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hephaestuscrew · 10 months ago

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“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate).

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other.

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187).

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon.

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself...

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172)

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”.

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down." "You're not settled?" asked Fleet. "I am." (High Vaultage, p259)

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5:

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says:

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.)

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

#victoriocity #clara entwhistle #inspector fleet #archibald fleet #high vaultage #I'm not really trying to persuade anyone who doesn't already vibe with Fleet & Clara QPR as a concept #I just enjoy digging into that interpretation #I don't have any lived experience of QPRs myself #I'm just an aro who occasionally yearns #which tbf is probably the demographic most likely to obsessively interpret fictional duos as QPRs #I tried to avoid straying into anything like ‘they are too important to each other to be *just* friends’#when writing this #because I deeply dislike that outlook #That's not what I'm getting at here #Friends can be that important to each other without being in a QPR #I just think Fleet and Clara are important to each other in a particular way that can easily be read as a QPR or QPR-adjacent #Ngl for me personally I was very happy that there was no explicitly romantic Fleet and Clara moments #in S3 or High Vaultage #I’m sure I would still love their dynamic if they did explicitly take it down that route #I’m sure it would be done well #But the fact that Fleet and Clara are platonic (or at least ambiguous) means a lot to me personally #A related thought to that bit on romantic assumptions is that under amatonormativity #even the denial of romance/attraction is so often treated as evidence for it #which can mean that there's no way to escape that implication #so that's another reason why I enjoy taking characters at their word #when they express discomfort over a dynamic being interpreted as romantic #I finished writing this on Wednesday and I've been so impatient about waiting until S3 is fully out to post it lol

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joelswritingmistress · 1 year ago

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You Scare Me, Professor: Chapter 37

Summary: The reader is taking graduate classes at a local university in the wooded upstate New York. She is drawn to her professor, Dr. Joel Miller, though she is also inherently aware that he has something dark about him that she can't quite put her finger on. As the reader's attraction grows deeper, she has to decide whether to endure the danger or run away as fast as possible.

Pairing: Professor Joel Miller x f!reader

Woodbridge University. Another frigid February evening. Another text to James that I didn't want to send. I had to give it to him, he was being a really good friend in light of the awkward interaction the last time we had seen one another.

I waited in my car until I saw him crossing the parking lot and braced myself as I got out.

“Hey,” I greeted, “Thanks for meeting me here. I'm sorry to bother you like this.”

“It's no problem.” James shrugged with a genuine smile. “Not like I have much to do most nights anyway.”

I nodded and looked down, and then back up. “Are we okay?” I asked.

He nudged me with his elbow. “We’re good. I, uh.. I just hope I didn't put a damper on our friendship.” James made a face. “I was bummed out at first when you weren't interested but that wore off a little bit and then I was just kind of bummed that I might've ruined our friendship.”

I took a deep breath, feeling some relief from his response. Finally, someone wasn't mad at me. And this was the guy that I had assumed, of the three of them, would be.

“I'd really like to remain friends,” I told him. “It's just bad timing, I think because I'm with somebody and-”

“Don't even explain. You don't owe me anything. Let's just, for my pride’s sake, pretend it didn't happen.” James shrugged and I smiled at him with a nod.

“Okay,” I then added, “Thank you.”

“Thanks for not making it weird.”

James and I strolled toward the building and I squinted my eyes toward the entrance when I spotted a familiar face. Our eyes met briefly and he did a double take.

“Will?” I gave a wave and he waved back.

“Who's that?” James asked.

“Oh, that's..” I caught myself. Carol’s husband-to-be. Dr. Miller’s future brother-in-law. Shit, I didn't know how to explain how I knew him.

“Hey hun, how are you?” He greeted me with a quick hug and then extended his arm to shake James’s hand. “Will Brennan.”

“James.” He gave a nod.

“I just had a quick chat with one of the guests of honor,” Will explained with a grin. “Will you be playing hookie tomorrow night and Friday, as well?”

His words were vague enough, though my eyebrows lifted and I suspected Will got onto the same page as me. He cleared his throat and glanced at James, “Family gathering,” he added.

“Yes.” I nodded at him and smiled big and borderline awkwardly at my friend. “I already took work off.”

“Great.” Will smiled and then rolled his wrist to glance at his watch. “My lovely bride is late.” He looked back and forth between the two of us, “We’re here to see a former student perform next door in the strings quartet. Brilliant young woman. Excellent musician.” He motioned toward the theater.

“That's nice.” I smiled and nodded, wanting to chat him up some more about the wedding; but I couldn't with James standing right there.

“Ahh.. there she is now.” Will huffed a laugh and shook his head when he spotted Carol’s car practically whipping to a screeching halt in a parking space nearby. “Give her a ticket for that, will ya?” He tapped James with his fingers and gave a laugh.

James snickered and looked at me. “You'll be alright now?”

“Yeah, thank you.”

“No problem.” He added to Will, “Nice meeting you.”

“You, too.” Will gave a quick wave and then wiggled his eyebrows as Carol approached.

“Traffic!” She claimed, making him chuckle.

“I'm sure that was it.” They shared a quick kiss and then Carol realized I was standing there and leaned in for a hug.

“Are you getting excited?” I asked, glancing briefly at Will and then more directly at Carol.

She gave a nod. “The last few nights I’ll be spending as a Miller.” Carol looked at Will, “It took me long enough.” Her eyes flashed back to meet mine, “I was sort of a lone wolf for most of my life. I never met a man I wanted to spend all my free time with.”

“I don’t know how I pinned down this free bird,” he admitted with a grin.

I smiled at their interaction. They seemed very much in love and it made it all the more special, in my eyes, that Carol had never wanted to settle down with anyone until she met Will. I was thrilled to know she was getting her happy ending, especially after a rough start in her younger life.

“I’m very happy for you both,” I said, “And I’m honored I get to attend.”

“I just stopped in and said hi to Joel,” Will told her.

“I’m sure he’s working hard.” Carol said in a sisterly, eye-rolling fashion, and thenl turned to me and pointed her finger in my direction, “Keep him on his toes.”

“I will,” I promised with a grin.

They both smiled and nodded before Will checked his watch again. “Ready, my dear?”

“Ready.” Carol linked her arm through his and they gave a final farewell before heading down the lighted walkway toward the school’s theater.

I bid them a farewell and texted Dr. Miller to let him know I bumped into his sister and Will. And then Dr. Stevenson’s class dragged on for the next hour-and-a-half. I was partially focused on the material, partially focused on Trevor and partially focused on leaving the area the following day for the wedding.

With ten minutes left in class, I texted James. I checked my phone every minute or so but he never responded. As I was walking out I sent a second one to see if he was around.

Trevor passed me by without so much as a look. The rest of the class filtered out one by one and made their way to wherever they were going.

I glanced down the hall toward the brown door that led into Dr. Miller’s lecture hall. To kill a few minutes in hopes that James would respond, I wandered down and put my ear to the door.

Inside, I heard Dr. Miller’s muffled voice as he carried on about something similar to what we had learned the night before. I smiled to myself. I couldn't wait to see him now that both of us were past the little spat we’d had the night before.

I glanced down at my phone and when I saw James hadn't gotten back to me, I decided to be loyal to the agreement I made with Dr. Miller and called campus security.

“Hi, my name is (Y/N). I'm really sorry to bother you, but is there someone available to walk me to my car? I just don't feel safe at night since the incidents have happened.” I paused as they responded, “Thank you. I'm in the psychology building.”

I put my pride to the side and wandered up to the main floor. Two other young women were huddled around a cell phone laughing by the entrance and just outside on a bench someone sat alone with the hood of a black Northface jacket pulled up. It was Trevor.

He leaned forward with his elbows on his knees and his thumbs typed away on his phone.

“Shit.” I whispered the word to myself and waited for campus security to show up. When a small white car with a single, orange flashing light pulled up, I wasn't sure if it was for me or not. When the security officer got out and started looking around, I pushed open one of the doors that led out into the cold and waved a hand. I didn't look back at Trevor.

“You called?” The tall, thin man asked.

I nodded. “I didn't expect a car. Thank you for coming out.”

“No problem. Where are you parked?”

“At the back end of the lot over there.” I motioned with my finger and saw the man make a subtle face, most likely because my car was so close, but otherwise smiled and nodded.

When I hopped in the car, I turned and made eye contact with Trevor, who looked away immediately and paid full attention to his phone.

“Thanks,” I said again to the driver. “I usually call James to walk me but he didn't pick up.”

“Oh, you're the one.” The man huffed a laugh and then realized what he had said aloud. When I didn't say anything he added, “James is off duty.”

“He walked me to class earlier.”

His coworker shrugged. “Sounds like he’s.. always willing to help you out.”

The car stopped beside mine and I opened the door. “Thank you.” I have a nod.

“Anytime.” The two of us exchanged a wave and I climbed into my car. Thankfully, my last night at Woodbridge, for the time being, was relatively uneventful.

I wish I could have said the same for my final day of work before the trip. It wasn't long after morning coffee that one of my work friends made the announcement to all of us - one that was dreadfully haunting and raw and real.

“They found another body at Woodbridge!”

CLICK HERE FOR THE NEXT CHAPTER

@untamedheart81 @suttonspuds @cesspitoflove @michilandcof @grogusmum @morallyinept @akah565 @brittmb115 @magpiepills @poodlebae @gobaaby-blog-blog @mermaidgirl30 @mandijo17 @shotgun-shelby @itscatrodriguez-thepearl @macaroni676 @acciowolfstar1 @smolbeanzzz @sarcasm-theotherwhitemeat @bandluvr97

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ari-but-unhinged · 8 months ago

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Art for Toritsuka/Hairo fic where I explored what was meant to be a crack ship and is now one of my favourite (??) ships in Saiki k- PLEASE HEAR ME OUT

(A long rant ensues so, if you don’t want that then that’s all good and you don’t have to click, but if you’re interested, then welcome to my rant about a rare pair i love!)

Of course, I started out by simply laughing at the “I hate men” line Toritsuka said about Hairo and thinking writing a crack taken seriously fic would be funny and it would be a nice break before I started this other fic I have planned that is going to be an even bigger endeavour with Saiki k x Danganronpa. What I didn’t see happening was for this Torihai fic to completely take over my brain space and end up with a fic just shy of 20,000 words.

This may not seem like a lot, but I usually only write fics in 1,000-2,000s so this is a lot for me, especially since I’m a slow writer/editor so it takes me a while.

Part of the reason I love these two together is because of the inherent dynamic of Hairo’s inspirational preachiness and how it doesn’t work on Toritsuka, and how it might be refreshing for Hairo to have someone who challenges him (and not in the fake way Teruhashi does, with Toritsuka being very upfront and honest about it). Toritsuka also, because he’s so upfront about his feelings, helps Hairo to express certain emotions like annoyance/sadness that he wouldn’t normally express outwardly. Something else too is that Toritsuka tends to be very physically affectionate, and I don’t know that Hairo is used to that (I haven’t seen any examples of him being physically affectionate in any other way than a bro way) so that could be refreshing as well. Also, also, Toritsuka is Hairo’s gym buddy who was reluctantly dragged along that day Saiki was trying to avoid everyone and no one can change my mind lol (this, in Hairo’s mind, forms a bond between them that can never be broken and he will never stop reminding Toritsuka of this when they hang out).

I just think their dynamic can be playful/fun because they’re both real with each other if that makes sense?

On Toritsuka’s side of things, he doesn’t have a lot of friends and the friends he does have he either doesn’t have any chemistry with or hate him (Saiki lol), so I think it’d be nice for him to have someone who is extremely caring/attentive to his friends and clearly cares deeply about them and shows it often. Because of this, Hairo shows interest in Toritsuka’s life, and for someone who probably hasn’t had many friends, that would mean a lot. Also the fact that Hairo cares so much for Toritsuka sets an example as to how to be a good friend/human would behave and could help him grow as a person (which are always the best friendships/relationships when they grow together rather than staying stagnant and dragging each other down). Being more caring of others and allow him to develop his interpersonal relationships with more than just ghosts, instead with real humans.

Also, I’ve taken to calling them the “errand boys” because it’s a great prompt to force two people who are polar opposites and would never interact to hang out/do an activity together, so I thought it fit them perfectly.

In the fic I changed a few things from canon (sexualities obviously- Tori is bi/queer and Hairo is gay. Although quick side-tangent- I’ve written Tori/Kaidou, Tori/Akechi, and now Tori/Hairo and all three of them either are Asexual or are often headcanonned as ace by the community/me and I just find it very funny that the horniest character is continuously shipped with them. I only realized I did this after I first started writing the fic.)

- Hairo explicitly has psychic powers (it’s something they can bond over and it’s something that plays off of Hairo’s emotions. Cue a lot of blushing not only because of embarrassment but also actual literal heat rushing to his face.)

- Hairo was raised by a single parent (His family is never mentioned so I just made one up)

- Personal headcanon, but I feel like Toritsuka might occasionally pretend to not see spirits in order to avoid getting approached.

- Toritsuka’s backstory has been slightly altered and has a lot more angst to an already pretty sad backstory (it’s played for laughs, but imagine how that would’ve felt for him :( he realized he lost two people he loved in a matter of minutes. Also, he’s a child when this happens so that’s even sadder. I honestly wonder if they died somewhere in the house or he was just there and his guardians didn’t know, like??? How???)

If this made you interested in reading the fic which this is all about, I’ll link it at the end, but if you were just here for the rant, that’s cool too! I’m obsessed with these two because they’re adorable and I must spread the gospel of Torihai.

