#but it also serves a purpose that will be explored soon

[thebramblewood]

Introducing... The Reapers: Isaiah Swain (vox/guitar), Myra "Rabbit" Rutherford (keys/vox), Nik Tham-Boon (drums), Ange Northwood (bass), and Ulrike Faust (guitar), with Helena Zhao as the ultimate groupie and some guy mutilating the sound.

Bonus and transcript under the cut!

@sims4thehoes I used one of your bases as the sound guy! 😘

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Isaiah: [taps] "Is this thing even on?"

screeeeeeeeech

Ulrike: "How hard can it be to adjust the fucking levels?!?"

Rabbit: "I will come over there and rip those controls from your COLD DEAD HANDS!"

Ange: [glowers silently]

Nik: [crash!BANG!smash!CLANG!]

Some Guy: "Uh... yeah. So what were you guys asking for again?"

Helena: "Let me in that booth, you imbecile! I don't have a clue about sound engineering, and I bet I could still do it better than you!"

Ulrike: "That's my girl."

[leporellian]

actually i'm going to talk about the met's weird thing with the rust belt more because it was definitely one of those things where a few years ago when the new met lucia was in development i was like, oh cool i wonder what they'll do with that, but now that we're here... man does it leave a bad taste in the mouth.

here's a question for you: Why Do So Many Operas Take Place In Seville?

seville is the setting for some hundreds of operas, including many of the famous ones: the barber of seville, carmen, la forza del destino, the marriage of figaro, fidelio, don giovanni (which actually might not take place in seville but given don juan stories up to them did it sticks)... the list keeps going. and there was a legitimate reason for this- for hundreds of years, seville was seen as a seedy and sexualized location where anything could happen. that exoticism carries over into the plot of many of the Seville Operas, which often feature seductions, crimes, and passion stories that fit neatly into the tales of the seedy city.

opera is about, in a lot of ways, EXOTICIZING OTHER PLACES. the spectacle of a setting was often a major part of the excitement of seeing a new opera, especially in the 19th century. but some of these places 'work' better than others, for a variety of reasons that boil down to the politics of representation and who is being who onstage.

seville works as an Exotic Opera Location Du Jour for multiple reasons. for one thing, if you notice, a lot of the seville operas take place 60-100+ years before the composition of the opera. for example, the marriage of figaro and don giovanni were composed in 1786 and 1787 respectively, and both depict 1600s seville. if you were writing a Seville Opera right now, for comparison, it would probably take place between 1890 and 1960- there's enough of a time gap that exploring the world as a more fantastical setting is easier to swallow. for another, seville is in western europe, and many of the composers depicting it were also from western europe. there is an evened playing field. (THERE IS A NOTABLE EXCEPTION about this that I WILL GET TO SOON.) finally, now that these operas are over a century old, we're even more removed from their concept of 'seville' and the 'seville' in operas has been turned into something of a convenient fantasy location in which to put an opera. it's something out of a medieval times dinner and tournament and not necessarily meant to be Actual Real Seville at all, which works fine because Seville Operas work without needing much context about the location. don jose is a soldier, you don't need to know what seville soldiers' duties were. figaro is a barber, you don't need to know what barbers in seville were like. and so on.

but there are other opera locations that don't serve this purpose as well- often nonwhite regions appropriated by white composers. the incredibly warped conceptions of egypt that show up in aida and the magic flute, the looking-glass japan of madama butterfly, the brief moment in which la fanciulla del west wherein the opera remembers the existence of native american peoples... suddenly the make-believe of exoticism goes away and is replaced by a sour feeling because in many cases these cultures could not have a say on their own depictions in the operatic world, while the western europeans featured in the operas that exoticize locations like seville or paris could.

carmen is an interesting case study in Opera Exoticism because it features a location that is fine enough to exoticize (early 1800s seville) and a titular character that is not. carmen was- and, in many productions, is still- written as romani. she embodies many negative stereotypes about the culture- she is seductive, morally ambiguous, a smuggler, a femme fatale. yet we as an audience are made to sympathize with her. she is honest about who she is, accepting of the hard truths that are given to her; she is close to her friends and her crueler moments come across as more of an ill-planned joke than a real sense of antipathy. carmen is both a product of how romani people were written by white men in her time, and progressive in that we root for her against the (white) don jose. (and it should be noted that she knows that if he kills her he will be executed for it- carmen is about a mutual kill.) a good carmen production will evaluate all of these features and include them into the work somehow; be it through metatextual commentary, or careful representation, or understanding of what the audience is seeing.

anyway, now that we've covered all that, let's go look at The Met Opera's Current Fascination With Lower Class American Communities and see what we find there.

the rust belt and the sun belt have captured the imagination of the met opera recently, as seen in their current productions of lucia di lammermoor and carmen. these settings are depicted as grimy, miserable, and joyless; women are thrown around by men, men are depicted as one-dimensional monsters that are not to be understood or seen into. the cruelty is the point- these productions do not treat lower-class americans as people to relate to or understand. the sole exceptions are lucia- who is made out to be something of an outsider, so the audience can relate to her- and carmen, who is misinterpreted into being a sad woman who just wants love (god forbid a woman have some other motivation). the racial issues that dominate the cultural conversation in america are unspoken of in these productions, even when there is an opportunity to; this becomes especially uncomfortable in carmen, where the above history of carmen as a nonwhite woman and the opera's setting on the US-Mexico border (with the soldiers cast as border agents!) goes unmentioned in the name of 'heightening the class and gender inequality'- both of which were already in the original work along with the race inequality! these productions are both directed by non-american white people. simon stone is from australia, carrie cracknell is from britain. why would they want to depict this setting? because they see it as a dark, cynical den of seediness and repressed sexuality- a world where we don't have to worry about empathy, or broader implications, because the people in these settings do not go to the met- a world where we can look on with revulsion and unease.... this crosses the line from exoticism into fetishization, in which lower class people become pawns for the met to use as set dressing.

this is especially uncomfortable because of opera's long history being seen as a 'rich people hobby'. opera is characterized as snobbish, useless, reprehensible; an art form that exists only to please the rich and the white and the male-dominated. all of which is not true! i believe to the bottom of my heart that everybody deserves a night at the opera, and that there is an opera for everyone, and everybody should feel welcome in the opera house (or other opera space du jour). and there are so many people working to change the industry from the inside, particularly the work of artists of color to broaden the opera canon and depictions of that canon as we know them. but as long as the met continues to use poor people as set dressing instead of bothering to communicate with them in a meaningful way, as long as the met sees these settings as places where brutes live instead of human beings, that stereotype of the rich man's hobby is going to continue. and the met is going to suffer for it- as i suspect that, as time goes on, the voyeuristic lens of these operas into the lives of abused lower-class women will be seen as more and more revolting.

TLDR

[nogoodsheepstealing-greatgrandma]

Consequences of Driftmark for Alicent and Rhaenyra

*In F&B, the events at Driftmark take place during Laenor's funeral, not Laena's, and Harwin is still alive, and Lyonel Strong is still Hand.

In bold are the consequences that are depicted in House of the Dragon - the rest are cut.

Consequences of Driftmark for Alicent in F&B:

Aemond (10) accidentally loses an eye, scarring him for life

Viserys publicly forbids any questioning of Rhaenyra's sons' parentage

Consequences of Driftmark for Rhaenyra in F&B:

Jace (6) is 'savagely pummelled' by Aemond and Luke (5) has his nose broken

Viserys orders Rhaenyra to move to Dragonstone to put an end to the fighting, therefore distancing her from court

Viserys orders her lover Ser Harwin Strong away to Harrenhall to dispel the rumours (resulting in his and Lyonel's deaths by fire)

Viserys considers but passes over Rhaenyra as his new Hand and reinstates Otto instead.

Meanwhile in House of the Dragon:

Harwin is already dead after being sent away for beating up Ser Criston Cole defending the honor of the Crown Princess against the Kingsguard knight who is apparently allowed to publicly shit-talk her?

Rhaenyra has already chosen to exile herself to Dragonstone because something something wise sailor steers to avoid the storm??

Rhaenyra is never even considered in the running to serve as her own father's Hand despite being the Crown Princess. Viserys even mentions that his own father Baelon had served as Hand for his father King Jaehaerys... but nope he just gives that pin straight back to Otto.

