gorgeous, LONG LIVE QUEEN NIGHTMARE 🗣🗣🗣)

Ngl they probably made a bet on whether Nightmare would start wearing royalty outfits, and Killer almost always wins any bets they make (especially when they’re regarding Nightmare), Horror and Murder despise him for it dhdhhdhdh

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First

[paintpanic]

Res AU Joronia drawings. Character rambling and bonus doodles under cut.

This AU takes place a good while after the events of Triple Deluxe happened. Since then, Taranza's mostly recovered mentally from everything. He was able to move on from his grief and (somewhat) forgive himself. Now that Joronia's in his life again, seemingly back to her former self, some of those wounds he'd thought were fully healed have started to ache again. He still feels ultimately guilty for what happened to her.

He's thrilled that Joronia's been given a second chance at life, but is somewhat wary deep down. This feels to good to be true, that she's just back with seemingly no strings attached. The other shoe could drop any day now, and he could lose her all over again. Fearing this, he wants to make the most out of what could be a short time to be together again with his friend.

Joronia senses that there's a distance between the two of them now that wasn't there before. It shouldn't be surprising; he's probably still hurt from what she did. Other people definitely are. She's determined, though, to work hard to make it up to everyone she's hurt, and to prove to them (and herself) that she's not really like that, that she's capable of being better.

The Mirror's influence twisted her mind and her perception of reality. It made her feel like she was inadequate, and that everyone else were enemies to be subjugated. Now, she's supposed to be normal and better, but she still feels like there's something wrong with her head. She still doesn't feel good enough, and it still feels like everyone hates her. It's hard to trust herself. She's not sure if it's some lingering effect of the Mirror, or if there's just something inherently wrong with her now. She's scared.

She's afraid that something will happen, that she'll revert to how she was as Queen, and that she'll hurt Taranza again. Someone who'd always helped her, who'd stuck with her even when she was absolutely horrible to him, and who's kindness she's relying on again now, staying at his home as she worked on getting her life back together. She's a burden on him, and she always has been. She hates it.

Still, her deepest, most selfish wish is that they could be real friends again.

---

These two need to have a long, honest discussion about their feelings toward each other and themselves. Both of them are absolutely terrified about that prospect, though, because they each think that the other secretly resents them to some degree. If they actually talked through it, they'd quickly realize that they both want the same thing.

[zoroshark]

In the drawing where Rauru and Sonia get in the pond or lake or w/e,

I have a quick question, how does Rauru dry off all that hair after??? Does Sonia just rewind time to before his hair was wet??? You have burdened me with questions and I must share them with the world

I have thought about ways Rauru can dry off of all that hair! The time suggestion is a good one, so here are doodles of Sonia helping out with her time powers!

I have the other ideas drawn out, but I'll post them later. This will be part one of the ask!

[saintsenara]

honestly is there a single competent teacher at Hogwarts? Any teacher I can think of with more than 10 lines of dialogue is a pedagogical disaster. Very shippable disasters though, for which I am grateful because your page has made me giggle all week.

maybe Sprout.

honestly, anon? no.

that school is a basket case and the older i get the more my sympathy for cornelius fudge increases. imagine getting the call where dumbledore says "heyyyyy... so, i hired what i thought was an ex-auror who was retired from the service because of serious ptsd, gave him no teacher training, let him perform illegal curses on children for fun, and then it turns out he was an escaped convict trying to resurrect the dark lord all along. lmao."

i'd have devoted myself to trying to discredit him too.

and so, for fun and profit, i think it's only fair for us to establish an official competency ranking of the teaching staff at hogwarts during the period 1991-1998... points on for having a basic grasp of the material, points off for anyone who nearly dies in your class.