Link to original fic-

#Torihai #toritsuka reita #hairo kineshi #digital art #art #i love them so much istg #I’m so normal about them #I promise #Toritsuka x Hairo #rarepair #saiki no psi nan

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clearascountryair · 1 year ago

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Okay so I still can't get over how perfect "We Visit the Garden Gnome Emporium" was and I have a lot of thoughts. I just can't get over how perfectly they're blending together character exploration and plot. It's all so perfect and cohesive and I want to talk a little about how they're dealing with the relationships between the characters.

Percy and Grover

I think at first we’re supposed to think Percy wants Grover on the quest because he is his only friend, so therefore has to be the traitor, but then at the end, we get that it’s just because Percy fully trusts that Grover won’t betray him because he is used to the world where he and Grover are each other’s only friends. But that completely breaks for him when he finds out that Grover was Annabeth’s (and Luke and Thalia’s) protector first because he’s realizing that, while Grover would never betray him in malice, he, like Luke, might betray him if that’s what Annabeth needed (for safety, for the quest, for anything). And it also speaks so loudly to Percy’s views of friendship and loyalty: I don’t think Percy thinks he will be betrayed in some big malicious way. I think that he believes it is tied to failing to save what matters most—he won’t be betrayed by a fake friend who actually hates him, but by a real friend who will try to stop him from saving his mom if it interferes with the quest. He trusted that Grover will help him save his mom, even if that means risking the quest, but made that decision not knowing that Grover has an even longer history with Annabeth and might choose her not because he doesn’t love Percy, but because he loves Annabeth, too.

2. Annabeth and Percy

She’s so freaking determined to be the best. And as must as I love that post going around on here and Twitter and TikTok about how Annabeth was struggling with the candy because, in addition to never having gone to a store before, she wanted to do something nice for Percy (and Grover), I don’t think it was just about friendship. Percy was doubting her authority. I don’t think she gives a crap (at least, she won’t admit to it) about whether or not he likes her. I just don’t think she’s above buying his respect. The way she refers to him is so mean? Like, constantly referring to him as Grover’s friend, but in a way that feels like a pet. She says “Grover, control your friend,” but might as well be saying “Control you dog.” I could easily believe that she was effectively buying dog treats. But I also think both can be true. Because she clearly was so hurt by what he said about them not being friends, so she must want to be friends. ***Very minor spoilers for the rest of the books here, so skip to the third section if you've never read them*** And the ONLY time Annabeth talks about something positive from the first seven years of her life in ALL ELEVEN BOOKS IN WHICH SHE PROMINENTLY FEATURES is when she talks about her dog. For seven years, the only thing that loved her (and the only thing she loved) was her dog. Obviously, she is 12 and knows that dogs aren’t people and people aren’t dogs, but the only time she has probably ever had to work for someone’s affection and has been successful in that effort was probably with her dog.

(And yes, I know: Grover and Thalia and Luke. But those friendships are all different because all three of them were in an inherent place of authority and protection over her. I think we all tend to forget that while Grover and Annabeth appear the same age now, they probably didn’t when they met. Thalia was the closest in age to her, and she’s still five years older. And Annabeth doesn’t seem to have any other close friends).

I also love that it’s Percy who’s reluctant to the friendship here. Annabeth is just too traumatized and un-socialized to do it on her own. They’re not not friends because Annabeth is hung up on the Poseidon v Athena rivalry like she is in the books, they’re not friends because Annabeth (from Percy’s perspective) is a jerk.

3. Annabeth and Athena

The way Grover looks at her when Percy suggests leaving her hat with Medusa and she just says “Okay”!!!! Like, you cannot tell me that that conversation went down the way it did with no relation to the earlier conversation with Medusa. Despite her adamant defense of Athena, Annabeth was just told that her mother is a monster and a monster creator, straight from the mouth of one of her victims. For the first time in her life, the pedestal Annabeth has put her mom on is deteriorating and, before Annabeth gets the chance to pry further, they kill Medusa. And sure, this confirms to Annabeth that she was right. But she can’t stop the nagging in her head that, even if Medusa is a monster, she’s a monster that Athena created and how can that mean Athena is anything other than a monster? Especially when Medusa loved Athena just as Annabeth does. Even if she doesn’t totally believe her, she doesn’t not believe her, either. How can there not be a part of her brain that wonders, “will my mom turn on me one day, too?” So when Percy suggests leaving her hat behind, that broken, doubting part of herself says, “Okay.” Because, yes, it’s a gift from her mom. But what does that mean when her mom is a monster?

(And so maybe we will get an Annabeth-driven emphasis on the Athena v Poseidon rivalry not because of Annabeth’s blind loyalty to her mother, but because she has seen what happens when favorites of Athena appear too loyal to Poseidon.)

#pjo spoilers #percy jackson #annabeth chase #grover underwood #pjo #just some minor character analysis/speculation #look not even I expected to return to this site #but it looks like I am reentering my tumblr girlie era

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whinlatter · 1 year ago

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thoughts about wolfstar? you're now the one i go to for any hp related thoughts

omg this is VERY nice of you but i'm pure flop on marauders thoughts, they're all extremely half-baked, so best left to others. here my half-baked wolfstar thoughts offered sheepishly and apologetically!

the thing is - i quite like the idea of wolfstar. to be honest i was sort of imagining a sort of wistful wolfstar vibe to how i wrote lupin in orchards in the aftermath of sirius' death. but i think the wolfstar i like is quite a specific version of it that's increasingly hard to find in fic searches so i don't often go looking for it (which is pure laziness on my part). my interest in canon coherent characterisation limits me here - i think there's such a strong case for wolfstar as a pairing written in ways that attend to the very clear dynamics (and timelines) that canon makes plausible (including in AUs, where actually characterisation matters more, not less, than in 'canon compliant' fics, because it's the reader's only anchor). there is an intensity and an intimacy to what sirius and remus share in the marauders and the significance of a boyhood spent together in their adult lives, a literal physical proximity of them living together as adults post azkaban as two men who have such complex feels towards themselves and especially to their bodies, including an overlapping self loathing, and they're both characters that can very plausibly read as queer-coded in rich and interesting ways. and then, of course, there's an inherent narrative shape to both of their canon arcs (the tragedy, delicious). these are just some of the dynamics in a potential romantic relationship between the two of them that can make for really rich and interesting potential to work with in fic writing.

the trouble i find with a lot of wolfstar, less as a matter of principle than what actually gets written more often than not, is that the stuff i personally find rewarding and interesting as a writer/reader is work that bears some relationship with the canon text (even if - especially if - it's to pull it apart and expose its flaws and complexities). a queer reading of the relationship between sirius and remus in canon is absolutely plausible and can be deeply compelling, and, as queering HP as a text remains a powerful fuck you to its author whose reaction to the ship was errrr quite homophobic, still really important.

but. challenging the text means having some sense of the characterisation of the essence of these characters as rendered in the text, and canon is clear about certain aspects of sirius and remus' characterisations that limits my enthusiasm for a lot of wolfstar that has sprung up in recent years (especially in and around ATYD, which i'll say more about in a minute). the truth is that canon strongly suggests that sirius cares much less about remus than he ever does about james (dropping @saintsenara's excellent manifesto for why unrequited prongsfoot is canon, also the rec for one of the best fics i read last year that @ashesandhackles put me onto, empire builders by shecrows, a gorgeous complex funny angsty prongsfoot fic that's not not canon compliant timeline-wise). it's also clear that the marauders as a friendship group functioned as a group of three boys all working towards james potter as the de facto leader, each with their own complicated feelings and levels of loyalty and devotion to james that undoubtedly shaped, and limited, how the other three felt towards each other (especially after james' death). the kind of wolfstar lore that's sprung up in the last few years, especially from marauderstok, of roadman remus the romeo of gryffindor tower that young sirius is wildly and hopelessly in love with, and is desperate to reunite with after azkaban, is a version of wolfstar that's sort of compelling as an original story but, for my taste, bears too little relationship to their core canon characterisation to be really up my street. a wolfstar with really fucked up power dynamics that plays with sirius' idolisation of james and remus having to play second fiddle? delicious. or even unrequited/onesided wolfstar from remus to sirius - yum. but the rest, i struggle with. by the time they've left school, remus thinks sirius is the spy and sirius thinks remus is the spy. that is not giving soulmates, in my mind. but as with most of these things, i'm very open to being proved wrong.

(with that said, though, i think the subculture and lore that's built around wolfstar is really astonishing and often extremely compelling, i think ATYD is obviously a huge accomplishment and deserves its flowers for launching such a phenomenon, and there's masses of quality writing and art and general creative talent coming out of wolfstar spaces that it's hard not to be continually impressed by. also some of those tiktok edits absolutely slap. that remus-centric animated noah kahan one. unreal)

#not great that i'm nervous to tag wolfstar every time i raise mild scepticism about aspects of wolfstar subculture lmao #sirius black #thank you so much anon!#remus lupin #meta #wolfstar

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daedalusdavinci · 2 years ago

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MY Davekat Fic Recs

i read everythign in the davekat tag a couple years back. yeah. everything. the whole bitch. it was a couple of years ago, so that might date this post, but heres a bunch of fics that i thought were so good i put a little note on them in my bookmarks about how hard they went

>Dave: survive three years on this rock

by MadSeason

Growing up on a flying meteor is hard work. You know this from experience. TG: dude what is this piece of shit you just sent me CG: TO PUT IT IN YOUR HUMAN TERMS: CG: IT’S A FUCKING LOVE STORY, DAVE. Well, it's a bit more than that.

this is a meteor fic, and youve read any davekat fics, thats a summary in of itself. however, from what i remember, this particular meteor fic goes really hard bc it does such a good job of building dave and karkats relationships with the other meteor residents and it leans hard into dave and roses friendship which is so important to me, bc guys they are BEST friends and theyre just so ; ; its just important ok. also according to the note i left for myself on this fic it made me cry a lot so thats always good

catch me, keep me

by CurlicueCal (@curlicuecal on tumblr)

Dave drops by the twinkle vermin class transport-ship Calliope to visit Captain Crocker and her crew. He engages Jake for some repair work, bugs his brothers of the corporeal and non-corporeal varieties, and stops in to harass chat with Karkat. Absolutely no flirting ensues.

frankly everything curlicuecal writes goes hard as fuck, so write that one down. read everything. they never miss. they are SO good at handling side characters and dealing w the complexities of homestuck characters, never shying away from the things that make them miserable little assholes. their fics are always so fun + funny and this is a really good one

just two guys being dudes being moirails and smooching a little

by MisPronounce_and_MisAccent

DAVE: yeah id be down DAVE: just two guys being dudes being moirails and smooching a little im not opposed DAVE: if youre cool with that A few options flit across your mind. The first is picking up the couch cushion next to you and screaming into it for a solid minute. The next is just screaming, sans-pillow. The third is, of course, throwing in the towel and flinging yourself off the meteor, because it is abundantly fucking apparent that you possess an inherent incapability to maintain any simple, good relationship without getting your feelings in a bullshit fucking twist. You decide to do none of this.

if you are like me and you really really love fics where they blur the lines between romantic and platonic and flushed and pale, this is the one. this is the fic.

Car Accident Blues

by ode

Dave Strider is good at looking fly, but he sure isn't good at not getting run over!

fuck i remember this one actually. its really short but its SO fucking funny

midnight soliloquy

by apocalypticTaco

If you had the time, you could wax poetic about every inch of him. Well, it’s past midnight. You could spare a few minutes to wax. If someone asked you what was it specifically about Karkat that you fall head over heels over, you honestly could not tell. It's everything.

its short and sweet, really cute fluffpiece. i CANNOT remember this users tumblr un anymore but they were huge in the davekat fandom for a while and they have a really good grasp on dave and karkat as characters which makes all of their davekat fics hit hard. highly recommend checking out their whole page rlly

We've Got Time

by acedavestrider (@acedavestrider on tumblr i think)

He’s very pointedly trying not to smile, trying not to give you the satisfaction of knowing you made him smile, but his eyes completely give him away. They’re far too fond to give any sort of impression other than absolutely smitten, regardless of how hard he’s trying to seem annoyed, and the way he blinks at you - quickly like he’s trying to clear his vision, like he’s trying to figure out if you’re real or if he’s imagining you - is enough to make your heart swoop in your chest.

another REALLY cute sweet one. honestly i think this is one of my favorite davekat fics ever. acedavestrider writes some of the best davekat in general and you should 100% read all of their stuff, because it ALL goes this hard. ofc anyone w a un this good is bound to have a good grasp on the characters so like what more do you even need me to say

Fait Accompli(cation)

by IntelligentAirhead (@dragonomatopoeia on tumblr, but im p sure it was cowritten w someone else? dunno theirs)

In Which a Mutant and an Alien Meander Towards a Quadrant of Indeterminate Identity at a Glacial Pace While Examining the Internalized Toxicity Perpetuated by Their Respective Societies, and The Nature of Friendship is Determined to Be More Universal Than Originally Theorized [Banned In Alternia]

this IS the best davekat fanfiction. this is the one. ive read it multiple times and its good each time. im just going to copy my notes straight from ao3 on this one, i think theyre from a second reread some time after the first

"ok this does slap. this slaps super hard. its a meteorstuck fic wherein karkat and dave both have to question toxic ideas theyve internalized from their own planets and eventually fall in love and get together. no one is delegated to rosemary therapist, all of the charas are beautiful and just as important, and the characterization is so flawless it couldve been written by hussie himself. this TOTALLY holds up, holy shit