And then there's Rhaenyra immediately marrying Daemon after faking Laenor's death...

Again, Laenor is already dead at this point in the book. It is his funeral, and that is why we're having the first public confrontation over the boys parentage now, when Laenor is no longer around to refute it. Yes, Laenor is an unfortunate example of an LGBT character getting killed off, but the attempts by the show to avoid burying their gays creates a new host of problems. Laenor is now ok with murdering an innocent bystander, and then traumatising his parents and children with a body burnt beyond recognition. Rhaenyra is now also ok with this. This is now a part of their characterisation, but not one the show actually addresses or acknowledges - because it was only ever a temporary characterisation for the purposes of finding a way to get rid of Laenor without repeating a harmful trope. Similar to how it is now apparently a part of Rhaenys' characterisation that she will slaughter hundreds of smallfolk (and keeps a nifty change of armour in her purse for emergencies). This was purely for the Doylist purpose of having a big shocking Game of Thrones Episode 9 Moment, as evidenced by the weak Watsonian reason for why Rhaenys didn't end the war there and then ("she wouldn't do that to another mother" "it wasn't my war to start"). Not to mention that by episode 10 both Rhaenyra and Rhaenys seem to espouse the ideals of the Geneva Convention.

The change makes Laenor a suddenly very shitty person - particularly considering he left his kids with a burnt corpse so soon after their biological father actually died in a fire (it's not as though the show even makes the most of this trauma to actually develop Jace as a character). If Laenor is to exit the show anyway, at least have him exit with integrity. Then instead of spending his final episodes setting up Laenor faking his own death we could have explored his relationship with his children. What if instead of Harwin defending the boys in the training yard we had Laenor facing off against Criston Cole? The man who murdered his lover and now bullies his children? This would also establish Laenor as a father figure whose presence would actually be missed - as it is he is treated as a political nuisance to be bumped off so Rhaenyra can finally marry Daemon.

Which is also a consequence of changing the order of deaths around - Harwin is still alive during Laenor's funeral in the book. If Harwin were still alive in the show, Rhaenyra would not be looking to marry Daemon - as GRRM said in an interview, he could write at least a novella about Rhaenyra's romance with Harwin. Rhaenyra certainly would not have been plotting to get rid of Laenor. Again, it is as soon as Laenor dies that there is a public confrontation over about their sons' parentage; losing Laenor only hurts Rhaenyra.

On that note, while Daemon is rumoured to have paid Qarl Correy to get rid of Laenor, he is not the only one who stood to benefit from Laenor's death. It is much easier for the Greens or for Vaemond to challenge the legitimacy of Rhaenyra's children with Laenor no longer alive to claim them as his own. Especially if you kill him off before the now-betrothed Luke and Rhaena can grow old enough to marry and seal the alliance (in the book, it is Laena who arranges to betroth the children - perhaps she knew her cousin Vaemond would have no qualms usurping her daughters). And especially if Harwin is still alive and looking very suspicious as Rhaenyra's sworn shield. Imagine Harwin at Laenor's funeral, unable to comfort his grieving children without raising suspicion now that Laenor's absence leaves them exposed.

Providing an alternative suspect for Laenor's death would allow Daemon to be a more mysterious and grey character. I think one of the best moments of the show was when it cut away from Daemon's 'Heir for a day' toast to Otto reporting it to Viserys. Matt Smith apparently delivered the line with more sincerity than Otto makes out - a creative choice which is very in keeping with the spirit of F&B, filled as it is with biased narrators. I think it's a shame the show dropped this approach - imagine if the audience only ever heard rumours of Daemon murdering Rhea Royce, or murdering Laenor? Imagine if we had to balance for ourselves the light and dark in the character, analysing for ourselves how much truth was in the rumours. Imagine if Rhaenyra knew as much as we did, and had to decide what story she believed (what story could she live with?). This is the approach Game of Thrones should have taken with Ned Stark and Littlefinger - instead of Littlefinger monologing his evil plans like a pantomime villain it could have placed the audience in Ned's point of view (like in the book), forced to make decisions on who to trust based on limited information.

It would also make it more believable for Rhaenys to back Rhaenyra. True, Show Rhaenys doesn't leap to ally with Rhaenyra because she suspects she had a hand in her son's supposed death. But she also gets over that a little too easily. There is the Watsonian explanation that Rhaenys decides she can live with backing her son's potential murderer out of political pragmatism. But since by the finale she is fiercely defending Rhaenyra and singing her praises I'm going to assume that she's just in tune with the Doylist explanation that Laenor isn't actually dead. They could have at least have Rhaenys only suspect Daemon, and have the source of the rift be that Rhaenyra does not share her suspicions. That way Rhaenys can reconcile backing Rhaenyra without insulting her son's memory.

In addition to insulting Laenor, these changes remove sympathy and context for Rhaenyra's character.

Now Rhaenyra does marry Daemon within half a year of Laenor and Laena's death, and this is considered scandalous in the book. But the show makes it out to be immediately after his death, and it removes everything that happens within those 6 months. And a lot happens. Again, Rhaenyra is exiled away from court to Dragonstone.

To prevent further conflict, and put an end to these “vile rumors and base calumnies,” King Viserys further decreed that Queen Alicent and her sons would return with him to court, whilst Princess Rhaenyra confined herself to Dragonstone with her sons.

Yes, Rhaenyra 'took possession of Dragonstone' as her seat when she was 16, and she spent a lot of time there. We know she visited Laena at Driftmark from Dragonstone, and we know she gave birth to Joffrey on Dragonstone. But Dragonstone is close enough that Rhaenyra at 14 was racing Syrax between Dragonstone and King's Landing daily. And we know that until the events at Driftmark her sons were being raised and educated alongside Alicent's:

Though all six boys attended the same feasts, balls, and revels, and sometimes trained together in the yard under the same master-at-arms and studied under the same maesters, this enforced closeness only served to feed their mutual mislike, rather than binding them together as brothers.

Aemond losing his eye at Driftmark was what caused the final split of the royal family - not Rhaenyra getting embarrassed by her breastmilk leaking during a council meeting. Rhaenyra did not willingly leave King's Landing, because that would be a bad move, and the show knows it's a bad move, which is why they had to come up with that dumb line about the wise sailor steering to avoid the storm.

Next, Harwin is sent away, resulting in his and Lyonel's deaths.

Henceforth Ser Erryk Cargyll of the Kingsguard would serve as her sworn shield, whilst Breakbones returned to Harrenhal.

Lyonel Strong, Lord of Harrenhal and Hand of the King, accompanied his son and heir Ser Harwin on his return to the great, half-ruined castle on the lakeshore. Shortly after their arrival, a fire broke out in the tower where they were sleeping, and both father and son were killed, along with three of their retainers and a dozen servants.

So after being effectively exiled by her father and being forcibly separated from her lover, Rhaenyra suffers another huge personal loss. And so soon after losing her best friend Laena, and her husband and friend Laenor. Most importantly, by placing the fire at Harrenhal before Driftmark, rather than in the aftermath of Driftmark, the show erases another huge blow to Rhaenyra:

Rhaenyra is passed over as Hand.

Lord Strong had been the King’s Hand, and Viserys had come to rely upon his strength and counsel. His Grace had reached the age of three-and-forty, and had grown quite stout. He no longer had a young man’s vigor, and was afflicted by gout, aching joints, back pain, and a tightness in the chest that came and went and oft left him red-faced and short of breath. The governance of the realm was a daunting task; the king needed a strong, capable Hand to shoulder some of his burdens. Briefly he considered sending for Princess Rhaenyra. Who better to rule with him than the daughter he meant to succeed him on the Iron Throne? But that would have meant bringing the princess and her sons back to King’s Landing, where more conflict with the queen and her own brood would have been inevitable.

Viserys needed a new Hand after Lyonel's death, and he almost called Rhaenyra home. Her exile to Dragonstone was almost temporary, and serving as her father's Hand would have done wonders to smooth her transition to power. But Viserys prioritised avoiding conflict between Rhaenyra and Alicent and clearly decided 'happy wife, happy life' - and gave Otto the pin instead. Which positioned Otto perfectly to arrange a coup.