1. wilhelmina grubbly-plank, care of magical creatures

genuinely, professor grubbly-plank is the only person we meet in all seven books who seems to be an uncomplicatedly good teacher. she's got a series of well-defined lesson plans which feature a mixture of guided and independent study and which work in a tangible way towards exams, she has clear authority in the classroom but is never unreasonable or cruel, she's demonstrably able to lead a practical class which involves wild animals which might behave dangerously or unpredictably without there ever being any concerns about student safety, she takes an active pastoral role [such as when she helps heal hedwig's injured wing, reassuring harry enormously], she's collegial [she shares her lessons plans with hagrid in goblet of fire, and she refuses to criticise his teaching to umbridge], and she's admired by all of her pupils except harry [who is nonetheless begrudgingly forced to admit that she's incredibly good at her job].

plus, her aesthetic is iconic.

=2. filius flitwick, charms; pomona sprout, herbology

in joint second place, we have these two.

both sprout and flitwick spend canon seeming to be pretty good at their jobs - they have interesting lesson plans which seem to balance theoretical and practical work well and which prepare their pupils properly for exams, their pupils like them and enjoy their lessons, they're both excellent at the pastoral side of their jobs [sprout's gentle encouragement of neville is really lovely], and they're adored by their colleagues.

they lose marks for lax classroom discipline. harry, ron, and hermione are constantly yapping away in both charms and herbology - with harry and ron frequently failing to understand what they're supposed to be learning because they were too busy have a chat.

=4. remus lupin, defence against the dark arts; septima vector, arithmancy

two teachers here who earn their placement on the list by having one pupil who considers them life-alteringly inspiring.

for lupin, this is dean thomas - whose constant state of readiness to throw hands to defend his honour is one of his greatest character traits. for vector, it's hermione.

obviously, they're both well-qualified, well-prepared, engaging, and [at least in lupin's case, but i can't see why it wouldn't also be the case for vector] well-regarded by their colleagues.

they don't rank higher because lupin loses marks for endangering his students by not disclosing his knowledge that the presumed-to-be-a-death-eater sirius has a means of entering hogwarts without detection [i understand why he does this from a characterisation point of view, but it's inexcusable from a safeguarding one] and because vector teaches an elective subject which is implied to only attract bright, engaged pupils - and therefore has an easier time in the classroom than someone trying to get a student like crabbe through their exams.

5. minerva mcgonagall, transfiguration

in comes minnie mac at number five.

unsurprisingly, her solid curriculum, excellent classroom discipline, high-regard among her colleagues and pupils, support of student extracurricular activities, and investment in helping her pupils pursue the careers they want all give her points.

she loses marks, however, for the fact that she is so casually disdainful of pupils who aren't instinctively good at her subject - which suggests that she doesn't know how to adapt her material so it can be understood by every student she teaches. like dumbledore, she seems to have an identifiable favouritism for brilliant students - who she seems to permit to get away with much more than students she considers average or dull - which probably doesn't endear her to anyone who doesn't get that treatment.

on her pastoral approach, though, i don't think that it matters too much that she's not particularly nurturing - even though she's a head of house. she seems to be good at responding to genuine distress and managing genuine crises with empathy, and the "pull yourself together" vibes she takes in response to more trivial dramas is because she's a presbyterian scotswoman.

6. severus snape, potions & defence against the dark arts

the one on this list that i imagine will be controversial...

because snape is a dick in the classroom - not denying that - but he's also, in terms of his pupils' exam performance, clearly the most successful teacher in the entire school. he can fill his newt-level classes despite only admitting those with outstanding grades, and he expects every pupil he teaches to pass owl-level potions and seems not to be disappointed. hermione reveals that he does teach the theory of potions and the discipline's wider application - harry and ron just don't listen - and that she thinks his lessons are interesting.

snape loses marks - obviously - for his general vibe, although i think he should be allowed some leeway for his dickhead behaviour since potions is clearly a subject in which not paying attention and not being able to follow instructions properly is dangerous [hence why i've been a trevor hater since day one].

i suppose he should also be allowed some leeway because it's a genre requirement for a school story to have a theatrically evil teacher. but he's not getting it - since he clearly enjoys the role so much.