"#literally the most beautiful piece of prose known to man"

The Eurydice Suite, v2.0

by callmearcturus (@callmearcturus on tumblr)

Dream-sharing: a highly illegal little industry in which agents delve into people's dreams, and unearth their deepest secrets and memories. Within this business, the Strider-Lalondes are known as the best there is — until Dirk Strider gets his fool-ass trapped within the confines of his own subconscious, with his Auto-Responder playing malicious prison warden. To save him, the best and brightest dreamers in the world will have to form a team. Backed by the token rich friend, lead by the surliest extractor ever bribed out of retirement, haunted by the shade of the latest, greatest agent in the biz, and on the run through a dangerous tiered dream in a hostile mind... It's going to take a miracle to pull this one off.

ive read this one so many times and honestly its still really good. the writing style is fantastic and i have spent many a year trying to capture the same beautiful atmosphere arc does. its a really creative au with really cool ideas about classpects and the characterization in this fic is awesome

Crash Standing

by Asuka Kureru (@asukaskerian on tumblr)

It's been eight days since the end of Sburb and Davesprite is not coping especially well.

ive already listed my favorite davekat fic, but THIS is my favorite homestuck fic period of all time ever the end. this is the best one. this is the ONLY one, as far as im concerned. you dont want to know how many times ive reread this fic ok. i love davesprite/karkat way more than i love dave/karkat (bc you know me w my doomed characters) and the way this author handles the interpersonal relationships between not just karkat and ds but also like ds and all of the OTHER characters is SO. GOOD. davesprite and kanayas relationship in particular lives in my brain rent free at all fucking times oh my god they are so perfect. shes so perfect. i love kanaya so much in this. oh my god and JOHN. the senor strider thing is so fucking funny sldkjfnsdf just. AUGH. its such a good fic just trust me ok just trust me

there are probably more i could recommend but its been so long since i read them im just going to stick to these bc like. man. i do NOT remember some of the bookmarks ive got in there anymore. ask me again when i finally snap and reread homestuck

#davekat #my recs #homestuck fanfiction #homestuck fanfic

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deripmaver · 2 years ago

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I keep sending you links (. ❛ ᴗ ❛.)

Interested to hear your opinion on this: https://www.jacksonpbrown.com/anime-and-manga/2020/7/26/on-berserk-and-femininity

Have a good day <3

HAHAHA that's fine, another incredible article and I absolutely agree with all of it. I love the varying portrayals of femininity in Berserk, and while I do grumble about how all the women are attracted to either Guts or Griffith, outside of that they're all three dimensional with their own dreams, goals, and stories.

I think when a lot of male writers try to make feminine but still badass characters they sort of over-correct with the feminine aspects of them, very much like... "She can kick ass while still in heels!" Even if that's not realistic. I love how all of the female characters in Berserk. esp Casca, have this dichotomy where they feel insecure and incomplete for not being feminine enough as dictated by this misogynistic society, feel resentment for society for forcing these feminine ideals on her, and meanwhile are being crushed by the hatred the world has for them for being women. They don't feel like they're trying too hard to be "female characters," they're characters who have realistic reactions to being female in a misogynistic world with all its contradictions. It's kinda wild to have that level of complexity from a cishet male mangaka.

Both Casca getting her period and also Casca's later miscarriage feel very appropriate - in a violently misogynistic society, the very aspects inherent to being a (cis lol) woman can become violence in and of themselves.

ALSO IM GLAD THAT THE AUTHOR BROUGHT UP THE CLEAR DIFFERENCE IN FRAMING BETWEEN THE GUTS X CASCA SEX AND THE GRIFFITH X CHARLOTTE SEX SCENES. On the one hand you have two characters mutually coming together, with Casca's POV at the forefront - on the other hand you have Griffith coercing and dominating Charlotte to reclaim some sense of power after being left by Guts. Also >inb4 this isn't some ship war nonsense ok but the circumstances leading up to each individual sex scene very much set the stage for how they are framed, as below:

Just like I said in my meta!!!!! Hehehehe

There's so much more to say about all the women in Berserk which are outlined in the article so I def recommend reading it. My one very minor gripe is that I think it's a bit harsh on Charlotte LOL because I really like her as well. I do get how she functions as the "ideal woman" in the story, who Griffith overlooks Casca for, who is small and delicate and feminine while Casca feels manly and ugly, but I think it's ultimately Griffith who deserves the approbation for how he uses Charlotte at the expense of the rest of the BotH, Casca included, to fulfil his power fantasies. I think she's very naive and childish, and the more I think about it I think even in the latest arc she's intended to be the sort of "ideal woman," cooking for Griffith even though she's a princess and why tf would she do any cooking LOL. However, I also think it's inevitable that she's going to be in huge trouble soon, once she's outlived her usefulness to Griffith, or if she tries to defy him, which could serve as an interesting commentary on how the "ideal woman" is not afforded any agency and will lose her status if she ever tries to gain some.

Also, this article was written prior to the continuation, but I think it'll be interesting to see Charlotte and Sonia's reaction to Casca's trauma now that she's in Falconia. For both of them, it opens up two possible paths: shake their faith in Griffith and have them, as women, support Casca against him, or have them dig their heels in even more. Miura has been really into the inherent safety of female friendships up to now, so it'll be interesting to see if he keeps with that theme, or if he does change it up a bit.

Anyways that's it LOL tysm again!!

#berserk meta #guts x casca #casca berserk #berserk #casca #asks #charlotte berserk

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operationslipperypuppet · 1 year ago

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Any new shipping/romantic thoughts about Arryox, Melisa, and Telaine?

oh boy friend do i have thoughts.

i spent the entirety of yesterday compiling and pouring over the limited amount of lore we have ever gotten on our eladrin adventurers (with han, shoutout) and i have thought about a lot.

these shipping thoughts for them aren’t exactly new. but they are fun.

telaine and aryox both, separately, loved and appreciated melora louder than they did each other. because she was an easier target of their affection. because she was calm and collected while they were passionate and calculating. because she was stalwart. but that didn’t erase the love they had for one another and the fierceness that was present in all their interactions. sure, they butted heads, but they put as much passion into their arguments as they did their feelings for one another. they just didn’t say it as much.

when they met, they fell fast. but let it grow before acting on it. there is an inherent love that grows while you adventure (provided there is genuine trust between the members of your party), who the people are simply dictate how that love takes shape. for them, it was romantic love in addition to the love that comes from a friendship forged in fire. they didn’t start something right away, but by the time they killed the god and split the heart, it was just a completion of a process they had already started. they had been sharing a heart for a while.

melora never once lost love for them, in the millennia after aryox was dead and telaine was gone. in erasing the knowledge of their names and their powers, she protected them from the world using them. because that was all she ever wanted to do. protect the world, but her friends first. she only revealed telaine as a last resort to save everyone. because she loved her. telaine is a painter. melora’s demiplane is painted.

telaine’s love for them, even after she was forced out, remained, just not as steadily as melora’s did. she still visited the place they just to hide away during their adventuring days. none of her murals depict either of them in a bad light. she was mad at them both, certainly. but that anger lulled as time passed. and was mostly fueled by the fact that she loved them so fiercely, the betrayal cut deeper.

after telaine was banished, melora and aryox did not remain together. that time was relatively brief, as aryox’s punishment for breaking the pact loomed, but they didn’t try. it would not have been the same.

aryox considered, at some point (perhaps after he gave up the heart, i have conflicting theories on how that played out), going to apologize to telaine for his actions. people could enter and exit her plane. ultimately, he decided not to, possibly because he knew he was newly mortal and she could have struck him down. and he wouldn’t do that to her. allow her to do that. because maybe without an apology she would never forgive him. but if she killed him she’d never forgive herself. and she would lose melora forever. so he didn’t. he protected them. as he promised.

anyway that was a lot and it was also fun. please join me in insanity about these three it’s very fun.

#this also did not touch on the theories i have about aryox’s death #bc thats a different story #naddpod #asks #anon #bahumia #crumb mountain

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giraffeclass · 2 years ago

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my personal thoughts about the whole queerbait discourse regarding the daddies that are buddies

So. Do I think Buddy Daddies is queerbait? There's two things to analyze there. First, is the marketing of the show geared towards grabbing a BL audience? I'm not japanese nor speak the language so it's impossible for me accurately make a judgement on that.

But at least regarding the show itself, I don't think so. Like, I don't think the show is promising anything it isn't delivering? It's very straightforward about Kazuki and Rei having a strong partnership as roommates/coworkers/friends, and both being Miri's dads and the three of them being family and that's it, it never hints at anything else, never goes "wink wink nudge nudge are they a couple~? ;333"

Like in episode 4 for example(the daycare episode) it would have been so easy to sneak in some bait-y jokes, have a teacher assume they're a couple and then show Kazuki denying it getting all nervous and blushy, but they don't do that. They directly say "Yes, we are both her fathers" and no other characters in the episode question that or make any suggestive comments. What you see is what you get. It ends up being pretty refreshing how easily accepted it is.

Basically I think the show is like... non-hostile to a queer interpretation while also not feeding any false hope I guess?

And of course there's a lot of subtext, whether that subtext is accidental or not. Just the premise itself is already inherently queer. At the end of the day, this anime has a message of acceptance for non-conventional families, which is very queer-positive, whether intentional or not.

I started this show genuinely thinking it was gonna be generic bait and so far I've honestly just been pleasantly surprised? Like I just don't feel like they're dangling something in front of me or whatever. idk I'm just enjoying the ride lol

also here's the thing. I actually tend to really enjoy the more ambiguous/subtle kind of relationship writing, the kind of stuff that blurs the line between friendship and romance, and so I gravitate towards a lot of stuff that people would usually consider queerbait lol. I just love the concept of two people who have this deep and unspoken trust and love for each other and don't need precise words to define it, or don't know how to define it, or are not emotionally honest enough yet to define it, but the love is clear as day. Like I love it when two characters refuse to even call each other "friend" but you know they would die for each other lmao.

Best example I can think of is G/ood Omens(the show, haven't read the book yet). Lots of queer people complained that they never kiss or outright say "I love you" or anything like that, meanwhile I was there like oh shit, I actually really loved the way their relationship was portrayed in the show and wouldn't change a single thing about it

I do understand the feelings of people who want something that leaves absolutely no room to be interpreted as platonic, and I think we need more of that always. But also I feel like the discourse has lost a lot of nuance, idk. anyway I got off topic oops

#buddy daddies #welp no episode this week so ill post this #mostly disorganized adhd rambling sorry ajsjdjf

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crystal-verse · 5 months ago

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Day 11 - Surrogate

[brief and vague mentions of pregnancy and childbirth. featuring lyna's parents, and queerplatonic relationships between the two of them and the exarch]

It escapes them, some days, just how lucky they are to have Dulna and Vaimet by their side. Then, of course, he is reminded, by a stray word or some thing he'd forgotten that one of the two had dealt with in his stead; by a stray pat on his shoulder, or the way one of the two would so casually yet carefully press a shoulder against one of his.

He is very close with the two, the Exarch -- Raha, though the name is feeling less and less his each day -- knows. The two had been the first to meet the Exarch, really, back when they were just Raha, an unnamed Mystel of some amount of power. They are perhaps the only ones to know his face, here in Norvrandt; all those who had met him in those initial years, so confusing and chaotic with the Flood having been so soon, are either dead or no longer remember them, and the Exarch cannot help but be grateful for it. They are more and more strange, living without aging, ageless and timeless just like the crystal that crawls further and further up their arm and shoulder, and while the Exarch knows that 'tis to prevent any recognition on the part of either Warrior of Light when they are eventually summoned. . . it is also a small source of comfort, keeping their face hidden, being an anonymous face to match their simple role. (Or -- 'twas supposed to be a simple role, at least.)

Dulna and Vaimet have never betrayed that trust, either -- they are always naught but professional when in public, the commander of the guard and his second-in-command who are ever loyal and respectful of the Crystal Exarch's time and duty. But behind the closed doors of the Tower, the two shed those roles like masks, the same way that the Exarch lowers his hood and is simply Raha again, for however long it lasts. There is comfort, between the three of them. Raha does not know quite what he would call it, but they are -- close, certainly. Not lovers, no -- they are well aware of what romance feels like, what infatuation swelling in their heart feels like (for they still love Sae'pheli'ehva, all these many, many years later) -- but neither is it quite friendship. There is friendship there but it is. . . it is different, somehow. (Raha hesitates to say closer, as if this relationship -- whatever it is -- is inherently better than friendship, as if romance is inherently better, but Raha does not know how to phrase it.)

It is not romantic love, at the least. Raha is certain of that. The Exarch, themself, had been the one to officiate Dulna and Vaimet's wedding, at their own shared request, and they know that just as they do not view the two in that light, neither do either of them view Raha like that. Still -- still, there is closeness. A deep bond, enough that Raha trusts them with his face, with his name, even. (He has not spoken of his past, but. . . they do not pry. When the memories grow too heavy, enough to choke, Vaimet will sit with him, oftentimes humming something beneath his breath, and will sometimes shift Raha to sit with his head pressed against Vaimet's chest, to hear the heartbeat. When Raha cannot carry the weight of all the grief he is forced to bear, Dulna will talk of whatever comes to her mind, until Raha is tethered in the current time and can breathe a bit easier.)