For all TG complain that Rhaenyra faced zero consequences for Aemond's eye - she sure got royally fucked over in the aftermath of Driftmark. For all TG complain that Viserys played favourites and let Rhaenyra get away with everything, his desire to avoid conflict and placate his wife seriously sabotaged Rhaenyra. He may have backed the legitimacy of her sons, but overall Driftmark was a political win for the Greens... and for Daemon.

These rulings pleased no one, Septon Eustace writes. Mushroom demurs: one man at least was thrilled by the decrees, for Dragonstone and Driftmark lay quite close to one another, and this proximity would allow Daemon Targaryen ample opportunity to comfort his niece, Princess Rhaenyra, unbeknownst to the king.

However you feel about Daemon, the timing and context of Rhaenyra's marriage to him is important.

Yet hardly had Ser Otto arrived at the Red Keep to take up the Handship than word reached court that Princess Rhaenyra had remarried, taking to husband her uncle, Daemon Targaryen. The princess was twenty-three, Prince Daemon thirty-nine.

Otto arrives in King's Landing to take the position that is rightfully Rhaenyra's, and Rhaenyra marries Daemon (upstaging Otto in the process). That's the context of their marriage. Daemon (however you interpret him and his motives) comforts Rhaenyra at a time in her life when she is losing everything, one after the other - her best friend, her husband, her lover, her influence at court, her position, the security of her succession. Rhaenyra marries Daemon to feel stronger again, at a time where much of her strength is being stripped away. Daemon was there at an extremely vulnerable time for her - he may even have related to her how he was also exiled by Viserys, how he was also passed over as Hand.

Based on the timing, Rhaenyra was also probably already pregnant.

Septon Eustace claims that Rhaenyra knew her father would never approve of the match, so she wed in haste to make certain he could not prevent the marriage. Mushroom puts forward a different reason: the princess was once again with child and did not wish to birth a bastard. And thus that dreadful year 120 AC ended as it begun, with a woman laboring in childbirth. Princess Rhaenyra’s pregnancy had a happier outcome than Lady Laena’s had. As the year waned, she brought forth a small but robust son, a pale princeling with dark purple eyes and pale silvery hair. She named him Aegon.

Even accounting for the possibility that Aegon was born early - which is likely since he is noted as being small - it is possible Rhaenyra conceived him before her marriage to Daemon. The year after all began with Laena's death and ended with Aegon's birth, and as I've detailed Rhaenyra goes through a lot between Driftmark and her wedding to Daemon. So while he is comforting Rhaenyra for her many losses, Daemon gets her pregnant.

The show does at least keep the context of a grieving Rhaenyra having recently lost Harwin when she finally sleeps with Daemon. But by changing the order of events they remove much of the context that made this such a low and vulnerable time in Rhaenyra's life. She doesn't lose a best friend. Her children don't lose a protector in Laenor. She leaves King's Landing voluntarily. She was never in the running to be Hand. Her exile is erased from the show.

In the show, it's "hee hee we'll get rid of Laenor and then we'll be an unstoppable power couple and RULE THE WORLD - from Dragonstone though, 100% voluntarily, because something something wise sailor avoids the storm..." And this is apparently the more interesting and complex improvement on F&B?

At this point the show had already changed Rhaenyra's childhood so she is no longer bullied by her stepmother and groomed by her sworn shield. These instances of adversity in Rhaenyra's life are exchanged for a version of Alicent and Criston that are more sympathetic and that many find more interesting. I may personally disagree, but I can understand it, and I can understand why some fans like these changes. However I do not understand why it was necessary to keep taking away even more instances of adversity faced by Rhaenyra - why erase her exile, why erase her being passed over as Hand? it does not make the story more interesting, and it makes Rhaenyra's story less compelling.

How much more heart-breaking would it have been to see Rhaenyra begging her dying father to wake up and defend her, if the show had stuck closer to the book version of events? After forcing his daughter into an unwanted marriage with a homosexual man, after exiling her while she was grieving, after passing over her as Hand, after hurting her transition to power, after failing to to bring her home... how much more emotionally satisfying would it then have been to finally see Viserys drag his corpse out of bed to defend Rhaenyra and her sons?

The book version of events would also open up a more interesting relationship dynamic between Rhaenyra and Daemon than "lets fake my husband's death so we can be an unstoppable power couple and rule the world!" If I were adapting it, I would have kept Daemon's possible involvement in Laenor's death ambiguous - uncertain to both the audience and to Rhaenyra. Again, suggest the possibility that it could have been the Greens. Have Rhaenyra, at her lowest and most vulnerable moment, convince herself that she can live with the doubt. Because at this point, with Laena dead, Laenor dead, Harwin dead, and with her father exiling her, Daemon is one of the few allies she has left. A Rhaenyra who chooses to kill an innocent bystander to fake her husband's death is cartoonishly evil. A Rhaenyra who chooses to live with the possibility that her new husband murdered her old husband is interesting.

Meanwhile Alicent goes from victor to victim at Driftmark...

Yes, of course in both book and show her child is the most seriously injured and, again, scarred for life (though in the book it is the result of violently bullying little kids half his age so 🤷‍♀️). But politically, Alicent comes out on top after Driftmark.

See Book Viserys doesn't give Rhaenyra an honour without also giving Alicent one, and vice versa.

King Viserys loved both his wife and daughter, and hated conflict and contention. He strove all his days to keep the peace between his women, and to please both with gifts and gold and honors.

And because Alicent champions the patriarchal status quo (and in the book is an adult battling a child) this 'neutrality' is to Rhaenyra's detriment. So yes, Driftmark sees Viserys publicly forbid anyone from discussing Rhaenyra's sons' parentage - that is a loss for Alicent and a win for Rhaenyra. But Alicent's victories at Driftmark are much more significant - Rhaenys is effectively exiled from court, her rival's influence at court is severely diminished, Otto is brought back as Hand and gets to stack the council with Green supporters. Viserys' weak efforts to stop the fighting and placate everyone ends up favouring Alicent significantly.

In the show, its all 'poor Alicent can't even get her mean husband to cut a 6-year-old's eye out for her and its making her big beautiful brown eyes sad'. The show removes all the consequences Rhaenyra faces at Driftmark, and replaces it with Alicent snapping because 'that spoilt Rhaenyra gets away with everything'. All of Alicent's victories from Driftmark have already happened before Driftmark, and they don't even count because Alicent's big beautiful brown eyes are sad. Rhaenyra has already committed political suicide by voluntarily leaving King's Landing, and Otto is already Hand because Rhaenyra was never in the running.

This is worsened by the fact that the show feels very inconsistent in how it depicts Alicent's position as queen consort. In the book, as stated, Viserys strives to please his wife with gifts and gold and honors, and Alicent is surrounded by a 'Queen's party' of 'lickspittles, fawning over Queen Alicent and her children'. Alicent's worth is apparent in the fact that Viserys throws a huge tourney to celebrate their 5-year-anniversary - Alicent is the centre of attention and celebration. Because this is the 'benevolent' form of misogyny Westeros takes in the books - one that celebrates and reveres wives and mothers like Alicent (while of course not permitting them bodily autonomy) and demonises non-conforming women like Rhaenyra.

In the absence of Alicent's special tourney in the show, we don't get Rhaenyra's iconic dress entrance - instead it is given to Alicent during Rhaenyra's wedding to Laenor. Because this is such an iconic moment for Rhaenyra, the show tries to compensate in episode 3 by having a bloodied Rhaenyra upstage Aegon during his birthday celebrations. Since this is no longer the culmination of years of being bullied by her stepmother, the moment loses quite a bit of its impact (at least the soundtrack is gorgeous). This version also replaces Alicent's special day with Aegon's special day - which depicts a very different world of misogyny. The more complicated benevolent misogyny of the book is replaced with a more basic misogyny in which Alicent is simply ignored and unappreciated.

Which feels like overkill. I don't think this change was necessary to understand Show Alicent as a victim. Personally, if I was pimped out to my friend's dad and suffered through marital rape and unwanted pregnancies with zero bodily autonomy, I wouldn't consider a tourney to be adequate compensation. Alicent can be appreciated and celebrated and still suffer. If anything it could further feed into her self-identification as a martyr.