7. horace slughorn, potions

marks on for encouraging independent thinking and for clearly being able to hold a classroom's attention. marks off for not learning the names of pupils he's indifferent to, getting his favourite pupils drunk, and for having no follow-up questions to "hello, sir. i'd like to commit some murders."

8. charity burbage, muggle studies

entirely because i think it's genuinely admirable - and, indeed, far more admirable than the fact that the order of the phoenix all happily keep working for the state following voldemort's takeover - that she publishes an article in the daily prophet, to which her real name is attached, explicitly refuting blood-supremacist rhetoric when she must know that a blood-supremacist government is about to come into power.

marks off because the fact that even wizards who've taken her class appear to know fuck all about muggle society means that she can't be particularly good at her job.

9. firenze, divination

marks on because his pupils love him, marks off because that's a tremendously low bar to clear given... trelawney.

him telling his classes that divination is a bullshit, made-up subject is iconic, though.

10. "alastor moody", defence against the dark arts

i think it's genuinely impressive that he manages to go from being imprisoned under the imperius curse for a decade straight into planning a full year's lesson plans [which his pupils love] and doesn't have a breakdown.

marks off because of literally everything else.

=11. all the miscellaneous teachers: aurora sinistra, astronomy; silvanus kettleburn, care of magical creatures; bathsheba babbling, ancient runes

they seem fine.

14. rolanda hooch, flying

full respect to her for managing to wangle a full-time salary out of an annual workload made up of teaching one lesson [badly] and refereeing six quidditch matches.

15. quirinus quirrell, defence against the dark arts

all the proof those of us who hate professor riddle stories need that voldemort would have been a dogshit teacher, if he can't even get his meat-puppet to inspire a room full of eager eleven-year-olds in a subject which is about the coolest ways possible to kill people.

=16. cuthbert binns, history of magic; sybill trelawney, divination

they're terrible, obviously, but the fact that they remain in their jobs despite being so clearly incompetent is entirely dumbledore's fault. are you not giving the staff performance reviews, albus? come on now.

18. dolores umbridge, defence against the dark arts

umbridge deserves to be in prison, but she did at least bother to plan out a curriculum.

=19. gilderoy lockhart, defence against the dark arts; rubeus hagrid, care of magical creatures

both victims of dumbledore's "lol this will be so funny" era of hiring practices. both deservedly regarded as completely fucking incompetent by all but one defiant brownnoser. both possessing jazzy taste in textbooks.

21. amycus carrow, defence against the dark arts

he beats his sister simply because his pupils do appear to know how to perform the unforgivable curses correctly.

22. alecto carrow, muggle studies

literally nothing positive can be said.

[quiddling]

Hihihi! By any chance do you have an lore on you hotd knight oc? Love your art btw!

I DONT ACTUALLY HAVE MUCH HAHAHA SORRY basically the basic stuff is that he is a stormlander hedge knight who keeps popping up like a bad rash... he is kind of annoying but very loyal and kind (he is just looking for a place to live man help him out!!!) rhaenyra and him are the "can't stand her fake ass!!!! ten minutes later: me and the bestie!!" meme in my head, they are just shooting the shit <3 after the dance he eventually gets landed (yay :D) and then over the years goes on to become a real lord and forms a small house 'goldenheart' bc he wears golden armour....and is kind....  so funny

[devildomwriter]

Does MC have any other friends then the characters? Like any other student in RAD, demon or succubus?

It’s never mentioned in detail but they are said to be popular.

A few potential friends I can think of

- Asmodeus has introduced MC to people. They may be acquainted with some of them, one of them being Lucifugus.

- Queen Rose, as they really liked MC in the Dames Event but their friendship isn’t elaborated on.

- MC gets acquainted with the butcher in the human world.

- MC has at the very least spoken to other sorcerers in the Sorcerer’s Society.

- Michael could be considered acquainted at this point. They aren’t really friends in Nightbringer but in the OG they seem to get along at least.

- MC has met witches in the game before. In Season one they met the ghost of Griselda whom they got along with.