(It is not romantic love. It does not have to be. Raha loves them regardless, whatever this relationship might be.)

Perhaps they should be less surprised, then, at the request that is made of him.

"We want a baby." Dulna had said, one morning, with little preamble.

Raha raised merely blinked in response. ". . .alright. Were you wanting to adopt one of the orphans from the Sin Eater attacks. . .?"

Dulna looks at him as if he is stupid. Perhaps he is. "No," she says, enunciating carefully, "we want a baby."

"I'm. . . afraid I don't grasp your meaning?" Much more of this and Raha will be truly well and baffled.

Vaimet huffs, quietly, his shaking shoulders the only sign that he is repressing further laughter. "We want a child of our own blood." He explains, leaning his weight on one leg. "And I cannot sire a child, on account of lacking the necessary parts. So we need a surrogate."

"Ah. Well, I can. . . see about who would be willing to. . .?" Raha trails off, shrinking in on themself slightly as Dulna's expression only gets stonier.

She sighs, pinches the bridge of her nose. "Raha." (He does not startle at the name, but there is a fluttering in his chest regardless.) "You beautiful, beautiful fool of a man."

"I'm. . . sorry?" Well. Now Raha is baffled.

Vaimet, then, seems unable to restrain himself any longer, finally laughing loud enough that he is breathless for several moments. "We want a baby." He repeats. "And we want you to be the surrogate."

They -- "ah." Raha says, simply. They then proceed to scream into their hands.

After Raha has finished making a fool of himself, and Vaimet has finished laughing, and Dulna has sighed the last of her exasperated-if-fond sighs, the three properly sit down and plan how they are going to go about this. (Raha is awkward enough about it to make Vaimet laugh, and Dulna snicker at them, so even if Raha is horribly embarrassed the entire time, 'tis at least worth the smiles. And -- 'tis not as if the three of them have not seen each other naked, various times, between the damage from fights and needing to patch one another up or simply wishing to forgo the heavy layers of clothing amidst summer heat, so it's really the point of the whole thing that has Raha so embarrassed to begin with.)

It's Dulna that shall bear the child, they decide -- well. Vaimet and Dulna decide. Raha is mostly happy to be included, after he has eventually gotten over the awkwardness (as much as he ever will, at least). Vaimet is captain of the guard and presumed to be the same as any ordinary man by those who do not know him well enough, and Dulna is willing enough to take some time off from the regular guard rotation, once the pregnancy gets into its later months.

(Raha is still embarassed the entire time, but -- they do feel so very honored, that Dulna and Vaimet would trust them with something like this. And happy, of course, always happy to spend time with the both of them, individually or together.)

Time passes. The general public assumes that Dulna's child is Vaimet's -- and why should they not? 'Tis not as if there is anything to say otherwise. (And 'tis not like there is any stigma or judgement against those like Vaimet -- but Vaimet is older than a fair few of the Crystarium's citizens, by now, and values his privacy just as much as the Exarch does.) For the ease of avoiding any rumors, the Exarch does hope that the child will resemble Dulna more. (Raha hopes that his own Viera blood, however much of it there is, will shine through and hide any traits that would suggest a Mystel parent. Better for all their privacy if the child looks naught but Viis.)

Dulna and Vaimet toss about possible names for the child, through the months, but Vaimet is insistent that Raha should get a say, as well. Dulna reminds them that Raha will be involved in the child's upbringing regardless -- as if Raha would forget that. In the end, 'tis Vaimet's idea for the child to take the latter half of Dulna's name, for Raha's idea to name them Lyna. Dulna, smirking victoriously, declares that she does not care for whatever the gossipmongers may think, so long as their child (their child, claiming Raha as Lyna's parent just as much as Vaimet and Dulna are, and it makes a fragile little warmth bloom in Raha's chest) grows up happy, and loved, and cared for.

"We can claim you're their grandfather." Vaimet jokes, one stormy day when all are in their dwellings -- a rare day, where the Light is not quite so blinding.

"And what would that accomplish?" Raha raised an eyebrow, curious. "I assume that Lyna will discover the truth eventually, if they are not raised knowing it." They wrinkle their nose at a sudden thought. "I certainly would not like it assumed that I am a parent to either of you."

Vaimet only shrugs. "Well, we don't want them calling you father in public." And that is the issue, isn't it. The masks, and the roles. As far as anyone knows -- as far as anyone can confirm, at any rate, which has to be good enough -- they are simply Vaimet and Dulna, happily wed couple expecting their first child, employed as heads of the Crystarium guard, and the Crystal Exarch, kind but distant from all, a mysterious mage who's face and name is unknown to all. "Besides, you have taken time to interact with the other orphans and various children -- you've enough grandfatherly airs about you, when you want."

Before Raha can respond to that, Dulna cuts in. "We will figure it out when we get there." She declares. "For now, let us just enjoy the rest, hm?"

And so the time continues to pass. (Vaimet, Dulna, and Raha work on that idea, some -- the Exarch most certainly can put a grandfatherly aura about him, when he wants. Vaimet near laughs himself sick at it, and Raha can't help but join in. The many orphans, certainly, are grateful for the attention from their so very respected Exarch, and the orphanage caretakers, and the Settlement Council, are glad for their own brief respite from work as the Exarch takes time to care for the children for some hours out of a week, every now and then.)

(Raha worries, as the months go by, about what Lyna would inherent from them. If they would inherit anything at all. Would they get the curve of his nose? The pale shade of his skin, so unlike Dulna's deep reddish brown? Would Lyna get the red of Raha's hair, or the upward slant of their eyes? Would they get Raha's own full lips, or would they take after Dulna with thinner ones? Would there be any Allagan blood made present, in Lyna? Would their eyes be the one thing to mark them as being Raha's?)

It is another stormy day, when the child is finally born. Vaimet paces circles in the small washroom they had absconded to, the three of them, muttering under his breath, while Raha's hand is held in Dulna's white-knuckled grip. It is over rather more quickly than any of the three of them had expected, but it leaves them all exhausted -- nonetheless, there is nothing more memorable than the cries of a newborn infant.

Lyna's ears are clearly Viis, as is their short stub of a tail. Their skin is paler than Dulna's, but still a rich brown, and the downy fur on their ears and head is an off-white color, a pale echo of Dulna's near-black shade of purple. They sneeze, and open their eyes, and Raha can feel the breath leave his lungs. Lyna's eyes are a purple the color of Lakeland -- this, too, they did not inherit from him. Allag has no claim on them, despite his contribution to their parentage. There shall be no other sanguine-eyed individuals in Norvrandt, or on the entire First. Raha weeps, and they do not know if it is in loss or in relief.

#bound with thread | original posts #ink gone dry | writing #crystal exarch #g'raha tia #oc: dulna #oc: vaimet #ffxivwrite #ffxivwrite2024 #technically they're canon characters in that they exist and were mentioned to be close to the exarch #but we have Nothing other than that so. my ocs now. they're in love with each other and are queerplatonic with g'raha #(g'raha is also very much romantically in love. you can be in love and have queerplatonic relationships. he needs all the love he can get)#this was supposed to be about g'raha adopting lyna but then it turned into a little exploration of his relationship with her parents #and then a 'what if'#i don't think that this is canon but i Do like exploring this type of au idea so huzzah. upon ye #this is basically a shorter more brief version of a longer fic that now exists in my head ahahaha #anyways vaimet is a trans man and he's just vibing. very much in love with his wife and their shared short catboy #(i imagine that vaimet and dulna die fighting the lightwarden-that-creates-philia. so during holminster it's an unwanted deja vu for g'raha #anyways i wrote this entirely for me. because the love didn't change anything but it was there. it was there and it mattered.

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chdmeeksmartins · 2 years ago

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Which of the three Scream 6 killers do you see as the most likely to be sincerely 'rehabilitated' or at least deeply remorseful one day in the (distant!) future? I wanted to write a fic where I explore this particular issue, by the way, and whether any of our core four could or SHOULD ever forgive them :) Also, what do you think Richie, Quinn and Ethan were each like individually and as siblings in the years prior to Richie's murder spree and death? Obviously there had to be hints of instability and darkness even then, but do you see Richie as the most imbalanced and unrepentant? Were they once all semi-decent kids just trying to impress and protect their father and one another? Was Quinn close to Richie or to Ethan? Do you think they suspected that Richie could or would murder people before he actually did? Did their father directly encourage their sociopathy? You get the idea ---please talk as long as you want since you know how much I always love your answers!

okay this ask is SO good, but i’m going to get a bit lengthy on this one so i’m adding a read more <3

out of the three scream 6 killers, i’m honestly not sure which one is the most likely to be remorseful/rehabilitated. my gut instinct is to say either ethan or quinn, just purely because they’re younger and have more of their lives ahead of them? and i think with that in mind, they’d be more likely to feel bad about it only because they threw their lives away.

(imo, they would NOT regret avenging their bro.)

but i think the idea of your AU is really interesting and could be fascinating to explore. i feel like, with that in mind, maybe ethan would work best due to his friendship with chad? but i don’t know! i feel like either of the two of them are likely options.

now, when it comes to the siblings personalities & dynamics pre-canon? i have a LOT of thoughts…

richie was definitely the favored older son, who is definitely at least a couple of years older than his siblings. i think he was probably around 25 when he died and quinn was about 21-22 in scream 6 while ethan was the same age as chad and in the 18-19 range. so that’s, at the very least, a 5 year gap between him and his siblings if you factor in the fact he died a whole year before scream 6.

quinn was definitely the most outgoing/social out of the siblings although i think a bit of her “slutty” roommate persona was just for the cover… and a bit of coping mechanism for her trauma as well. but she totally has the vibe that she was popular and never had trouble making friends — or even any issue with the fact that people don’t like her.

ethan was 100% the stereotypical youngest kid and he was probably a crybaby growing up lmao.

i’d have to find the post, but i saw someone share their headcanon here awhile back that richie had quinn and ethan help with his stab fan-films and that is TOTALLY canon to me! quinn always got to be the final girl while ethan was always the victim.

i’m kind of inclined to think quinn & ethan were the closest out of the siblings, both due to the age gap with richie and because i think det. bailey and richie had a very special father/son bond that kind of made way for quinn & ethan to become close.

i also HC that quinn would always be the first one to tease ethan but if anyone at school bullied or bothered him then she’d be there in an instant to essentially fight his battles for him 😅 (which, imo, is totally backed up by the scene in 6 when quinn reaches the balcony and ethan so joyfully is like “you guys are so fucked now!” … like she’s always been the protective sibling to both ethan & richie.)

i think the bailey-kirsch family like… very clearly has some screws loose, but i think richie’s issues inherently come from the fact that wayne coddled him too much and never curbed his bad traits.

(this kind of ties into a HC i have that their mom died when the kids were really young but….)

i feel like quinn & ethan definitely had an inkling that richie had to the capability to hurt people, but it kind of raises the question to me that with the way their father idolized him… did the two of them even see that as a bad thing? or was richie’s killer instinct something their dad admired and they kind of wished they had more of themselves?

i also know this is definitely a debated topic in the fandom but i do objectively think ethan had some hangs-ups on the favoritism of richie. like, in the monologue det. bailey has about the special bond between a father and his first-born son there’s a very clear acting choice from jack champion to react to that with some pain that i can’t ignore.

i also think there’s a LOT to be said about quinn’s position as the only girl in a family full of boys that seemingly does not have a present mother but that’s a topic for different post because that alone could be as long as this one is right now lmao.

this has gotten LONG so i’ll leave us off on some fun head-canons lol

quinn 100% mains bowser in mario kart and ethan mains yoshi… she’s also not above literally shoving the controller out of his hands in order to win 🤷

they are also SUPER hyper competitive around each other and struggled to hide that from the friend group in scream 6 lol there was definitely an instance of quinn shoving ethan or his remote during mario kart that earned her a whole essay from chad on how cheating is rude while ethan had to try and suppress his laughter LMAO

okay, one last side note, i actually am curious on how ethan and quinn successfully hid the fact they were siblings from the group because even with fake identities that kind of bond seems really hard to hide to me but that’s a separate essay…

#mars random thoughts #scream #my essays #my meta ? i guess ??#richie kirsch #wayne bailey #quinn bailey #ethan landry #i feel like i could’ve gone on for like 18 more paragraphs on them lol #maybe i need to do an indivual hc list for ethan & quinn because i have a LOT but !!!#point-place-central-perk #mars answers asks #scream vi

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waugh-bao · 11 months ago

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3, 11, 18 <3

3. Three films you could watch for the rest of your life and not get bored of?

Casablanca (1942)

This is one of those movies that was so foundational to subsequent cinema that sometimes people find it a bit trite, but I was lucky enough the first time I saw it to watch it on 35 MM at the Prince Charles Cinema and I think that made all the difference. I’m a sucker for Louis and Rick’s relationship, and I’m also a crazy person with a crush on Claude Rains, so I can watch it again and again for those aspects alone.

The Royal Tenenbaums (2001)

My absolute favorite Wes Anderson film, it’s funny and dark and disturbing and, in the end, so incredibly touching. I think part of what makes it his best movie, at least for me, is that it has more emotional range and depth than any of the others. I always feel like I find something new every time I watch it, and it’s permanently downloaded to my laptop as my comfort movie for long flights.

8 1/2 (1963)

The first Fellini film I ever saw and still probably my favorite, it’s just pure magic. And I know that it wasn’t nearly as much of a critical success (and frankly it’s not anywhere near as magnificent as 8 1/2), but I also quite like its corollary film, City of Women (1981). Fellini and Mastroianni together is unbeatable.