So the show depicts an underappreciated victim Alicent with her big beautiful sad brown eyes. But episode 6 depicts Alicent as having accumulated a significant amount of power as Queen. The episode establishes that Alicent is powerful enough that she can demand that the Crown Princesses' newborn be taken away from his mother and brought straight to her (in a world of high newborn mortality rates) - and the Crown Princess has to comply. It's implied that this kind of behaviour isn't new, and either Viserys isn't intervening or Rhaenyra is just not telling him for some reason. Meanwhile Alicent can shut down a proposal by the Crown Princess that the King is in favour of, overturn the Crown Princess at council meetings, and seems to be the final voice at the council meeting. Not to mention she has made Criston Cole so untouchable that he can murder vassals of House Velaryon, publicly bully Prince Jacaerys, and openly speculate on the sex life of the Crown Princess (and it is Harwin who gets punished???).

But one episode later and Alicent is snapping in despair because Viserys won't cut out a 6-year-old's eye for her. And the subtext of the scene is that it isn't really about the eye, it's about a marriage where she has gone underappreciated and unrecognised, and Viserys always chooses Rhaenyra over her and his other children, and big brown eyes are sad... All ignoring of course everything that she gets away with in the previous episode. Really, it feels like Driftmark is a last straw for Viserys - he's been essentially letting her run things so far but he draws the line at cutting his grandson's eye out.

And I would be willing to accept this inconsistency as purposeful - people are inconsistent and hypocritical, and Alicent self-righteously views herself as a martyr. And there is a tendency for critics to mistake in-character inconsistency for inconsistent characterisation and bad writing, and I do see this tendency a fair bit in discussions of Alicent (some instances being more valid than others). However I get the impression that this is not a purposeful in-character inconsistency, or at the very least there were competing visions behind the scenes. And this is because of the victimised way Alicent and her big beautiful sad brown eyes are framed - and because of the way the events at Driftmark are also shifted around.

Firstly the dynamics are changed between the children to make Aemond more sympathetic. The age gap between him and Jace is narrowed and Baela and Rhaena are added to the fight - making it a fight of 1 against 4 kids who are close in age. Meanwhile in the book, Aemond is 10 and starts the fight by hitting a 3-year-old Joffrey for making noise. A 6 and 5-year-old Jace and Luke then come running to defend their little brother against a much older and bigger bully - who easily beats them up.

Joffrey had run to get his brothers when Aemond took to the sky, and both Jace and Luke had come to his call. The Velaryon princelings were younger than Aemond—Jace was six, Luke five, Joff only three—but there were three of them, and they had armed themselves with wooden swords from the training yard. Now they fell on him with a fury. Aemond fought back, breaking Luke’s nose with a punch, then wrenching the sword from Joff’s hands and cracking it across the back of Jace’s head, driving him to his knees. As the younger boys scrambled back away from him, bloody and bruised, the prince began to mock them, laughing and calling them “the Strongs.” Jace at least was old enough to grasp the insult. He flew at Aemond once again, but the older boy began pummeling him savagely…until Luke, coming to the rescue of his brother, drew his dagger and slashed Aemond across the face, taking out his right eye.

Jace's injuries are much much worse in the book, and he is much much younger and braver. I mean, it takes balls for a 6-year-old to go up against a 10-year-old - and a 10-year-old with a giant fucking dragon at that.

And then there is 'questioned sharply':

Afterward, King Viserys tried to make a peace, requiring each of the boys to tender an apology to his rivals on the other side, but these courtesies did not appease their vengeful mothers. Queen Alicent demanded that one of Lucerys Velaryon’s eyes should be put out, for the eye he had cost Aemond. Princess Rhaenyra would have none of that, but insisted that Prince Aemond should be questioned “sharply” until he revealed where he had heard her sons called “Strongs.” To so name them was tantamount to saying they were bastards, with no rights of succession…and that she herself was guilty of high treason. When pressed by the king, Prince Aemond said it was his brother Aegon who had told him they were Strongs, and Prince Aegon said only, “Everyone knows. Just look at them.”

The order is reversed. In the book Alicent is the first to demand violence against a child - in the show it is Rhaenyra. Now I argue that Rhaenyra's demand was more toothless - in both book and show it was more about backing Alicent into a corner to get her to admit to plotting a coup. But In the book, both mothers at least had an understandable context behind their shitty demands - Alicent's son had just lost an eye, and Rhaenyra was responding to a violent threat to her son (plus, Aemond had just savagely pummelled Jace). Since Alicent is publicly demanding violence against a 5-year-old, now is a good time for Rhaenyra to ask 'hey, I wonder who taught Aemond my sons are bastards, hmm Alicent?'

But in the show, Rhaenyra is the one made into the aggressor, and Alicent is now the victim reacting defensively. Rhaenyra just opens with wanting to question Aemond sharply, right while Aemond is in the middle of getting his eye stitched up. In the book, the argument between the mothers comes after the boys have been made to apologise to each other, which implies that at this point Aemond has at least already received medical attention. But in the show, Viserys immediately goes along with Rhaenyra making her sons' parentage the more pressing priority - all so the scene can escalate towards Alicent losing it and demanding Luke's eye. The scene is more dramatic and nonsensical as a result - it is bewildering that this is the order of priority and this primes the audience to sympathise with Alicent here. Viserys is shouting at his injured son and Alicent's big brown eyes are sad. And Rhaenyra is temporarily characterised as the sort of person to demand her brother be tortured - as the aggressor rather than in a reaction to a threat - for the Doylist purpose of a more dramatic escalation towards Alicent picking up the knife.

Now Viserys making the question of his grandson's legitimacy a priority could make sense in the show's version of events - if there is a potential coup it does have to be shut down immediately. The consequences for his children and grandchildren are after all life-threatening. And to be fair to him, his first impulse (while Aemond is receiving medical attention) is to ask the children how the fight started, which is reasonable enough, and the episode has already established that he's not in complete control of his mental faculties.

But emotionally, we the viewer are watching an injured kid get yelled at by his dad while Alicent's big beautiful brown eyes are sad. And not only are the events around Driftmark changed to remove the adversity Rhaenyra faces, but the events at Driftmark are changed to add to Alicent's victimhood. She is no longer the aggressor, she is depicted as undervalued, and her victories at Driftmark are erased.

And by episode 9 it seems Alicent is so powerless as Queen Consort that she has to let Larys masturbate over her feet. And episode 8 makes out that she's been acting as nurse maid to Viserys, instead of Viserys having servants to look after him (though we did see Alicent voluntarily sending these servants away back in episode 3 - did she send them away permanently? Were there spending cutbacks on staff to make way for the redecorating?)

But in episode 8 Alicent also appears to be running the kingdom, and has the power to decide on the succession of Driftmark. Alicent even tells Rhaenyra that she will be the one sitting in judgement while Viserys is ill - not Otto, the King's Hand, but Alicent. How is this consistent with Alicent being undervalued and underappreciated, if she is given this power and responsibility? How is she so powerless that Larys gets to masturbate over her feet?

From these inconsistencies, TG draws the following picture: underappreciated Alicent is busy running the kingdom, while spoiled Rhaenyra is off 'playing house' with Daemon and avoiding her responsibilities. Poor Alicent is depicted as doing all the work while Rhaenyra is off having fun, instead of Rhaenyra being effectively exiled against her wishes to placate Alicent. It's almost as insulting as the change to Rhaenyra and Criston - instead of Criston (who is exactly the same age as Rhaenyra's mother, by the way) grooming Rhaenyra from the age of 7, he is the one presented as Rhaenyra's victim by TG (like poor friendzoned Jorah).

Alicent's victories are presented as unappreciated sacrifices and burdens, and Rhaenyra's losses and adversities are presented as her idiotically skiving to live in domestic bliss.

And the problem to me isn't simply that there were changes made, or that I wish Alicent was a more one-note antagonist etc. Though I would have preferred a more book-accurate adaption, I was initially cautiously on board for the changes in the first half of the season. They at least seemed interesting, and I was intrigued to see where this high-budget fanfiction would go. But the show goes too far in taking sympathy and depth away from Rhaenyra to shower it on Alicent - the accumulation of changes tips it over the edge. There had to be a better balance than what the show gave us, one where we could root for Rhaenyra as she struggles in the face of adversity (making the eventual dark path she goes down all the more tragic). The sympathetic version of Alicent that the show gives us simply does not demand taking so much away from Rhaenyra.