– Many one time characters from events also seem to love MC.

[bigshotautos]

I really like your theory about Spamton basically haunting a mannequin after death. Have you ever touched upon the reaction from Jevil (or anyone, really) upon seeing the new Spamton? Especially considering Spamton isn't even aware he 'died'.

^ how i think jevil's first sight of Spamton would go. i love this ask. this is referring to some headcanons I made a while back, I'll link it here for the one post and the general ghost spamton theory is linked in that one as well. Going to elaborate on it more under the cut for those interested + more art.

In general I think that people from Spamton's past wouldn't really care if they notice at all, since he wasn't in the business of making close friends with anyone. With the Addisons, in my interpretation he had a "weird co-worker" relationship with them, and while Addisons in general treated each other like potential business competitors that they had to make-nice with, Spamton is especially easy to single out for being visibly and temperamentally different. His altered, current state is something they'd feel at least uncomfortable by, but many wouldn't have been too close with him to begin with for them to talk about it with him directly. Would get whispered about between each other for sure, like we saw with them talking about Spamton after the NEO fight. It moves him from the "disgraced guy I used to know" category to the "actually unpleasant to look at or think about" territory. This goes for Swatch, Queen, and Seam (less so), who seem to buy heavily into the Lightner and Darkner dynamic, with Spamton corrupting the Lightner's dream being a strong taboo against what it means to be a Darkner.

As for what Jevil thinks, Spamton during the NEO fight is both a beautiful and horrifying display. Jevil at this point hasn't seen him in years since his imprisonment, and in their time apart Jevil has grown to find novelty in the cage that everyone else besides him is in since he's created huge emotional distance between him and the reality he lives in. Seeing the fact that Spamton had corrupted an abandoned dream of a Lightner and was causing so much chaos to the established order of the world would be exhilarating, but at the same time seeing that Spamton had accomplished this and still had his strings visible (and changed to a marionette puppet with no symbolic agency), it'd be a painful confirmation of his worldview that even Spamton, who deep down he still cares for, could never have been free.

Jevil would think at first he'd just gone through some nebulous situation to change what he looks like, since ofc he himself has toy-like traits (arguable if that happened with Gasterfication or not), Seam is a plushie cat, and other Card Castle Darkners are based on toys, but feeling the lack of life combined with the symbolic body of Spamton would mean to him something bigger had went wrong. He wouldn't dare to bring it up in an empathetic way, stuck in his mindset that it doesn't matter, but it'd still hit a part of him he doesn't like to think still exists. It's something he gets over quickly, almost performatively going back to fucking with him and taking advantage of his fear for entertainment, but it didn't sit well at first.

To me, the fact Spamton "died" isn't really a huge deal, kind of like with the ghosts in Undertale where no one really cares they're just ghosts. They're just doing their thing. To me it'd be fine if neither of them find out what happened for certain, but it's something that adds Flavor to his character.

[ayyy-imma-ninja]

I DUB THEE

QUEEN OF SHARKS 👑 🦈

is a bit big-

[artist-issues]

I’m bored and I really enjoy your opinions on Disney, so I thought you might have something interesting to say to get my brain ticking. I came across a post on Frozen and I was like, “Ah, a perfect starting place for dropping you an ask.” I’ve never really been that bothered by Frozen and I don’t know what it is that I’m just not fond about. Maybe it’s that I dislike the characters? Maybe it’s that they didn’t really have any established rules for the way magic worked in that universe and thus had anything they wanted happening? Maybe it’s the twist villain? I don’t know, it’s probably just the characters that they tried to make so cool and girlboss!

Elsa is made out to be this awesome protagonist that is never in the wrong and that grates me. She has flaws, but the film doesn’t act like they’re flaws. She runs away out of fear and shame for not being able to control her powers, but then two seconds later she’s singing “Let It Go” and making giant ice castles and bringing snowmen to life?! And “Let It Go” is super annoying for the fact that Elsa starts off worried and upset (fair enough, she’s just ran away from her home, her kingdom, her sister whom she hasn’t seen in years, she lost control of her powers) but then immediately turns round and is like, “Actually, it’s not my fault and I’m fine as I am and I don’t need any of those responsibilities!” Which would be fine, but she also finishes the film with the same attitude!