11. What do you consider to be romance?

When I think about the epitome of romance, I feel like the thing that comes to mind for me is the letters Vladimir Nabokov wrote to his wife, Vera. I’ve read them in Russian and English translation and they’re simply…everything. I guess what stands out to me most as ‘romance’ is how she permeates everything for him and the unique depth of understanding between them. It’s one of the more benign passages, but I feel like this one sentence from a 1937 letter really encapsulates the way a great love/romance can elevate even the most quotidian experiences.

“It's cold today, but in a spring way, and I love you.”

My weird addendum to this is a series of 18th ct letters between two Whig political figures, Hardwicke and Newcastle, that I’ve had to work with for professional reasons and which I think exemplify the romance of friendship. Like I’ve probably wasted a day or two at the British Library looking through correspondence of theirs that has nothing to do with what I need because their letters are just such a pleasure to read. The line that always sticks most firmly in my mind is Newcastle to Hardwicke, trying to comfort him in the wake of the death of his wife, whom both men deeply admired and loved:

“I am, if possible, more than ever yours.”

18. Do you believe in ghosts and/or aliens?

Not really. Maybe aliens in the scientific sense that there’s a possibility of other intelligent life in this universe, but honestly that scares me way more than it excites me. It sounds weird to say, but I really don’t enjoy space/anything related to it. Something about the vast emptiness, lack of breathable air, etc. makes me inherently panicky.

#thanks!#ask game #ask response #charlesandkeef

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adarkrainbow · 2 years ago

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Fables: The Ultimate Catalogue! (A)

Here it is! A complete list of all the fairytale, nursery rhyme, mythical and literary references in Fables, both the main comic book series and its various spin-offs! This “catalogue” was created by me looking throughout the series and collected editions, adding to my personal knowledge quick Internet researches, and completing it all with the Fables Encyclopedia (which despite its official status has several things wrong in it). I didn’t get absolutely everything - some references I did not get, but I will keep a separate post for them. Enjoy!

SPOILERS AHEAD, SPOILERS AHEAD!

This post will cover the issues of Fables, the main series, 1 to 59 (from “Legends in Exile” to “Burning Questions”) + A Wolf in the Fold story + The Last Castle one-shot + 1001 Nights of Snowfall

Note that I might have missed a few references, which I have placed in my series of posts “Searching for the reference” - if I ever find additional things, I will update this post.

The main characters

# Snow-White: The princess from “Little Snow-White” by the brothers Grimm, but also the sister of Rose-Red, from “Snow-White and Rose-Red” by the same brothers. She is the “civilized child”, “good sister”, “refined princess”, “order” to Rose-Red’s “wild child”, “disobedient sister”, “crude peasant”, “chaos”.

# Rose-Red: The character from the brothers Grimm fairytale “Snow-White and Rose-Red”. She is Snow-White’s counterpart in many way. She is the peasant girl to her sister’s princess, she is the wild child to her sister’s obedient/civilized child, she is the ruler of the Farm and its animalistic realms where Snow-White governs Fabletown and the human Fables.

# Bigby Wolf: The Big Bad Wolf. An “archetypal” character representing the “Western myth of the wolf as a voracious killer, man-eating, cunning, terrifying beast” - even tough real-life wolves are actually shy and do not attack men in normal circumstances He was the wolf from “Little Red Riding Hood” and from “The Three Little Pigs”. His original fairytale incarnation, as the giant, all-devouring wolf-son of the North Wind, was revealed by Willingham to have been inspired by the Fenris Wolf of Norse mythology (Willingham wanted his depictions of fairytales to have roots in ancient myths, the same way the “oldest Sleeping Beauty is Brunhilde’s circle of fire”. His human persona in today’s Fabletown is inspired by a bunch of detective and spy characters - most notably by the detectives of the “film noir” genre, though he has a disheveled Columbo-like appearance, coupled with a gruffness and inherent violence typical of a “wolf” like character: he has been described by people as “Dirty Harry meets Wolverine meets Humphrey Bogart’s detective roles”. His position as the love interest to the main female protagonist/Snow White-related woman is also clearly inspired by the character of “Wolf”, from “The 10th Kingdom”.

During his adventures in World War II he happened to become Fables’ equivalent of “The Wolf-Man” from the Universal Horror movies (he even lived through “Frankenstein meets the Wolf-Man” as he had to fight the creature of Frankenstein - Willingham confessed being a big fan of the Universal classics). In fact, we know he was the main source of the werewolf myth in our world (or maybe the reverse, it is unclear with Fables), since he is a shapeshifter able to turn into a giant wolf, a human being, or an in-between, he can only be killed by silver, and he had a friendship and alliance with Count Dracula (see below). We also learn from his backstory in “1001 Nights of Snowfall” that he used to be a twisted version of the “ugly little duckling” of his family, the runt of the litter mocked by his brothers, then turned into the biggest, baddest, most powerful of magical wolves.

# Boy Blue: Snow-White’s assistant comes from the nursery rhyme “Little Boy Blue”. On a play of him being tied to the color blue and playing the trumpet, he is also a talented musician of blues music. Also an expert in jazz, his favorite song is “Blue Skies”, and he apparently will always refuse to play “Tijuana Taxi”. When describing his tragic love story with Little Red Riding Hood, he calls it a parody of an “insipid O. Henry tale”. His adventures in the Homelands, with a mask on his face, the Witching Cloak and the Vorpal Blade, turned him into a legendary figure mixing various influences - his mask, cape and sword evokes the character of Zorro, he calls himself at one point the “Blue Avenger” (which seems to be a comic book nod, as Boy Blue is seen to be a big fan of comics), and he is called by many the “Black Knight” which, on top of being a reference to the archetype of the “Black Knight/Dark Knight” in typical Arthurian tales, might be a reference to Batman aka the “Dark Knight”, another dark super-hero with a half-mask and cloak that fights in the shadows of the night. Rose Red later describes this new persona of his as “the swashbuckler supreme”, “better than Errol Flynn” (the actor who played the most famous cinematic version of Robin Hood).

# Jack: Of his full title “Jack of all Tales” (a pun on “Jack of all trades”). Jack is ALL the Jack of fairytales, or almost all of them. He starts out as the Jack from the English Jack tales (Jack and the Beanstalk, Jack the Giant Killer, Jack o’ Lantern) but he is also promptly revealed to be the Jack from nursery rhymes (Jack be nimble, Little Jack Horner, Jack and Jill). He is also the “Appalachian Jack”, or the “Mountain Jack of American folklore” - the Jack of those folktales carried from Europe over to the Appalachian mountains (the issue “Bag O’Bones” is a retelling of the Appalachian story “Soldier Jack” or “The Man who Caught Death in a Bag”). AND he is tied to the “Jacks” of card-games, aka the four Knaves, that he can summon in his hand during any card game (he even sings the gambling song “Jack O’Diamonds”). The Fables Encyclopedia notes that the oldest Jack tale would be “Jack and his Stepdame”, and mentions how Jack is the English version of the stock-character of fairytale known as Ivan un Russia, Hans in Germany and Juan in Spanish-speaking American countries. Willingham also mentions in the Encyclopedia that “Jack who jumped over a candlestick” is another one of the nursery rhymes part of the character.

Jack is one of the tricksters of the Fables world - though he represents the “dark gray” kind of trickster. He is a chronical liar and thief, always acting out of selfishness and base desires (greed and lust), constantly throwing himself into “get-rich-quick” plans and not truly caring about anyone else but himself. This anti-hero is also constantly stuck into a cycle of failures and successes: while by essence he has luck on his side, as he is the very embodiment of the “designated hero” or the “non-heroic protagonist”, chance alway provides him the opportunities to fulfill his dreams and to escape his ordeals, his character however also means that every time he puts together a succesful scam or gets where he wants, he will lose everything and be forced to begin everything from scratch again. The Fables Encyclopedia does point out that this isn’t part of the traditional Jack character, who is usually an “unlikely hero”, the simpleton or the weakest of three brothers, who, with courage and resourcefulness (and luck) overcomes obstacles. But Willingham explained he wanted a “trickster without the charm, a bad boy who never learns despite his frequent comeuppance”. The only Jacks that aren’t him are Jack Sprat (from the nursery rhyme) and Jack Ketch (the executioner).

# The Black Forest Witch, or Frau Totenkinder: She is introduced as the witch from “Hansel and Gretel”, who survived being burned in her own oven, but she is revealed by “The March of the Wooden Soldiers” to have been in truth much more than that. She is an “archetypal” character who was the anonymous, unnamed or barely-mentioned witch of numerous other fairytales - and she even was involved in several stories where she did not appear as a character, since her desire was to keep herself hidden from the world. Her two titles are mere aliases: “The Black Forest Witch” refers to the deep, dark forest she lived in, the Black Forest of actual Germany, and the type of cake “Black Forest” all at once. Frau Totenkinder is a German name meaning “Miss Child-Killer”, formed of “Toten”, to kill, and “kinder”, “children”. In general, I also suspect she was influenced by the character of the Witch from “Into the Woods” (notably for reasons we will see in later parts of the series).

We get her full backstory in “The Witch’s Tale” (1001 Nights of Snowfall) and we learn she has been the witch from Rapunzel (though this version of Rapunzel is quite different from the one we know) and the witch who cursed the Frog Prince and the Beast into their monstrous shapes (it was a hobby of her to turn handsome, rich noblemen into various animals under the pretense of “helping” them finding their “true love”). She also participated in the creation of famous stories/characters, though she never appeared in them: she blessed Lancelot of the Lake with the ability to win any combat as long as he remained pure of heart, she created the Three Billy Goats Gruff to get rid of a bridge infested by trolls, and she gave the Pied Piper his enchanted flute to lure the children of Hamelin away as a personal revenge on the town. She played the role of an haruspex in a city similar in design to Ancient Rome (before, she was a shaman for a Prehistoric tribe), though the prophecy she delivers through her gore-reading are biblical in nature (Joseph’s famous “seven years of plenty, seven years of famine”). And finally we learned that she caused one of the “good daughter rewarded, bad daughter punished” type of fairytale, in the likes of “Diamonds and Toads” or “Frau Holle” - except her “punishment” was killing the vain, mean sisters, cooking them into pies and feeding them to their mother.

# Beauty and the Beast: A couple from the fairytale of the same name, first written by madame de Villeneuve, but rewritten and made famous by madame Leprince de Beaumont.

# Prince Charming: THE Prince Charming of various fairytales. He isn’t all the princes of fairytales, but he was (in chronological order), the prince-husband of Snow-White, who after his divorce with her became the prince-husband of Briar Rose, and after his divorce with her became the prince-husband of Cinderella. His womanizing ways lead him to be compared to the famous Casanova (though his modern behavior evokes mostly a nicer Don Giovani). I suspect he was inspired by the characters of the prince brothers from “Into the Woods”. He also technically makes an homage to the character of Harold Hill from “The Music Man”, as he uses some sentences from his song “Ya got trouble” during his campaign for mayor of Fabletown.

Fabletown citizens and buildings

# King Cole: The mayor of Fabletown is Old King Cole, from the nursery rhyme of the same name.

# Bluebeard: From Charles Perrault’s “Bluebeard” fairytale.

# Trusty John: He is Faithful John, from the same name fairytale of the brothers Grimm.

# Ambrose/Flycatcher is the Frog King, from the brothers Grimm fairytale of the same name. He usually sings various folk-songs and nursery rhymes tied to his frog state, such as “Frog Went A-Courting” and “The old lady who swallowed a fly”. Due to him being not pretty-looking, not very bright or intelligent, and usually dismissed and pushed into lower positions, he is also explicitely referred to in the story as “the village’s idiot” of Fabletown. The reason Willingham chose “Ambrose” as his name is revealed in the Fables Encyclopedia to be: Willingham simply likes the name Ambrose ever since he discovered that Merlin the wizard was sometimes called “Merlin Ambrosius”. (In fact, Willingham, by choosing this name, indirectly predicted Flycatcher’s future Arthurian character-arc).

# Grimble, the troll security guard, is one of the several bridge trolls of “The Three Billy Goats Gruff”. I say several because, when Buckingham drew the “Animal Farm” arc, he kept putting in the background an orange-fur covered creature with a green hat - the Encyclopedia reveals that it was Buckingham’s reusing another of his designs of the “Bridge Troll”, taken from the “Merv Pumpkinhead” comic series, a spin-off of Neil Gaiman’s “The Sandman” that was the first collaboration of Willingham and Buckingham (Merv Pumpkinhead, Agent of D.R.E.A.M.). (Similarly, in Frau Totenkinder’s backstory she explains that when a bridge troll is killed, another soon takes his place, as they are an entire species). The Encyclopedia also reveals that Willingham originally envisioned Grimble as a big burly security guard, but Lan Medina (one of the artists working on Fables) rather drew him as a “Wally Cox, Barney Fife sort of fellow”, and Willingham adored the dichotomy of the glamour and true character.

# Bufkin is one of the winged monkeys from “The Wonderful Wizard of Oz”, by L. Frank Baum.

# Cinderella is from Charles Perrault’s “Cinderella” (and not the Grimm version since her slippers are here of glass, not gold).It is in fact the name of her shoe-shop: The Glass Slipper.