The one scene in the second half of the show where we get to see how adult Rhaenyra deals with adversity is her introductory scene. She responds to Alicent's demands by walking bleeding up a flight of stairs rather than let go of her newborn. And this is where my frustration lies with the show, because it has so much potential and yet it is so inconsistent. On the one hand, it's ridiculous that Rhaenyra doesn't just ignore Alicent. But on the other, it's a decent way to compensate for the change to Rhaenyra's childhood. Since we no longer have young Rhaenyra getting bullied by her stepmother, we needed this big moment of cruelty. And it shows just how much Rhaenyra will fight for her children.

And yet the same episode will have her voluntarily abandon King's Landing (and far far too early - there is a point in F&B where a considerably more broken Rhaenyra faces a similar choice, and we are nowhere near that point yet). Rhaenyra ditches because she's been, in her words, humiliated. This would be salvageable if this was simply a case of Rhaenyra deciding not to put up with Alicent's shit and establishing herself from a seat of strength at Dragonstone. But staying away? Being absent from court for years? Episode 8 even establishes that Dragonstone is so close that they don't even need to stay the night when they visit King's Landing! This woman walked bleeding up a flight of stairs rather than let go of her newborn baby, and now she's just relinquishing all influence at court to the greens? This isn't consistent or accurate characterisation.

Rhaenyra already has plenty of canon flaws, without adding that she voluntarily leaves and stays away from King's Landing and her dying father. Even when ordered to move her family to Dragonstone, Rhaenyra in the book always tried to come home. She brought Maester Gerardys to save her father's life. She at least tried to influence the council by nominating her choice of Archmaester. She doesn't just roll over and let the Greens tilt the council in their favour without a fight.

Though Grand Maester Mellos washed the cut out with boiled wine and bound up the hand with strips of linen soaked in healing ointments, fever soon followed, and many feared the king might die. Only the arrival of Princess Rhaenyra from Dragonstone turned the tide, for with her came her own healer, Maester Gerardys, who acted swiftly to remove two fingers from His Grace’s hand to save his life.

Princess Rhaenyra wanted Maester Gerardys, who had long served her on Dragonstone, elevated to replace Mellos; it was only his healing skills that had saved the king’s life when Viserys cut his hand on the throne, she claimed. Queen Alicent, however, insisted that the princess and her maester had mutilated His Grace unnecessarily. Had they not “meddled,” she claimed, Grand Maester Mellos would surely have saved the king’s fingers as well as his life. She urged the appointment of one Maester Alfador, presently in service at the Hightower. Viserys, beset from both sides, chose neither, reminding both the princess and the queen that the choice was not his to make. The Citadel of Oldtown* chose the Grand Maester, not the Crown. In due time, the Conclave bestowed the chain of office upon Archmaester Orwyle, one of their own.

*the seat of the Hightowers - great attempt at neutrality there Vizzy

With King's Landing so close to Dragonstone, there is no way Rhaenyra didn't do what she could to mitigate the damage of her absence. The fact that she is noted as being in the confinement stages of her pregnancy during the coup, and that this is considered serendipitous, suggests to me that Rhaenyra otherwise would have tried to attend court as much as possible:

With the princess in confinement on Dragonstone, about to give birth, Queen Alicent’s greens enjoyed an advantage; the longer Rhaenyra remained ignorant of the king’s death, the slower she would be to move. “Mayhaps the whore will die in childbirth,” Queen Alicent is reported to have said (according to Mushroom).

If the draft script leak is true, the show initially had Rhaenyra explicitly say that she abandoned King's Landing to strengthen her claim, which is both nonsensical and adds to my belief that the show didn't fully understand that they were taking the fight out of Rhaenyra by having her voluntarily leave and stay away. Or maybe they did understand it, seeing as they replaced this statement with the more vague 'wise sailor' line, with Rhaenyra's theme music playing triumphantly to trick us into thinking they weren't assassinating her character.

I've seen essays by fans of the show that have tried to argue that Rhaenyra leaving and staying away is actually a compelling character flaw, spinning it as either the inadvertent self-sabotaging actions of an overprotective mother, or an entitled antagonist who wants the throne without working for it. The latter is character assassination and inconsistent with the rest of her characterisation. The former is also inconsistent, and for it to work it would necessitate that the show spend more time actually fleshing out her children and her relationships with them. These inconsistencies, and the half-hearted way the show tries to rationalise her decision, leads me to the unfortunate conclusion that the show is simply less clever and more inconsistent in quality than it had the potential to be. Which is all the more infuriating in a show that has potential - it can be very capable of writing compelling characters when it wants to, it just rarely does when it comes to Rhaenyra and her children.

Ultimately, a character who fights as much as they can is always going to be more compelling than one who rolls over. Is anyone honestly looking at, say, Sansa in the early seasons of Game of Thrones and thinking "hmm yes I'm glad they got rid of Sansa sneaking out to the Godswood to plot her escape, tricking Tyrion into thinking she was just praying, refusing to kneel during her forced marriage and learning valuable lessons from being used as a political pawn by the Tyrells. It's so much more compelling watching Sansa spend her time getting petted by Shae, Margaery and Tyrion, not knowing what sheep shit is, and getting passively whisked off by Dontos in a surprise rescue".

Rhaenyra has had to fight ever since she was named heir aged 8, ever since her stepmother started bullying her as a child. That fight is an indispensable part of her character - whatever other changes you may make, taking away her fight is not on the table. And above all, taking away the adversity she faces removes opportunities for her to be interesting.

[midnightarcheress]

Simon travels with you.

pairing: bodyguard!ghost x actress!reader cw: mentions of stalking/threats 3 | gold rush masterlist.

the flight is strange. he was used to flying on an excruciatingly loud helicopter, with adrenaline overflowing on his bloodstream as he prepared to jump in the field, or in a simple commercial plane back to Manchester after a long deployment, dwarfing on cramped corridors and elbowing people sitting beside him. a private jet was far too removed from his reality.

but not from yours. from his seat on the back of the plane, he would glance at you from time to time, crossed thighs on the soft cushioned seats like you were simply lounging at your own sofa, not cruising miles up in the air, with eyes attentively going over the plans for the next few days with Daniel. 

he doesn’t understand half of it, but you’re some sort of spokesperson? ambassador? of cosmetic’s brand, whatever that’s supposed to mean. everything he hears just passes straight through his brain. he just cares about what he’ll have to do – follow you around like a guard dog who’s not allowed to bark.

“last time you promised me a day off, Dan. what’s the point of all this travelling if i can’t even explore the city i’m in?” a huff escapes your lips, utterly annoyed by the limitations of your schedule. a life too micromanaged to bear any autonomy.

“i told you there’s no time for a day off, you have back to back appointments–” the man stops, staring at the puppy-eyed gaze you give him, the magical pout that would get anyone on their knees, “fine. i guess i can arrange a free afternoon before we leave.” Simon can’t help the hint of a smirk forming under his mask after you got what you wanted, internally commending your ability to bend any resolve without lifting a single finger.

after landing, you head directly to the hotel to get ready for the big event. Simon’s stuck with you in a room that’s almost as big as his entire flat, bored out of his mind watching frantic people dolling you up – activity he sees no purpose in, since you couldn't get any prettier in his eyes. his eardrums are already hurting from the constant noise in the place, but still functioning enough to pick up the double knock on the door. 

you also hear it, shifting on your chair and glancing around the room as if you were looking for someone, until your eyes land on him. “Ghost?” you say, head tilting in the door direction, “could you get that, please?” he sighs and nods, pushing himself away from the wall to answer it.

the hotel employee hands him a bouquet of white lilies, courtesy of the brand, the man says. as soon as the lock clicks again, Simon notices your beaming smile at the arrangement in his possession, eyes shining like a child in the toy section. he passes you the bouquet, not missing how your smile fades into a frown the second you skim through the small card hidden between the flowers, raising an alarm flag in his brain. “something wrong?” 

“what?” your eyes dart between his and the paper in your hands, quickly tucking it in your robe pocket, “oh, no, it’s nothing.” your lips curve, barely so, tentatively brushing off the topic as you finish getting ready. his brows furrowed, not fully accepting your dismissal and sensing that you’re covering something, but he doesn’t want to press you in front of everyone. he just hopes that you’ll trust him enough to come to him if it’s another threat. 

he’d seen the content of a few of the letters you received, as a part of his briefing, just to understand what he was dealing with. some of them were pathetic expressions of emotion, serving you undying devotion and promises of eternal love, but some were filled with a predatory fury, a mixture of jealousy and hunger, visceral descriptions of how they wanted to rip you apart. all with the same signature. you never talked about the situation, never addressed to him the necessity of having a bodyguard. he could only imagine the turmoil of fear inside your chest.

a couple hours later, much to his relief, the event ended, allowing him to take you back to the hotel without having to hear any more french buzzing for the rest of the evening. 