Anna, too! Naive and optimistic and perhaps a little too trusting, she never realises that even if Han hadn’t turned out evil, Elsa had every right to be worried over their marriage. She never realises that it’s partly her fault for revealing Elsa’s powers (and she definitely doesn’t apologise). There’s a lot she doesn’t realise, and the only lesson she takes away from it all is that Christoff loves her instead of Han.

Oh my days, I’ve just realised how ridiculously long this has gotten, super sorry! Have a lovely day!

Let’s do this! For fun!

1. They don't need to establish exhaustive rules for how magic works in their world.

Red Riding Hood doesn't explain how the Big Bad Wolf can talk-it just explains that he can. Cinderella doesn't explain how Fairy Godmothers work, or why the spell should only last until midnight—it just explains that she casts one, and it does only last until midnight. Beauty & the Beast does not explain how, after The Beast has died, the "breaking of the curse" could bring him back to life. After Belle confesses her love, he should just go from dead beast to dead human, for all the explanation they give.

Beauty & the Beast also famously refuses to explain (explicitly) why all of the household were cursed, along with the castle and the Prince. But what it does explain is, "there's a curse, it was put in place because of a defect in the Prince's character, and there's a time limit on it's ability to be removed, which can only happen if the defect in his character is overcome."

The whole point of having magic in the story is just as a tool...to create a plot. You don't have to explain everything; you just have to explain what will affect the characters. So, Frozen says, very plainly in the beginning: "you can either be born with magical powers or cursed with them in this world, and trolls are the experts on how magical powers work. The way Elsa's specific magical powers work is, they're beautiful, but powerful, and they're tied to her emotions. Therefore, if her negative emotions control her, her negative emotions control those powers. Also, if you're struck with magical powers in the head, the effects can be removed with memory alteration. If you're struck with magical powers in the heart, the effects can only be removed by an act of True Love.

Also, here's an explanation of what counts as 'True Love." They actually do way more explaining than the average fairy tale. And they set you up really nicely to receive that explanation by having the opening scene be a song that describes Ice Magic as “beautiful/powerful/dangerous/cold/ice has a magic can't be controlled.” Etc.

If you were wondering what limits there are on Elsa's powers, and whether or not she can just make anything out of ice, and how it's possible for her to bring inanimate snow to life

—well, you're focusing on the wrong things for this kind of story.

It's not that important for a fairy tale like this one. In a superhero story, limitations on powers would be important. Because the point of a superhero story is, "how am I going to take selfless responsibility for what I'm able to do?" And if you don't know the boundaries on "what I'm able to do," then you can't communicate that point clearly. That's why we need to know that Superman can see through just about everything, but not lead. That's why you need to know that Elastigirl can't stretch in the cold. You can't know how to take responsibility for your abilities if you don't know what they are and are not.

But Elsa? The point of Elsa having powers is not as a metaphor for her unique skills. That's what it would be in a superhero movie.

Like, in superhero movies, Spidey's ability to stick to walls is supposed to be a reference to like, your ability to...l don't know, draw really well. How is Spidey going to use his ability to stick to walls for the good of others = how are you going to use your ability to draw for the good of others, because it's something special and unique to you, you have something to offer, are you going to use it selflessly, etc.

But for Elsa, that's not what it's about. Her powers are just a metaphor for how what's going on inside of her effects everyone around her, relationally. And it's still relatable. But not in a "skills" way. Just like all of us non-superpowered people: "if you let fear control you, you'll hurt everyone around you. But if you let love cast out fear, you'll love and be loved."

That's what's so good about this movie. When you look at it like that, you realize the powers aren’t the point.