# Pinocchio is from “The Adventures of Pinocchio” by Carlo Collodi.

# Fabletown itself (and the Fables as a whole) are named after the genre known as “fable”. The Woodland Luxury Apartment, Fabletown’s unofficial town hall, refers in name the typical fairytale forest, and in role the main castle at the center of every fairytale kingdom. In its gardens we find statues of Alice with her kitten and white rabbit (from “Alice in Wonderland” AND “Alice Through the Looking-Glass”) and a statue of Humpty Dumpty (from the nursery rhyme of the same name, plus Alice in Wonderland). (My notes mention a statue of Dorothy and Toto from The Wizard of Oz, but I am not certain of it?)

# The streets of Fabletown are named after various authors. Bullfinch Street is named after Thomas Bullfinch who wrote the famous “Bullfinch’s Mythology”. Kipling Street is named after Rudyard Kipling who created classics such as “The Jungle Book” or the “Just so Stories”. Perrault Street is named after Charles Perrault, who wrote the famous “Mother Goose’s fairy tales”. Andersen Street is named after the fairytale author Hans Christian Andersen.

# The “I Am The Eggman” diner, on top of being a pun due to being owned by Vulco, one of the crow-brothers, is a reference to the lyrics of the song “I am the Walrus” (itself a reference to “Alice through the Looking-Glass”). The Edward Bear’s Candies shop is a reference to the teddy bear that inspired the creation of Winnie-the-Pooh. The Branstock Tavern is a reference to the Barnstokkr tree appearing in the Völsung saga.

# While not part of Fabletown, Gottfried’s Steak House seems to be a reference to Gottfried von Strauss, a poet famous for his work on “Tristan and Yseult”. The waitress there, Molly Greenbaum, serves as a reference to the folk song “Molly Malone”, that Prince Charming actually sings as he leaves her (I also mistook her for a nod the nursery rhyme “Miss Molly had a dolly”).

# The Knights of Malta Hospital is a reference to the real-life Knights of Malta/Knights Hospitaller. Working in it, we find Doctor Swineheart (from the Grimms’ “The Three Army Surgeons”) and Nurse Sprat (actually Miss Sprat from the nursery rhyme “Jack Sprat”). Jack Sprat himself lives with his wife in Fabletown.

# The Forsworn Knight, the undead hanging knight haunting his rusty armor, has his identity secret up to this point - but the “Fables Encyclopedia” explained that his title was a reference to how the knights of the Arthurian mythos are only known by their nicknames: The Knight with Two Swords, the Dolorous Knight, the Green Knight, the Savage Knight...

# Briar Rose is the character from the brothers Grimm’s version of the “Sleeping Beauty” story (though the fact she was blessed by fairies as a baby comes from Perrault’s “Sleeping Beauty”).

# Bluebeard (and then Charming’s) goblin butler, Hobbes, has been identified by several as a nod to Thomas Hobbes. However I think it might rather simply be a reference to the “hobgoblins”.

# The Lewis Antiques shop seems to be a reference to C.S. Lewis, the inventor of Narnia (given it is “antiques”, an old wardrobe comes to mind), though it could be also a nod to Lewis Carroll. Nod’s Books has been identified as a reference to “The Book of Nods” by Jim Carroll. The Chateau d’If Fencing Academy is a reference to the real-life castle made mythical by Dumas’ “The Count of Monte-Cristo”: in fact Edmond Dantès himself runs the Academy. The Web ‘n Muffet Market is a reference to the nursery rhyme “Little Muss Muffet” (she lives now as Mrs. Web, having married the spider Mr. Web). The Yellow Brick Roadhouse is a reference to the Yellow Brick Road of Oz.

# There are two shops seen in the comics but who’s true owners are only revealed later. One is “Ford Laundry” which is a laundromat runned by the Scottish bean nighe, Mrs. Ford (because she is “The Washer-Woman at the Ford”). The second is the Grand Green Florist shop, revealed in “A Wolf Among Us” to be the shop of Auntie Greenleaf, from Schlosser’s “Spooky New-York” anthology.

# The 13th floor witches include (beyond Frau Totenkinder), the “Fairy Witch” or “Great Fairy Witch” (actually the witch from Andersen’s “Thumbelina”) and Mr. Grandours, the sorcerer-king from “The Wizard King” (Willingham took the translated version from Andrew Lang’s Yellow Fairy Book, though the fairytale origin is actually the knight of Mailly “Le Roi Magicien”, in his “Illustres fées” - the Illustrious Fairies of Le Chevalier de Mailly). When evoking Mr. Grandours in the Encyclopedia (which falsely refers to The Wizard King as having been invented by Lang), Willingham also said when designing his character he thought of all the various magical bears in fairy tales, good or wicked - and his human form is meant to evoke a “Leonid Brezhnev-kind of character”.

# Thrushbeard is from “King Thrushbeard”, a fairytale of the brothers Grimm. Mark Buckingham designed him after comic book creator Alan Moore.

# Kay is a character from Andersen’s “The Snow Queen”.

# The boy who cries wolf is from the Aesop fable of the same name (and lives on the seventh floor of the Woodland Luxury).

# Ichabod Crane is a character from Washington Irving’s “The Legend of Sleepy Hollow”. Willingham insists in the Fables Encyclopedia that he wanted to depict Crane as he perceived him when reading the original story, aka as “kind of an ass, of the prickly, pompously self-impressed sort”.

# The Stone Soup restaurant is a reference to the very widespread and famous folktale “The Stone Soup”. The Andersen butcher shop is another nod to Hans Christian Andersen (here mixed with the word “Delicatessen”). The reparation team/company in charge of remaking Fabletown after the March of the Wooden Soldiers is called “N Rhyme” - aka Nursery Rhyme.

# Gudrun is the goose that lays golden eggs - made famous by the “Jack and the beanstalk” fairytale, but finding her roots in one of Aesop’s fables “The goose that laid golden eggs”. As for her name, it is the one of the wife of the Germanic mythical hero Sigurd/Siegfried.

# Barbara Allen, one of the victims of the rogue zephyr, is from the folk-song of the same name, “Bonny Barbara Allen”.

# Mowgli is the main character of Kipling’ “The Jungle Book” (he is also explicitely compared in-universe to “Tarzan” (from “Tarzan of the Apes”), though Willingham in the Encyclopedia explains he prefers Mowgli over the other because he was “Tarzan before Tarzan”.

# Rapunzel is the character from the brothers Grimm story of the same name.

# Fair Katrinelje, Vulco’s part-time girlfriend, is from the brothers Grimm fairytale “Fair Katrinelje and Pif-Paf-Poltrie”.

The Farm residents and buildings

# The Farm plays various roles. In design it is described by Rose-Red as “Old Macdonald meets Walt Disney meets Munchkinland” - Old Macdonald had a farm being a traditional children song (later quoted to describe the Farm), the Disney reference being related to Disney Land the amusement park (the architecture of some buildings has been noted to be similar to the Neuschwanstein castle, which inspired Sleeping Beauty’s castle for Disney) , and Munchkinland being a reference to the colorful landscape of the MGM movie “The Wizard of Oz”. In terms of role it also fulfills the idea of the “farm” where pets are supposedly sent when they die and parents want to hide it to their children. In its first appearance, the “Animal Farm” arc, it plays the role of the titular “Animal Farm” from George Orwell’s book of the same name, and Goldilocks purposefully makes a gory reference to William Golding’s “Lord of the Flies”, comparing the Farm to the island of the story.

# Colin, Posey and Dun are the three pigs from “The Three Little Pigs” (Posey and Dun coupling as the pigs from Orwell’s “Animal Farm”). They are later replaced by three giant brothers turned into pigs, Johnny, Donny and Lonny. The giant brothers notably recite the iconic lines “Fee fi fo fum [...] I’ll grind his bones to make my bread!”, coming from “Jack and the Beanstalk”.

# The Farm hosts the Rhinoceros from “How the Rhinoceros got his skin” (Kipling’s “Just So Stories”), the Three Billy Goats Gruff (from the Norwegian fairytale of the same name), Henny Penny (from “Chicken Little/Henny Penny”), the Owl and the Pussycat (from the poem of the same name), the Hare and the Tortoise (from the Aesop fable of the same name), several flying monkeys (from “The Wonderful Wizard of Oz”), a red-cap (from English-Scottish folklore), and Puss in Boots (from Perrault’s fairytale of the same name).

# The buildings of the Farm include a pumpkin-house similar to the one of Jack Pumpkinhead in the “Oz” books ; mushroom-houses taken straight out of the “Smurfs” comic books and cartoons; the shoe-house of the “Old Woman who lived in a Shoe”, as well as Baba-Yaga’s chicken-legged house.

# Goldilocks and the Three Bears (Papa Bear, Mama Bear and Boo Bear) are from the fairytale of the same name.

# Weyland Smith, the original caretaker of the Farm before Rose-Red, is a character from Germanic legends, Anglo-Saxon folklore and Nordic sagas, present “from the Poetic Edda to Beowulf” to take back the words of the Encyclopedia.

# The B’rer Fables are animal fables taken out of Afro-American folktales (most famous through the “Uncle Remus” books): we have B’rer Rabbit, B’rer Bear, B’rer Gator. In “Sons of the Empire” we also find out B’rer Wolf is here.

# The “Jungle Fables” or “Kipling Fables” are characters of Kipling’s The Jungle Book: Shere Kan the tiger, Bagherra the panther, Kaa the python, and Old King Louie (the latter was a mistake of Willingham who forgot King Louie was a character invented by Disney and not from the original story). We later learn Baloo the bear is also at the Farm.

# The Farm hosts several characters briefly caricatured in the background to avoid the copyright of Disney, such as Winnie the Pooh and Piglet, or Bambi.

# All the birds of the nursery rhyme “The Death and Burial of Cock Robin” are present in the Farm - since the events of the nursery rhyme are enacted in “Animal Farm”. Cock Robin itself is actually a Fabletown bird - and the Fables Encyclopedia notes that he is actually the protagonist of a whole cycle of nursery rhymes, including “Cock Robin got up Early”.

# The Farm hosts various characters from “Le Roman de Renart”, “The History of Reynart”, the Reynart stories of medieval France. Reynard the Fox and Noble the Lion are the most noticeable one, but we also see Brun the Bear in the Farm (identified by Buckingham’s sketch-notes). Ysengrim the wolf also appears in “Sons of the Empire”. Reynard the fox is here notably much more pleasant and amiable than his medieval counterpart - in “Fables Encyclopedia”, Willingham explained that the first trickster of his childhoo was Bugs Bunny, a “monster of chaos”, and that for Reynard he wanted to create a “slyer, wiser and more subtle” form of trickster.

# The Farm has numerous nursery rhymes characters. From “Hickory Dickory Dock” we have the mouse that ran down the clock. From “Hey Diddle Diddle” we have the cow who jumped over the moon, the dish and the spoon (plus in King Cole’s “Fair Share” backstory we learn there’s also the Little Dog who Laughed). We also have the Three Blind Mice (from the nursery rhyme of the same name). As well as “Mr. Sunflower”, from a nursery rhyme by R. André.

# Three characters from “The Wind in the Willows” are here: Mr. Toad, Mr. Mole and Mr. Badger.

# Numerous small-sized humanoids live in the Farm: Tomb Thumb (an archetypal character of English fairytales), Thumbelina (from the fairytale of Andersen of the same name) and a community of Lilliputians (from Swift’s “The Travels of Gulliver”). The Lilliputians have created a “mounted police” riding “field mice” (which I believe to be some of the field mice from “The Wonderful Wizard of Oz”). In the Fables Encyclopedia, it is noted that the idea of the Mounted Police of Lilliputians, of tiny sergents riding on mice to do cop duty, actually comes from the song “And the Mouse Police never sleeps” from Jethro Thull’s “Heavy Horses” (even though the original song referred to a cat).

# Several characters of the Alice books can be found here, most notably living playing cards, the Cheshire Cat (from “Alice in Wonderland”) and the Walrus (from “Alice Through the Looking-Glass”).

# When the rebels have to be executed, the one called for the job is Jack Ketch, a historical figure turned “archetype/stereotype/common nickname” for executioners in England. He is also revealed to have been the executioner of Prince Charming’s realm, and the Fables Encyclopedia has Willingham explaining that, for him, Jack Ketch isn’t actually a citizen of Fabletown but rather the name given to whoever takes the role of the executioner of the Fables community - it is a job, a position.

# John Barleycorn is from the folk-song of the same name.

# Mary and her little lamb are from the nursery rhyme “Mary had a little lamb”, while Miss Mousey and her frogs are from the folk-song “Frog Went-A Courting”.

# Peter Cottontail is present at the farm - “Cottontail” being the alternate name of the famous character known as “Peter Rabbit”. And while Peter Rabbit is most famous by Beatrix Potter’s writings, the character’s alias of “Peter Cottontail” comes from the novels of Thornton Burgess, such as “Old Mother West Wind” or “The Adventures of Peter Cottontail”.

# There are lot of little detail-characters that are here merely to evoke common sayings or beliefs. For example we see at one point a snail with a roof and chimney on its shell, evoking how it is said that snails carry their house on their back ; and at another point we see the duo of a snail with an umbrella and a ladybug, which is a reference to how the two animals are used to predict the weather to come (rainy weather for the snail, sunny weather for the ladybug).

The Adversary and his forces

# The Adversary/The Emperor was designed to evoke the archetypal “evil overlord/dark lord” of epic/high fantasy. To be more precise, he draws a lot of inspiration from Sauron/Morgoth of “The Lord of the Rings”. A tall, dark, gigantic creature of darkness clad in a terrifying armor, whose plan is to conquer by blood and slaughter the entirety of the universe, whose armies are made of all sorts of awful monters (mostly goblins, with some trolls, giants and dragons thrown in the mix), and who enslaves evil sorcerers as top-agents... The reference is pretty obvious.