“Ghost?” he stops on his way out, hand hovering on the doorknob and face turned to you. every time you call him, he feels a piece of his defence wall crumbling, determination to keep his distance slowly disappearing due the sweet sound that travels through the air. “can you, uhm, help me?” you look over your shoulder to the back of your dress, the zipper being impossible to reach without dislocating a joint. 

his brain momentarily freezes, scrambling to form a quick and coherent yeah, sure, or to simply shake his head in agreement. he takes a step closer, letting you turn around and move your hair before daring to touch you.

“funny how after the party there’s no one to help you clean up, right?” your eyes roam around the empty room and you chuckle, but the saddened tone of your laugh is easily recognizable, “so different from earlier.” his large digits find the invisible zipper in the fabric, slowly tugging it down as his other hand stays on your lower back for support. 

his heart is thumping loudly, the gradual exposure of your back being sufficient to divert his blood flow and make him feel something that he definitely shouldn’t. despite the profound temptation to trace your naked spine with his fingers and to lean closer to your soft neck, he steps back, clearing his throat and going back to the exit, “so, uhm, goodnight then."

you turn slightly, holding the gown by your chest and gently grinning in gratitude, “goodnight, Ghost.”

lol took me so long to write this, i'm still scrambling with the ideas/scene sequences for the story (but now it has a name)

[pinkpearlgoddess]

𓃠

PAC: How soon will your manifestation become reality ✨

Please remember all PAC (Pick a pile) readings are for entertainment purposes and should not be replaced for mental, physical or financial advice

Free readings: my free readings will be open very soon, I will also be offering exchange readings🐇

Pile 1:

Rebirth: Tower Card, Death Card

This pile has understood their own gift and method of manifestation, I feel like this pile has gone through its fair share of trial and error and have now understood which method works best for them. I see majority of you have already manifested a few things out of your list but there seems to be one or two main ones you are still working on bringing to reality. Be prepared for some major changes because to get these manifestation into reality I see a tower and death card moment that needs to happen. You have done a lot work when it comes to trying to manifest this in your life. However, the vision I’m seeing is for these manifestation to come to reality it’s not only practice but also a detox as they would not fit in your current life. March and April. Be prepared to see one of two of your major manifestation to come to reality. I don’t see you being surprised as you have been putting the work in. There is a strong inner knowing. Congratulations!

Key to make this work faster: Detox your life, anything that does not longer reserves you let go of it and NEVER and I mean NEVER look back

Pile 2:

Nurture: Feminine energy, Inner Child

This group has not yet seen anything come to reality as of yet. Some of you have one goal and one goal only but are struggling to understand why your manifestations have not come to light. I'm here to tell you there is a blockage in energy, one that has to do with personal inner growth and healing. I see a gray cloud near your sacral chakra and throat chakra. This group would do well to start writing daily in a journal. I also sense this group may overthink the manifestation method too much, trying multiple methods to see if they're doing it wrong. The key here is you need to be in the right mind space to start receiving from the universe or God, depending on who you believe in. Your manifestation will come to reality six months into creating a healthy routine that includes catering to your feminine energy and inner child healing (the inner child part will be painful to go through but also refreshing at the same time).

Key to make this work faster: Play subs during the night while you’re asleep, Journal literally everything in your life, start working on self care, stop overthinking about others and focus on yourself, speak your mind OUT LOUD and clearly, take walks in nature, start scripting from an “I AM” point of view including gratitude.

Pile 3:

Experimental: The Fool & The magician 

key word: Consistency

Collective from this pile feel like new energy, new to the practical side of manifestation or have done a full reset and want to start from the beginning. Most of you have studied and explored the mindset point of view when it comes to manifestation and would now like to test the practical side of it. I see a lot of you being very sceptical due to an influxes of information coming in regarding manifestation. When it comes to the practical side of things and the work you put in it’s important you meditate on which methods you would like to start of with, which methods spiritually calls to you, not every method works for everyone. List all the methods that call to you and truly mediate of which one would best serve the manifestation you’re currently looking to achieve. One you have made the choice… practice consistently. This pile definitely rely on logic and practicality, so I see you guys being successful at this. There is a strong magician energy to you all, an academia background. You guys may even make a book documenting how your journey is going, what you’ve notice, what you would try in a different ways. There is no time frame because it doesn’t really seem like this pile is looking for a time but mainly a method to which works best for them. After mediating on a time frame and pulling a few cards, I feel you manifesting your first goal in 10 weeks to 12 weeks, Congratulations!

Key to make this work faster: Consistency is very important here: it should be part of your daily routine, part of your lifestyle, mental diet: learn about your mind and how you communicate to yourself

[vanilla-rainbows]

Behold, my ugly sketches! These are random moments from my WIR AU (poorly explained here). I've been feeling a little drained lately, so this is the best I can do at the moment. Though I must admit, working on this silly project has been kind of therapeutic for me. It's not just the act of creating a new character, but King Candy/Turbo in particular is genuinely so much fun to draw (and I think you'll see that for yourself very soon lol).

Also, I cannot fully express how thankful I am for all your nice comments and tags 🥹. They really motivate me to work even harder.

Under the cut I included a bit of an explanation on Luna's character, if you want to read it!

As I said before, her name is Luna and she's been present in the arcade since the '80s.

Knowing that Fix-it Felix Jr. took inspiration from the first Donkey Kong, I wanted to do something similar with another great classic. And I'm a huge Zelda fan, so...

I know the first Zelda game didn't exactly release for the arcade, but the idea was too tempting for me. Later on I discovered Gauntlet, an actual arcade game very similar in concept to what I had in mind. And so I tried to design a character that could belong in an ipotetical adventure game but with a cute, simple aesthetic. I'm definetely no expert when it comes to retro gaming, so I apologize if my design doesn't look very accurate. All I can say is that AT LEAST I tried to make her design believable to the movie.

In her first sketches she looked a lot like Link, and while that could have been considered ok given my goal, I didn't want to simply make a copy. Ralph and Felix are inspired by Donkey Kong and Mario, but they don't look like them. So I tried incorporating new elements that could help distinguishing her more. She became less of a warrior and more of a mage. Her weapon went from being an ultra powerful axe to a magic paintbrush that could also serve as a broom to fly on. I'm still not sure on this one though. I like the concept, but I wonder if it isn't a bit too much.

On the topic of the game itself, I'm still debating a few things, but here's the core idea behind it: I'd like to explore what happens when a game just… isn’t played anymore. At least like it used to in the past. And its characters are are faced with the prospect of losing their home and purpose forever. That's definetely going to be one of the main conflicts of my AU (and the thing that makes Luna's decision to be Turbo/KC's guardian a controversial one - she just made everything worse).

That's all for now. Take care everyone, I'll be back 😈.

[ineffable-endearments]

The Crow Road by Iain Banks

I finished The Crow Road and had a little time to think about it. I'll put my thoughts under a Keep Reading in case anyone is trying to avoid spoilers.

As I speculated before, I think it's likely that The Crow Road is more related to Good Omens in philosophy than in plot. I mean, it's not that the plots necessarily have nothing in common, and we could be very surprised in the end of course, but now that I've read the whole book, its philosophical commonalities with GO are both apparent and kind of inspiring. Also, if I were a writer, I'd be more interested in dropping hints about what themes are important than telegraphing my whole plot ahead of time.

So here, I will describe the book and point out themes that I believe may reappear in Good Omens 3.

This is a long post. If you read it, make a cup of [beverage of choice].

Update on 4/20/2024: I made a second post: The Crow Road and Good Omens: Further-Out Thoughts

Below are mentions of suicide, death/murder, and sexual acts.