Elsa isolates because she thinks that'll keep her from hurting everyone (fear controls her) but actually, by isolating, she's still hurting everyone-nobody in the kingdom gets to see their beloved ruler, and her sister is hurt, relationally, and feels unloved and shut-out, enough to trust the first scoundrel she meets-etc. See how the powers just make the story interesting, but they're not the point of the story? If Elsa's powers were replaced by "frantic outbursts of human temper" the story could be told in a lot of the same ways. But that's a post for another time.

So I don't think you disliked it because of the powers not being "established." "Whatever they wanted to have happen" did not happen, in the story. They laid out the rules that were relevant—“if fear controls you, it'll lead to great danger/but an act of true love can thaw a frozen heart."—and then they followed those rules in an interesting and consistent way.

2. The "twist" villain worked perfectly for the story.

A good villain is supposed to be the opposite of whatever your story's message is. Frozen's is, "Self-Sacrificial Love Casts Out Fear." Elsa is afraid she'll hurt everyone around her, and afraid that makes her unloveable-so she's a control freak over her circumstances. Anna is also afraid she's unloveable-simply because she's shut out and unknown-so she's always trying to control who she keeps in her life. Hans is both "unknown" and "controlling." He's "unknown" in two ways—1, nobody sees him in the shadows of his brothers in his own kingdom, and 2, nobody in Arendelle "knows" his true nature, especially not Anna. But the difference is, where our heroes don't like being unknown, Hans does, and uses it to his advantage, because he's also "controlling." But unlike our heroes, who learn that "control" is not the way to love, Hans is willing to do anything to stay in control. Which is, always, rooted in fear, too. Hans is just afraid he'll never get a throne. So. You see that he foils the two main characters perfectly.

But the main point of Hans is that he's not self-sacrificial, he's self-serving, which is the opposite of what the story claims "True Love" is.

Why's the "twist" part important? Because he uses the main characters' fears as a weapon to serve himself, and he couldn't have done that, for these two particular characters, by being anything but a liar. Anna is afraid she won't ever be loved, so he pretends to love her to get something for himself. Elsa is afraid she'll hurt everyone, so Hans pretends to be protecting everyone from her. And honestly, that's another core of the movie-love that is self-sacrificial, true love, can't be separated from truth. Anna can't really "truly love" Elsa in a way that HELPS Elsa feel loved if she doesn't know Elsa's flaws. Elsa can't "truly love" Anna if she's refusing to know Anna by always shutting her out. And Hans comes along and doesn't let himself be "truly known." Perfect.

So, the movie says "Self-Sacrificial Love Casts Out Fear" and Hans, the villain, says, "Self-Service Uses Fear As a Weapon."

So I don't think you disliked the "twist" villain. Because it wasn't just an empty "shock-jock, look how edgy we are, to make the Prince the bad guy" move. It was the right move, for this story and these characters.

3. I think your definition of "so cool" and "girlboss" might be different from what l understand those terms to mean, because none of the characters fit those descriptions.

Anna (as we understand her throughout the story) is introduced like this:

And she's constantly dropping stuff and getting into awkward social situations-and she basically makes zero correct decisions, for the entire adventure. Tries to fight wolves like a girlboss-and instead accidentally knocks her guide out of the sleigh and has to be thrown to safety while she ruins his livelihood. Tries to climb a cliff with zero experience-looks ridiculous and falls. Tries to talk her sister into lifting a curse and insists that she knows best because her sister would never hurt her-gets crippled, because her sister absolutely does hurt her, and totally fails. Tries to marry a handsome prince-really bad judgement of character, totally duped, basically would've died without help from the weakest and most mentally-confused character in the movie, Olaf. The only "girlboss" moment you could argue she had was punching Hans in the face at the end of the movie, and I would argue that that one moment, in the face of all her failures and humiliation throughout the movie, and in the face of him as a vile villain? That moment is okay.