# The Adversary is also meant to have a devilish symbolism. The monsters creating his armies are noted to have been summoned from hellish dimensions or to be demonic in nature. He is served by sorcerers and witches. His name, the Adversary, can be translated as “Satan” (the Accuser, the Enemy). And in flashbacks he is depicted as a satyr-like entity, with one theory calling him a divine being cast out from heaven - a fallen god, or maybe fallen “angelic” entity.

# The last attack/invasion of the Adversary onto the European Fable-realms, the events of “The Last Castle”, are noted to coincide with the Napoleonian Wars over Europe - meaning the Adversary is also a fairytale version of Napoleon somehow. Though the way the Empire rules its conquered countries through the “illusion of freedom” and “puppet-kings”, the way they exist through a vast bureaucratic system confiscating all magical artefacts and enslaving or killing sorcers, their method of invading/annexing countries to their rule, imposing a strict list of permitted holidays and sending spies in the countries resisting them... It is all meant to evoke the Soviet Union and its Eastern Block during the Cold War.

# The wooden soldiers sent by the Adversary to Fabletown are meant to evoke the “Men in black” from American urban legends/alien tales/ufology. The idea of an army of wooden soldiers created by an humble person that rose up to the rank of great evil is also an accidental parallel with “Urfin Jus and his Wooden Soldiers”, the second book of the “Tales of the Magic Land” series by Alexander Volkov (a Russian rip-off of the Oz books).

# Baba-Yaga, the witch from Slavic folklore and Russian fairytales, is one of the top-agents and “right hands” of the Emperor. She oversees for him the land of the Rus (the Fable equivalent of Russia), and she has alongside her three magical knights - taken from the fairytale “Vasilisa the Beautiful”: Bright-Day the white horseman, rider of the dawn ; Radiant-Sun the red horseman, knight of midday, and Dark-Night the black horseman, rider under the stars. Willinghma noted that if he played into the most horrifying and frightening aspects of Baba Yaga, it was because she was his personal bogeyman and “nightmare monster” as a child. One of the rulers of the Rus lands, while under the Adversary’s control, is Ivan Tsarevich, a recurring character of Russian folktales.

# The leader of the Adversary’s forces against Colonel Bearskin and the Last Keep at the End of the Known World is the Count Aucassin de Beaucaire, from the French medieval story “Aucassin et Nicolette”.

# Chernomor, used to serve under Aucassin de Beaucaire (or alongside him) and became the governor of the “world of Kardan”, one of the frontier-worlds of the Empire. If you go to the Wikipedia article, Chernomor is listed as coming from the poem “Ruslan and Lyudmila” which is partially true - but the Fables Encyclopedia reveals that this version of Chernomor actually comes from the poem/fairytale “The Tale of Tsar Saltan” by Pushkine - in fact, it is this poem that Chernomor reads to himself during his first appearance.

# In quite a twist from his Sauron-like appearance, the heart of the Empire isn’t some Mordor land. In fact, as it turns out the Empire is a vast thriving bureaucratic empire meant to evoke the Roman Empire (or Byzantine Empire, due to the very bureaucratic nature of the management of the empire). The land at the heart of the Empire shares the same name as the Capital City of the Emperor (or Imperial City): Calabri Anagni. This name is made up of “Calabri”, the name of the region of Italy forming the “point of the boot”, and “Anagni”, an ancient town of central Italy. It is indeed the Homeland equivalent of Italy, and in fact the Imperial City was drawn based on the sketches and illustrations of Ancient Rome by Piranesi. Plus, the situation of the Fables living in an “exile” and a “diaspora” because of the Adversary’s conquering Empire is meant to evoke the destruction wrecked by the Roman Empire against the Jews - more specifically the Jewish-Roman Wars.

# Willingham takes some time to explore the life and day-to-day activities of the lower-ranked goblins and soldiers of the Empire, humanizing them in their usual duties (such as tax collecting). I first I thought it was just a reference to a similar thing Tolkien did with his orcs (see “The Return of the King”) but then it clicked when I realized the “day-to-day story from the point of view of lower-ranked members of the evil empire” + the evil empire recruiting and enslaving sorcerers and wizards as its “new nobility” + Willingham’s love for military stories and dark, gory battles... There is definitively here an influence of Glen Cook’s The Black Company. It would make the Adversary influenced by another famous duo of “evil overlords” of fantasy: The Lady and the Dominator.

# Buckingham explained that Ogren and Throk, the goblin duo of issue 36, were inspired by the numerous British humor comics he grew up with as a child.

# The Snow Queen from Hans Christian Andersen’s fairytale of the same name is another one of the “great ladies” and right hands of the Emperor, just like Baba Yaga. In this version of the tale however she seems to be heavily tied to the evil mirror of the tale - she has a mirror above her throne, Buckingham revealed that the fragments of the shattered mirror are ornating her queenly outfit, and it is because of her that Kay ended up with a shard of the mirror in his eyes. Willingham sneaked a “Song of Ice and Fire” reference in the comic as, when she arrives in the Imperial City, the guards keep shouting “Winter is coming!”. Her name, “Lumi”, is the Finnish word for snow. And in the Fables Encyclopedia, Willingham revealed that the reason she became such an evil character in “Fables” is because through her he wanted to evoke a famous fictional character he could not have the rights to: The White Witch of C. S. Lewis’ Narnia.

# The true identity of the Adversary (the Sauron/Morgoth-like Emperor being merely a “puppet”) is revealed to be none other than Gepetto, from “The Adventures of Pinocchio” who, after being enroled in a “benevolent conspiracy” against the megalomania and stupidity of local lords, slowly climbed up the ranks and became corrupted into the machiavelic, bloodthirsty tyrant he is today. In the Encyclopedia, Willingham notably said he wanted to get as far away from the Disney’s version of Gepetto as possible, and return to the character as described by Collodi, as a “cantankerous old grump”. The situation of Gepetto, a little old man behind a fake, artificial all-powerful imperial figure, is also very reminiscent of Oscar Diggs/The Wizard of Oz’s situation from “The Wonderful Wizard of Oz” by L. Frank Baum.

# Gepetto takes his powers from the Blue Fairy that he kidnapped and locked away - the Blue Fairy is Willingham’s strange mixture of the Fairy with the Turquoise Hair, from Collodi’s original tale, the Blue Fairy (Disney’s version of the previous) and the “original” folklore of fairies, aka the “fair folk” of the British Isles: Willingham insists on the fickle, capricious, strange and alien behavior and mindset of the Fairy.

# The other two main agents of the Emperor, beyond Baba-Yaga and the Snow Queen, are the Nome King (a recurring antagonist from L. Frank Baum’s Oz books, now governor of Oz for the Emperor) and Hansel - the boy from “Hansel and Gretel”, who grew up into a witch-hunter and Great Inquisitor. He isn’t just designed after the Puritan witch-hunters of the “witch trials” of America: he actually was a key part of those trials. During his brief time in the Mundane World he participated in almost all of the witch-hunts throughout Europe and America. He did not start them, but he followed the witch madness everywhere it went, and took a key part in the trials and executions of the so-called witches. He is said to have been in France, Germany and Switzerland, with the Würzburg witch trials and the Salem witch trials being explicitely cited (in the latter case he was the one who encouraged the execution of Susannah Martn). Trieste is also said to have been one of the places Hansel dwelled (though I never heard of witch trials in Trieste? But there were so many I can’t possibly know them all...).

# The Snow Queen’s plan to invade Fabletown, relying on four steps being “Pestilence - Fire - Winter - Famine” is of course very reminiscent of the four Horsemen of the Apocalypse in Christian lore - Pestilence/Conquest, War, Famine and Death. The Snow Queen’s plan for an “eternal winter” are explicitely compared to “Fimbul” - aka the Norse winter predicted for Ragnarök. Among the creatures that serves her and that she plans to send in the world, she mentions the “ice giants”, which is actually a term designated a category of creatures in Norse mythology (the rest are however non-specific entities, not exact reference - frostlings, boreal spirits, fire imps...). The sorcer used to illustrate the “Pestilence” part of the plan, Tom Harrow, was actually designed after Neil Gaiman - it was Mark Buckingham’s gift to Gaiman, who had been the best man at his wedding. Finally, of the two fictional diseases the Snow Queen mentions (the Skold brownpox and the Red City Plague), the later seems to be a reference to the “red plague” from “The Masque of the Red Death” by Edgar Allan Poe.

# A last note, taken from the “Fables Encyclopedia”: the armor of Lieutenant Oakheart, a random character among the wooden soldiers of the Empire (seen in issue 52), was actually inspired by the cover of the album “Want One” by Rufus Wainwright.

Magical artefacts:

# The Seven-League Boots, from Charles Perrault’s Little Thumbling, are kept by Fabletown.

# The Vorpal Blade from Lewis Carroll’s “Jabberwocky” poem (and “Alice Through the Looking Glass”) is in possession of Fabletown (and becomes Boy Blue’s weapon later).

# The magic beans, from Jack and the Beanstalk. Jack keeps trying to scam people by pretending he still has them, when in truth he lost them a long time ago. It is revealed in “Happily Ever After” that in truth Fabletown got hold of the last magic beans, which form the only way to reach the Cloud Kingdoms where the giants live.

# Bluebeard keeps a hook in his office - it seems to be the hook of “Captain Hook”, from J.M. Barrie’s Peter Pan.

# Snow-White’s office contains a sword in the stone (from the Arthurian myth), various Arabian oil lamps (a reference to “Aladdin”), as well as several Greco-Roman statues (a copy of the Venus de Milo, statues of Mars and Neptune...).

# The Fairy Witch’s magical barley seeds from which little women are grown are from Andersen’s fairytale “Thumbelina”.

# Bluebeard might have owned “The Portrait of Dorian Gray” - because there is the painted portrait of a man we keep seeing in his castle, that is not him, so...

# The magic mirror of the evil queen from “Snow-White” is kept in Snow-White’s office, as well as the torn of head of the Frankenstein Creature (nicknamed “Frankie”).

The Last Castle one-shot

# The titular “Last Castle”, of its full name the “Last Keep at the End of the Known Worlds”, is actually the castle from the Norwegian fairytale “East of the Sun and West of the Moon”, located by those directions, and beyond the “House of the Four Winds”.

# Little Red Riding Hood is from the fairytale of the same name (the brothers Grimm version, since in her story the wolf was defeated by a woodsman).

# Robin Loxley, or Robin Hood, is from British folklore and English literature. We also see two of his Merry Men: Friar Tuck and Small John.

# Colonel Bearskin is a higher-ranked version of the titular character from the brothers Grimm fairytale “Bearskin”.

# We have two characters from Edmund Spenser’s “The Faerie Queene”: Lady Britomart, the “warrior damsel”, and the Red-Cross Knight (Saint George by another name).

# The twelve crow-brothers are from the Grimm fairytale “The Twelve Brothers”.

# Old Pellinore is a king from the Arthurian legends.

# Tam Lin, the “lover of the fairy queen”, is a character of English folklore and folk-songs (the “Ballad of Tam Lin” is his most famous depictions).

# Herman von Starkenfaust is a character from Washington Irving’s “The Spectre Bridegroom”.

# The Little Tailor that “got seven at one stroke” is from the brothers Grimm’s “The Valiant Little Tailor”.

# The Kings of Madagao and Bornegascar are the rival kings from the piece of Ambrose Bierce “Two Kings”, from his “Fantastic Fables”.

# Beaucaire and Bearskin fought many battles against each other, two of which I got the reference of: the battle of Boxen is an homage to the fictional world created by C. S. Lewis as a child, while the battle of “Oakcourt” is a reference to the legend of wise, fair and just kings holding their courts under an oak. When Blue Boy confronts Chernomor in the beginning of the “Homelands” arc, he also mentions the “battle of Vesteri”, which is apparently the battle told in the poem “Tsar Saltan”, the one where Chernomor appeared with thirty-three warriors (though the events described in the poem are apparently a false retelling of the actual events, which were the invasion of the Adversary’s army, and unlike what the poem claims Chernomor lost the battle).

# Possibles references I am not certain of: Among the refugees at the Last Keep, there is a white-bearded wizard with a pointy hat all dressed in grey, that I think might be an homage to Tolkien’s Gandalf. There is also a solidly built young man with a goat near him that I believe to be “Blockhead Hans” from the brothers Grimm fairytales.

The Homelands:

# The Tin Woodman, Jack Pumpkinhead, The Scarecrow and a Munchkin, all from the Oz books of L. Frank Baum, are seen fleeing the invasion of the Adversary in the “Legends in Exile” flashbacks.

# The flashbacks of “Legends in Exile” also reveal Don Quixote and Pancho (from the novel “Don Quixote”), and a queen on a sleigh pulled by swans - which I believe to be a reference to Andersen’s “The Wild Swans “fairytale.

# The two first conquests of the Adversary (after his “native land”) were “The Emerald Land” (The Land of Oz, invented by L. Frank Baum) and “The Kingdom of the Great Lion” (Narnia, created by C.S. Lewis). We even see an unnamed version of Aslan, killed by the forces of the Adversary.