The Crow Road centers around a character named Prentice McHoan, a university student in Scotland who starts to sort out his complicated relationship with his complicated family as he explores the mystery of his uncle Rory's disappearance. Although the book is mostly from Prentice's perspective, the narration jumps around in time with the McHoan family. There are quite a lot of important characters to keep track of; the bare-bones summary I put below doesn't even include some of the important ones. I wanted to make the summary even shorter and simpler than this, but the truth is that this book is not short or simple, and if I made the summary any simpler, it might be downright misleading.

There are at least three major cultural aspects of The Crow Road that I am inexperienced with: the overall culture in the 1950s-1980s (I was born in 1988, so of course wasn't here for the relevant decades), the international experience of the Gulf War (again, born in 1988), and the history and culture of Scotland itself (I'm USAmerican with only reading as a source). As a result, I'm sure there are important dimensions to the book that I've missed. If someone has a different perspective taking some of these things into account, I'd love to know about it.

Also, keep in mind, there is a great deal of descriptive writing in this book. There are a lot of pages about the geography of Scotland, and about Prentice as a kid, and about Prentice's father and uncles hanging out together in their youth, and about various family incidents, and about Prentice spending time with his brothers and friends. At first, these passages seem to just make things more confusing, and in my head, I accused them of being "filler." But they definitely serve a purpose. They're a way of showing and not telling the characters' attitudes and relationships to each other. More importantly, because we get to actually live these experiences with the characters, they are what give all the plot points below their deeper emotional impacts. In other words, the everyday experiences give the plot its deeper meaning. They resonate with one of the core themes in the novel: that our experiences in life, rather than any supposed existence after death, are what matters.

The Crow Road's story is like this:

Prentice is rather directionless in life, and he seems to have trouble investing any energy in his own future as he moons over his unrequited feelings for an idealized young woman named Verity. Soon, Verity ends up in a romance with Prentice's brother, Lewis, and Prentice feels that Lewis "stole" her from him. Prentice has also become estranged from his father, Kenneth, over spirituality. Prentice believes there has to be something more after death because he feels it would be incredibly unfair if people didn't get anything other than this one life; Kenneth is not only a passionate atheist, but is offended by the notion of an afterlife.

Prentice's uncle Hamish, Kenneth's brother, has always been religious, although his religion involves a number of bizarre and offbeat ideas of his own, with inspiration from more traditional Christian notions. Prentice is not really sure about this ideology, but he's willing to talk to Hamish about it and even participates during Hamish's prayers, whereas Kenneth is openly scornful of Hamish's beliefs. Hamish interprets this as Prentice being on "his side."

Prentice has a few opportunities to go back and talk to his father, and is begged to do so by his mom, Mary, with whom his relationship is still good. Mary doesn't want either of the men to give up their inner ideas about the universe; she just wants them to agree to disagree and move on as a family. Prentice says he will visit, but he just keeps putting it off and off and off.

Prentice acquires a folder containing some of his missing uncle Rory's notes in the process of hooking up with Rory's former girlfriend, Janice Rae, who seems to have taken a shine to Prentice because he reminds her of Rory. Using the contents of the folder, Prentice wants to piece together the great literary work that Rory left unfinished, which Rory titled Crow Road; however, it becomes apparent that Rory didn't turn his concepts into anything substantial and only had a bunch of disconnected notes and ideas. He hadn't even decided whether Crow Road would be a novel, a play, or something else. The few bits of Rory's poetry for Crow Road read are bleak and depressing.

Prentice also spends a lot of time with a young woman named Ash. They've been good friends since childhood and seem to have a somewhat flirtatious dynamic now, but they aren't in a romantic relationship; mostly, they drink and hang out together. Ash tells Prentice bluntly to get his life back on track when she finds out he's failing at school, avoiding his family, and engaging in shoplifting. She is a voice of reason, and when Prentice insists to her that he's just a failure, she reminds him that actually, he's just a kid.

Prentice's efforts to figure out Rory's story or location stagnate, and he continues to fail at school and avoid his father. He then receives word that Kenneth was killed while debating faith with Hamish. In fact, Kenneth dies after a fall from a church lightning rod, which he was climbing in an act of defiance against Hamish's philosophy when it was struck by lightning; Hamish is convinced that Kenneth had incurred God's wrath. Ash is there for support when Prentice finds out about the death.

With Ash's help, Prentice returns to his hometown again to help manage Kenneth's affairs. Prentice speaks with a very shaken Hamish, who is handling Kenneth's death with extreme drama and making it all about his own feelings. Hamish tells Prentice that Kenneth was jealous that Prentice shared more in common with Hamish's faith than with Kenneth's lack of faith. However, this isn't really true, and as he contemplates his father's death, Prentice begins to internalize one of the last things Hamish reported that Kenneth had argued: "All the gods are false. Faith itself is idolatry."

As the chapters go on, Prentice is compelled by some of the meaningful items related to Rory that he discovers in his father's belongings. He gains a renewed sense of purpose trying to solve the mystery of where Rory went and what happened to him. Among the interesting items are an ancient computer disk of Rory's that Prentice can't access with any equipment he can find; Ash uses her connections in the US and Canada to find a computer expert who can finally open the files on it. This takes quite a while, since the disk has to be mailed and Ash's connection is investigating the disk only in his free time.

Prentice also discovers that his feelings for Verity have changed. He no longer feels angry with Lewis for "stealing her." At first, Prentice's narration describes this as his feelings "cooling" as a result of the trauma of losing his father, but interestingly, this soon means Prentice gets to know Verity as a sister-in-law without getting caught up in jealous romantic feelings. Verity gets along well with the family, and Prentice is actually happy to discover that she and Lewis have a baby on the way. Prentice's relationship with Lewis improves greatly as well, partly because he is no longer jealous and partly because he realizes he does not want to lose Lewis, too.

Ash's connection who was looking at Rory's computer disk comes through and sends the printed contents of the files to Prentice. The files reveal to him that Rory likely knew Prentice's uncle, Fergus, murdered his wife by unbuckling her seat belt and crashing their car. Rory had written out a fictional version of events and considered using it in Crow Road. I'm not clear on exactly how certain Rory was about Fergus's crime, or whether Rory would have intentionally reported Ferg, or whether Rory even had enough proof to publicly accuse Ferg of murder, but people would likely have connected the dots in Rory's work and become suspicious of Ferg. For this reason, Prentice believes Ferg murdered Rory as well.

Prentice confronts Ferg. He doesn't get a confession and leaves Ferg's home with no concrete proof of anything; Ferg denies it all. But Prentice is soon physically assaulted in the night, and it seems Ferg was almost certainly the culprit, because he hadn't been home that same night, and he had injuries (probably from being fought off) the next day. A day or two later, Ferg's body is found unconscious in the cockpit of a plane, which crashes into the ocean. It's uncertain whether this was a suicide, but Prentice suspects it was. Rory's body is then soon recovered from the bottom of a waterway near Prentice's home, where Ferg had sunk it years ago.

As the mysteries are solved, Prentice realizes his feelings for Ash are romantic love. However, it's too late, he thinks, because Ash is about to take a job in Canada, where she may or may not stay. Prentice also hesitates to approach her because he's embarrassed about his previous behavior, venting all his angst about Verity and his father. He isn't sure she would even want to be in a relationship with him after that. But the very night before Ash leaves, she kisses Prentice on the cheek, which leads to a deeper kiss. They finally connect, have sex, and confess their mutual feelings. Ash still goes to her job in Canada, but says she'll come back when Prentice is done with his studies that summer.

The relationship's future is somewhat uncertain because something could come up while Ash is in Canada, but Prentice is hopeful. The book ends with Prentice getting ready to graduate with his grades on track as a history scholar, fully renouncing his belief in an afterlife while he acknowledges the inherent importance of our experiences in our lives now, and enjoying his time with Lewis and Verity and his other family members.

What's the point of all these hundreds of pages?

Well, look at all of the above; there's definitely more than one point. But the main point I took away is that we get this one life, with our loved ones in this world here and now, and this is where we make our meanings. There is no other meaning, but that doesn't mean there's no meaning at all. It means the meaning is here.

It's not death that gives life its meaning. It's the things we do while alive that give life its deeper meaning.

The Crow Road is described (on Wikipedia) as a Bildungsroman, a story focusing on the moral and philosophical growth and change of its main character as they transition from childhood to adulthood ("coming-of-age novel" is a similar term that is interchangeable, but more vague and not necessarily focused on morality/philosophy). And, indeed, all of the plots ultimately tie into Prentice's changed philosophy.