Also, the whole way they pace that moment is still in-character for Anna. It's still like she's not doing the "dignified" thing. She delivers her little one liner, "the only frozen heart around here is you," and then turns around to walk away with her nose in the air, like she's

"above it all." Which frames the moment where she turns around and punches him like a joke. It frames that moment like it's a satisfying, but still "not decorous, not dignified," thing to do. It would've been "cool" and poorly received if Anna, the character who's always jumping into doing the emotional, awkward thing, had suddenly become the bigger person and risen above her hurt in that moment.

So instead, she punches him. And whatever. He deserved it, blah blah blah. The point is, even that moment isn’t supposed to be strictly “cool” or “girlboss.” It’s just supposed to be “in-character funny.”

See, usually a "girlboss" character knows exactly what the best thing to do is in a situation, and does it well. Or, she gets knocked down, but consistently gets back up and hits harder. Anna does not do any of those things. She keeps trying when she fails, yeah-but it's not because of an inner strength, it's because of an inner weakness. She keeps pushing because she's desperate, and insecure, not because she's awesome and never-say-die. Eventually, after Elsa strikes her and Hans betrays her, Anna does give up. She tells the snowman "we won't (come back.)" after Elsa strikes her. She tells Olaf she doesn't know what love is. It's not until she learns that lesson that anything she tries to do works—and she gives herself up to do it. And that's finally a moment of strength from her, not weakness. As for "cool"-gimme a break.

There's nothing "cool" about Anna. Anna's not good at anything except, at the very end, self-sacrificially standing in front of a sword and getting one punch in on a villain who's already disarmed, defeated and probably slightly concussed anyway. She's not supposed to be "cool" or "girlboss." She's supposed to be "Desperate to Love and Be Loved." And that's what she is, perfectly. "Desperate" is not a characteristic that fits the definition "girlboss" or "cool."

But maybe you just meant "Elsa is so cool and a girlboss." Okay, well, again, depends on what you mean by that. If you mean "having superpowers are cool" okay, well, are they? Is that what the movie is telling you? Because powers basically ruin all of Elsa's childhood and life until the last 3 minutes of the movie. You could be like "come on, she can make snow and ice monsters, glitter gowns, and an entire palace just by dancing. They totally tried to make her 'cool." That's like saying Simba's ability to eat bugs and belch and fight with Nala is "cool." She does all those things at her "Character in the WRONG" moment, in the story, just like Simba living in the Hakuna Matata jungle. Therefore the movie is not trying to tell you that Elsa is cool, it's trying to tell you that Elsa is wrong, but you can understand why she's wrong. You can understand why she feels triumphant for a moment-and then the movie shows you that triumph is misplaced.

I mean, she's taken out by her own falling chandelier. Every time she's confronted with a problem, she runs away. When she gets into "battles of wits," she says the wrong thing, or the shy, shut-down thing, not a girlboss one-liner that shuts the other person up. Elsa's not cool either. She doesn't have the answers, she doesn't save the day-she gets saved.

Both of these characters are desperate, open wounds-—they're needy and they're in the wrong, each in their own way, for the majority of the movie. They're weak, and they have to learn to find strength in love, for most of their story. There's nothing "girlboss" or "cool" about them.

I think maybe what some people make the mistake of is noticing the Frozen mania, and the fact that the two main characters are girls and one of them has superpowers and they other doesn't get with a Prince, and then they get the impression, from that, that the characters are "cool girlbosses." But like...that's like saying Dory from the first Finding Hemo movie is a girlboss. She's so totally not. She's a wreck. A funny, appealing, sometimes-relatable-human wreck. And a good character, but the hype doesn't change who she is, as a character. And who she is, like Anna and Elsa, is just a good character.

4. Elsa does not finish Let it Go with an "I'm Fine As I Am" attitude, and she doesn't finish the movie that way, either.

She finishes "Let it Go" with an "I'm fine up here, isolated from everyone," attitude. And then the movie very quickly proves her wrong by having Anna show up and reveal to her that no, actually, she is not fine up there, because the person she cares about most can still find her and be hurt by her, and the whole kingdom is still reeling from the problems she ran away from.