# The world of the Rus is the Homeland equivalent of Russia, the land where Slavic folktales dwell. It is drawn in the style of Ivan Bilbin (a famous illustrators for fairytales such as “Vasilisa the Beautiful” or “Prince Ivan, the Fire-Bird and the Grey Wolf”). When Boy Blues travels through the Rus lands, he comes upon the “Mice Burying the Cat”, a recurring motif and scene in Russian lubok and folktales.

# In the arc “Arabian Nights (and Days)”, the realm of Karse is name-dropped as one of the lands conquered by the Adversary. Some people think it might be a reference to the kingdom of Karse, from Mercedes Lackey’s books “The Heralds of Valdemar”.

# The Cloud Kingdoms, located in the sky, populated by giants and only reachable through magic beanstalks, is a reference to “Jack and the Beanstalk”. Cinderella calls it mockingly “Cloud Cuckoo Land” - an insult to the absurdity of the kingdom itself, but a subtle literary nod to Aristophanes’ famous play “The Birds”, where Cloud Cuckoo Land is an utopian city in the city. The giant squirrel friend of Cinderella in this realm, Radiskop, is revealed in the Fables Encyclopedia to be Willingham’s version of Ratatosk, the squirrel of the Word-Tree from Norse mythology (the poem “The Saying of Grimnir” is evoked by the Encyclopedia). Cinderella also plays on the expression “castles in the sky” when describing the Cloud Kingdoms - an idiom meaning an unrealistic plan or impossible dream.

# In “The Sons of the Empire”, we follow the side-quest of a group of Fables stealing food from the imperial table: these three Fables are the Gingerbread Man (from “The Gingerbread Man” fairytale), and Mr. Porky Pine with Chicken Ripple (characters actually coming from Neil Diamond’s song “Porkupine Pie”, from the Moods album).

The Great Powers:

# The devil himself appears in “Bag O’Bones” in a “Southern USA folktale” incarnation, as an old, disheveled black man waiting in the bayou to play card games with souls as the final bet - he is called here “Slick Nick”, or “Mr. Nick”, but due to his old-looking appearance, he quickly is called “Old Nick”, a very traditional nickname of the devil in the English language.

# Death, aka the Grim Reaper, appears in “Bag O’bones”.

# The North Wind, father of Bigby, is of course the very embodiment of the North Wind. Personified winds pop up from time to time in fairytales, and the North Wind most notably appears in “East of the Sun and West of the Moon” (a fairytale already referenced by Willingham previously). But “Mr. North”’s depicton as an old man ruling over snow and coldness is also clearly meant to enter into the archetype of “Father Winter/Old Father Winter” or “Father Frost/Grandfather Frost”. Buckingham noted that while he originally drew him inspired by Peter Wyngarde playing Jason King (see the television series Department S/Jason King), he then decided to prefer the way the character was originally drawn by Mark Wheatley in “1001 Nights of Snowfall”, as more “Norse god-looking”.

The servants and affiliated creatures of the North Wind are called after different types of winds: Mistral is a violent wind of southern France, Squall is a sudden or violent gust of wind, Whiff is a puff of air, and the Zephyrs are light breezes.

# The d’jinns are here a very dark reinterpretaton of the djinn of Arabian folklore and fairytale, reinvented as amoral creatures of pure magic that have to be bound for the sake of the entire world. These d’jinns were purposefully designed as dark parodies of the Genie from Disney’s Aladdin: like him they have blue-skin, black hair, and a “tail of smoke” for legs. As per the common legend most carried on by “1001 Nights”, the d’jinns were trapped in magical bottles by “Sulymon the Wise”, aka King Solomon. However, unlike the tradition presented by the “Arabian Nights”, in the Fables world King Solomon co-worked with Daedalus (a genius-inventor of Greek mythology, reinterpreted as the “greatest sorcerer-scientist” of Sulymon’s time) to create the magical bottles. And, Sulymon had to trick the d’jinns into getting inside the bottle, by using the same ruse displayed in the fairytale “The Fisherman and the Jinni”.

# Santa Claus and Mrs. Claus, of the American Christmas lore, exist in the Fables world, and while it is strongly hinted in the main series, the Encyclopedia confirms they are “god-like” entities in the Fables verse, close to the other Great Powers.

The 1001 Nights of Snowfall one-shot

# “Be careful what you wish for” seems to have been loosely inspired by “The Little Mermaid”, or rather forming an ironic inversion of it (especially of the more modern retellings like Disney’s), since it is about a girl wishing to explore the world, and asking a witch to turn her into a mermaid to discover the sea. The Fables Encyclopedia mentions that the girl’s name, Mersley Dotes, is only similar to the song “Mairzy Doats” by pure coincidence.

# The seven dwarfs of the Grimm “Little Snow-White” are present in “The Fencing Lesson”, and their entire system of “being an underground realm digging constantly for ore and gems” is inspired by a very traditional depiction of dwarfs ranging from Norse mythology to Tolkien - the way John Bolton draws them as ugly; misshapen, bald beings with bulbous heads or strangely-proportioned limbs reminds me of the art of Brian Froud.

# In the “Diaspora” story, Snow-White says she bought a magical stone that makes soup - it is another reference to the folktale “Stone Soup”.

# The “Christmas Pies” storyline takes place in the world from which Reynard hails from - a medieval-time valley filled with speaking animals (the setting of the Roman de Renart). I will not name all the characters we see here, but if you know your Roman de Renart, you will recognize several such as Brichemer the deer, Noble the lion, Fière his wife, Grimbert the badger, Couar the hare, etc etc... The legend of “the miracle of the Christmas pies” seems to have been invented by Willingham here - but not out of scratch. If you know your Christmas lore, you know that miracles happening during the “nights of Christmas” are very common, that pies are tied to Christmas in the English tradition, and that magical food or miracle-food in Christmas is also a staple of folklore. An interesting note is that you can see the version of Christmas celebrated in Reynard’s homeworld is not the one celebrated in our world, because they have “Seven Nights of Christmas” - whereas we have the “Twelve Nights”. Filling the pies with stones so that, after eating it, the animals will be too heavy to move is also a recurring motif in folktales and fairytales involving capturing or killing devouring monster or gluttonous animals (most famous of which being the Big Bad Wolf stories).

# Colonel Thunderfoot and the talking rabbits of the “Thrumbly Warrens”, in “A Mother’s Love”, have been revealed by Willingham to have been inspired by the rabbit-society of “Watership Down”.

The Arabian Fables:

# The Arabian Fables are clearly all coming from the most famous collection of Arabian fairytales, “One Thousand and One Nights” - they notably have a very common use of flying carpets, items mostly found in this book (and the Arabian legends of king Solomon). They also have manticores - creatures of Greek folklore, but believed to have lived in Persia (another manticore, giant-sized this one, appears in the non-referential world of Skold in “Homelands”).

# In “1001 Nights of Snowfall”, the frame-story is literaly the frame-story of “One Thousand and One Nights”, but with Snow-White taking Scheherazade’s place as the one trying to survive Sultan Shahryar.

# The delegation arriving in Fabletown in “Arabian Nights (and Days)” is centered around Sinbad - the famous Sinbad the sailor whose stories are told in “1001 Nights”. He has two companions which I have yet to identify as references or pure invention - but one, Yusuf, is very clearly the embodiment of the archetype of the “evil vizir” of Arabian tales coupled with the “wicked, scheming sorcerer”. People online have identified him as a possible take on Disney’s character of Jafar from their version of Aladdin, but Buckingham revealed that his design of Yusuf was actually inspired by Doctor Who’s The Master, as played by Robert Delgado.

# Aladdin and Ali Baba, two heroes of the most famous Arabian fairytales, are said to live in the Homeland version of Baghdad, where Sinbad also dwells.

# One of the co-conspirators and allies of Yusuf is Sid Nouman - aka, Sidi Nu’uman from “The Caliph’s Night Adventures” (sub-section “The History of Sidi Nu’uman”). The identity/appearance the d’jinn takes to reach out to him is the one of “The Fair Persian” - one of the two main characters of the 1001 Nights tale “Noureddin and the Fair Persian”.

Other things:

# In “Legends in Exile”, Rose-Red forces Bluebeard to keep their engagement secret for a year. This evokes a common trope in fairytales where a character is asked to keep a secret, or a vow of silence, for a given period of time - or where a character has to hide their marriage for a given number of years.

# “A Wolf in the Fold” reveals that, when Bigby first arrived in the human world, he stayed in the 17th century Carpathians, and became friend with a certain “undead count” - yes, Count Dracula, from Bram Stoker’s novel.

# Before Willingham decided to have the European Fables be Christian in religion, he seems to have considered a more fantasy-like religion for them, as the chapel seen in the Knights of Malta Hospital in “Animal Farm” doesn’t have any religious imagery. Instead, its stained glass depicts fabulous beasts: a dragon, a unicorn, an hydra and a phoenix.

# The desk of Grimble has two books inside of it which are references. One is titled “Shreck!”, a nod to the Shrek movies, while the other is literaly titled “Troll Bridge by Neil Gaiman”, a reference to Gaiman’s reinterpretation of “The Three Billy Goats Gruff” fairytale.

# During Bag O’Bones, Jack (as a Confederate soldier just out of the Civil War) sings the minstrel song “Gwine Run All Night”, aka “De Camptown Races”.

# At one point, the trio formed by Flycatcher, Boy Blue and Pinocchio go buy a series of Fabletown-produced comics, which are all parodies of actual super-hero titles. The Uncanny Oz Men are “The Uncanny X-Men” for example, the Fairytale Four are the “Fantastic Four”, the Tin Man is “Iron Man”, and the Stalk Thing is the “Swamp Thing”. “Red Hood - Little Riding Returns” might be a reference to “The Dark Knight Returns”, while the Un-Mundy... Maybe it is “Superman”?

# When John Barleycorn explores one of the Emperor’s towers, where stolen magical items are kept, we can see the head of Baphomet sculpted on a disc. During the same quest, the other Lilliputians left behind believe that John must be with “some elf-king’s daughter” by now: this is a reference to Lord Dunsany’s “The Elf-King’s Daughter”. Finally, as John Barleycorn goes searching for the old cottage of the Fairy Witch, he orders his mount to go “Straight ‘til morning” - a sentence lifted from “Peter Pan”.

# Kevin Thorn is compared by his colleagues to agent Mulder, from the show “X-Files”, due to being the only Mundane immune to the Fables “do not notice us” spells.

# During the “War Stories”, the project of the Nazi scientists couple two references: on one side it is named Volsüng (after a character of Norse mythology, tied to the Volsunga Saga), on the other the topic of mass-producing artificial soldiers raises the fear of it being too similar to the golem of Jewish folktales.

# In-universe, Jack took an opportunity out of the great hype surrounding fantasy movies caused by the (then still new) release of the “Lord of the Rings” movie trilogy - in turn, he himself plans to do a “better” version of them, centered around his own tales.

# The Witching Cloak does not come from a precise story, but gathers various elements and powers usually attributed to magical cloaks and capes. For example, its powers of invisibility are similar to the Germanic tarnkappe of Siegfried, while its teleportation powers can remind of the flying cloak of feathers of Freyja in Norse mythology, and its invulnerability can evoke Herakles’ famous Nemean Lion pelt. In a similar way, the Witching Well (which is the Fabletown equivalent of a cemetery AND afterlife) is not coming from a precise story, but is born of a general rule and belief in the world of fairytales and folktales that wells are gateways to the otherworld and the dwelling of supernatural beings - as well as closely associated to death and the afterlife. One famous fairytale that has a well perceived by theoricians as a gateway to the afterlife is the brothers Grimm “Frau Holle”.

# Willingham loves to play around with the topic of numbers in fairytales. For example, Bigby was one of seven brothers, tried to kill his father seven times, and himself has seven children. Meanwhile, when Cinderella has to fulfill a mission in the Cloud Kingdoms, everybody involved in it forces her to wait three days for her services - much to her annoyance as she wonders exactly WHY everybody asks for three days.

# In “The Sons of the Empire”, an annoyed Prince Charming calls ironically the Beast “Gunga Din”, after the character from Rudyard Kiplng’s poem (later adapted into a movie).

# In “Jiminy Christmas”/“Father and Son”, the children of Bigby mention numerous fictional equivalents of cartoons and toys - but one in particular was talked about in “Fables Encyclopedia”, “Ranger Danger”, aka “Ranger Mike Danger”, that Willingham explained to have been the Fables equivalent of real-world G.I. Joe or Action Man.

# As a last note: the original plans of Willingham for the Adversary’s identity and origin story was to have him be Peter Pan. This is why the descriptions of the Adversary in “Legends in Exile” are so strange in retrospective: he is described as “wood sprite” that became something much more bigger or dangerous, or a fallen god cast away from divine realms, while being depicted in the flashback as a satyr-like being - it all points out to Pan of Greek mythology. Couple this with the fact the Adversary was said to come from “beyond the shores of Never”, aka Never Land, and you understand it is Peter Pan. Willingham’s plan was to have an evil, corrupted, demented version of Peter Pan that wanted to expand his Neverland/playing ground to all the worlds nearby, hence the creation of the Empire. The same way Peter Pan would have been the “big bad”, Captain Hook was also supposed to appear as a heroic figure fighting the Adversary - he notably would have had a plotline about saving the Lost Boys, who as it turns out are an army of children Peter Pan stolen away from the worlds he visited and conquered. However Willingham discovered that the characters were not in the public domain at the time, still under copyright, and so he had to change his plans - limiting himself to having them depicted in battle in the front page of “1001 Nights of Snowfall”.

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