At the end of the movie the only thing I can guess you got the impression that she's "fine as she is" from was the fact that she's using her powers again.

But like. Elsa's whole problem was never her powers. She wasn't supposed to learn to stop using them. She was supposed to learn to stop living in fear. Instead, she was supposed to lean on love-love that sacrifices for her, flaws and dangerousness and all-and stop trying to control her image and what everyone knows about her.

Because in trying to control what everyone knows about her, she was controlling whether or not they loved her or treated her like a monster. And even running away and singing Let It Go was still an effort to control everything-by not being around people who could treat her like a monster or be hurt by her. Instead, accepting that she might hurt people because she can't always control everything, and trusting that they'll still love and forgive her, was her character arc.

She lives by faith in sacrificial love by the end, not by fear. That's the arc. She does that perfectly.

It was never, "I'm fine as I am." Because the point was never "there's* something wrong with me." It was, "I don't need to fear a lack of control, because true love covers what I can't control." That's all.

4. Anna does communicate to the audience that she's sorry and willing to understand the reasons behind Elsa's secrets.

The lesson Anna takes away from all of this is not "which guy loves me." It's "what is love?" And you know she's learned that because she demonstrates it. If Anna had died-frozen forever-or been cut down by Hans' sword, you realize that Elsa would never have been able to repay that gesture, right? But Anna still made that choice.

Even though it meant Elsa would never repay her. And the point is — excuse me, I know this is long enough, but I feel like you're missing out on something wonderful here—

Anna could have left Elsa to be killed and ridden off into the sunset with Kristoff.

They make it very clear that that is her goal when she stumbles onto the ice, free from the room Hans trapped her in. Elsa is no longer her motivation. She isn't looking for Elsa. She's not trying to get that love she's looked for, from Elsa, in that moment. She's trying to get it from Kristoff, not just for her emotional need-but for the "breaking of the curse" that's killing her in the moment. That whole scene where she realizes he loves her-truly loves her, because he fits the description Olaf gives-is in there to communicate to the audience that he could save her. He could give her what she needs.

And the reason that's important is that it proves that this is character development: when she chooses not to go to Kristoff, and to go to Elsa instead.

Because it's her, choosing to turn away from the person who could give her something (even if it is "love") and to turn toward the person who can't give her something (Elsa.) Who has repeatedly failed to give her something, for their entire lives.

Anna at the beginning of the movie would've run to Kristoff. That was the whole point of Hans, when it comes to Anna-he represents someone who can fulfill a need in Anna. But when Anna turns away from Kristoff and runs to save Elsa instead, Anna is demonstrating what she's learned —that love isn't about her own needs. It's putting someone else's needs before yours. She stands between Hans and Elsa, with the full expectation that she's not going to get anything out of it, not even a guarantee of E/sa's love in return. And her own needs will NOT get met if she puts Elsa's first.

And that's what she does. Whereas, at the beginning of the film, Anna would not have done that. Because that's not what she thinks love is. She hasn’t realized that yet.

She thinks love means closeness. And that does come with love. But that's not love. Love is, like Olaf says, putting someone else's needs before yours. But the whole movie, Anna is not working to put Elsa's needs before her own. She's working to change Elsa's mind, now that she knows the truth, so that she and Elsa can be "close again." She's climbing that mountain and arguing with Elsa, because she thinks that all that stood in their way before was this secret that's been uncovered. And sure, Anna has always been willing to “be there for” Elsa, but you have to see that Anna wanted that to come with Elsa being there for her, in return.

Which would be nice. But it's not true love. True love is being there for someone even when they refuse to be there for you. Because that's putting their needs before yours.

Thanks for the super long ask! That was fun! I hope you enjoyed reading as much as l enjoyed writing-I think sometimes we judge Frozen by the mania that followed, not the good quality that actually caused the mania, and deserved the mania, though. Anyway 😂

Guards! Take them away! Back to the theater with you! Watch the movie again!