After his argument with Kenneth, Prentice feels childish and humiliated, and as a result, he refuses to go back home, which leads to a spiral of shame and depression. Kenneth dies and Prentice realizes it's too late to repair the relationship, which also leads him to realize it's what we do in life that matters, and that therefore, his father's argument was correct after all.

At the end of the novel, Prentice outright describes his new philosophy. However, I can't recall one specific passage where Prentice describes the process of how he changed his mind (if anyone else can remember something I missed, do let me know). There is, however, a moment when his narration indicates that Hamish seems less disturbed by his own part in the incident that led to Kenneth's death and more disturbed by the notion that his beliefs might actually be true: there might actually be an angry, vengeful God. In other words, Hamish's philosophy is selfish at its core.

My interpretation is that when his father died, Prentice realized three things: how utterly self-serving Hamish's devout faith is, how Kenneth's untimely death proves the importance of working things out now rather than in an imaginary afterlife, and how much profound meaning Kenneth had left behind despite having no faith at all. After these realizations, a determined belief in an afterlife no longer makes our lives here more profound like Prentice once thought it did.

Also, it's worth noting that this incident changes Prentice's idea of partnership, too. He loses interest in this distant, idealized woman he's been after. In love as in the rest of life, Prentice lets go of his ideals, and in doing so, he makes room for true meaning, both in a sincere familial, platonic connection with Verity and a sincere intimate, romantic connection with Ash.

But what about the sex scene?!

Yes, indeed, at the tail end of the story, Prentice and Ash have sex and admit they want to be in a relationship together. Prentice's narration describes them sleeping together and having intercourse not just once, but many times, including some slow and relaxed couplings during which they flex the muscles in their private parts to spell out "I.L.Y." and "I.L.Y.T." to each other in Morse code. This is relevant because earlier, they had been surprised and delighted to discover that they both knew Morse code; it isn't a detail that came from nowhere.

I didn't get the impression that this scene was trying to be especially titillating to the reader. It was mostly just a list of stuff the characters did together. I felt the point was that they were still anxious about being emotionally honest, a little desperate to convey their feelings without having to speak them out loud, and awkward in a way that made it obvious that their primary concern was the feelings, not the sexual performance. They cared about each other, but they weren't trying to be impressive or put on a show; contrast this with previous scenes where Prentice would act like a clown in front of Ash to diffuse his own anxiety. I've always thought that being able to have awkward sex and still enjoy it is a good sign.

Okay, so what does this all have to do with Good Omens?

Here's where I have to get especially interpretive. I'm doing my best, but of course, not everyone reading this will have the same perspective on Good Omens, the Final Fifteen especially. I believe similar themes are going to resonate between The Crow Road and Good Omens regardless of our particular interpretations of the characters' behavior and motivations, but I suppose it could hit differently for some people.

The TL;DR: I see similar themes between The Crow Road and Good Omens in:

The importance of mortal life on Earth

Meaning (or purpose) as something that we create as we live, not something that is handed to us by a supreme being

Sincere connection and love/passion (for people, causes, arts, life's work, etc) as a type of meaning/purpose

Relationships as reflections of philosophy

The dual nature of humanity

Life on Earth as the important part of existence is a core theme in Good Omens, and has been since the very beginning. We all already know Adam chose to preserve the world as it already is because he figured this out, and we all already know Aziraphale and Crowley have been shaped for the better by their experiences on Earth. But Good Omens isn't done with this theme by a long shot. I think this is the most important thematic commonality Good Omens will have with The Crow Road. Closely related is the notion that we create our meanings as we live, rather than having them handed to us. Isn't this, in a way, what Aziraphale struggles with in A Companion to Owls? He's been given this meaning, this identity, that doesn't fit him. But does he have anything else to be? Not yet.

Partnerships as a parallel to the characters' philosophical development also resonates as a commonality that The Crow Road may have with Good Omens. Prentice's obsession with Verity goes away when he starts to embrace the importance of life on Earth and makes room for his sincere relationship with Ash. Note their names: "Verity" is truth, an ideal Prentice's father instills in him; "Ashley" means "dweller in the ash tree meadow" in Anglo-Saxon, according to Wikipedia, and "ash" is one of the things people return to after death. Prentice literally trades his high ideals for life on Earth. We see in Aziraphale a similar tug-o'-war between Heaven's distant ideals and Crowley's Earthly pleasures, so I can see a similar process potentially playing out for him.

I don't particularly recall a ton of thematic exploration of free will in The Crow Road. However, there is a glimmer of something there: Prentice feels excessively controlled by Kenneth's desire to pass down his beliefs, and part of the reason Prentice is so resistant to change is simply his frustration with feeling censored and not being taken seriously. As the reader, I do get the feeling that while Prentice is immature, Kenneth made major mistakes in handling their conflict, too. And Kenneth's mistakes come from trying to dictate Prentice's thoughts. There is likely some crossover with Good Omens in the sense that I'm pretty sure both stories are going to take the position that people need to be allowed to make mistakes, and to do things that one perceives as mistakes, without getting written off as "stupid" or "bad" or otherwise "unworthy."

Suffice it to say that the human characters in Good Omens will also certainly play into these themes, but it's hard to write about them when we don't know much about them except that one of them is almost certainly the reincarnation of Jesus. This also makes me suspect perhaps the human cast will be 100% entirely all-new, or mostly new, symbolic of how Aziraphale and Crowley have immersed themselves in the ever-evolving, ever-changing world of life on Earth. Alternatively, if we encounter human characters again from Season 1 or 2, perhaps the ways they've grown and changed will be highlighted. For example, even in real-world time, Adam and Warlock have already, as of the time I'm writing this, gone through at least one entire life stage (from 11 in 2019 to 16 in 2024). They'll be legal adults in a couple of years, and if there's a significant time skip, they could be much older. If characters from Season 1 do reappear and themes from The Crow Road are prominent, I would expect either some key scenes highlighting contrasts and changes from their younger selves or for stagnation and growth to be a central part of their plot.

The more I write, the more I just interpret everything in circles. Hopefully this post has at least given you a decent idea of what The Crow Road is like and how it may relate to Good Omens.

I'll end this post with a quotation that feels relevant:

Telling us straight or through his stories, my father taught us that there was, generally, a fire at the core of things, and that change was the only constant, and that we – like everybody else – were both the most important people in the universe, and utterly without significance, depending, and that individuals mattered before their institutions, and that people were people, much the same everywhere, and when they appeared to do things that were stupid or evil, often you hadn’t been told the whole story, but that sometimes people did behave badly, usually because some idea had taken hold of them and given them an excuse to regard other people as expendable (or bad), and that was part of who we were too, as a species, and it wasn’t always possible to know that you were right and they were wrong, but the important thing was to keep trying to find out, and always to face the truth. Because truth mattered. Iain Banks, The Crow Road

[kiwioala]

documents bagi found in the fed lab!

I feel so sick from seeing all these bodies... First our colleagues and now this?? I need to take some time boss, I'll be back later. Maybe...

2 pictures, both from etoiles fight:

diagram regarding mimicubes and mimic octopus:

The bouncing block of slime is capable of copying the equipment of its enemies, the different things they can copy are: weapons (not only applying on hit effects but also enchantments), shields (being able to block projectile weapons like bows and crossbows), and totems to prevent their own death. Their goo is also known to be able to be used to copy a piece of equipment to the last detail regardless of what material or enchantments it has. It's ability seems to be an evolved version of that of a mimic octopus, the mimic octopus would copy the behavior and looks of other animals for both hunting and self defense. But it seems the mimic cube can copy other materials to the very last details, including pieces of equipment.

diagram regarding lobsters:

These little creatures have incredible abilities, including but not limited to being able to smell and taste the water with their "nose" to hunt their prey, their claws are also a unique barb that allows them to hunt for fish.

IT IS IMPERATIVE THAT WE ESCALATE THIS MATTER TO UPPER MANAGEMENT -> They won't stop growing and won't stop molting throughout with their life, it is considered that they could live forever, if it wasn't bc of the energy needed to molt that they eventually (at 100 years,) won't have

They also can come in different colors, depending on amount and distribution of pigments, being able to be other colors, including: orange, blue, yellow, white, black, and some with special names, like the split halloween colored (black and red) red-blue split colored and cotton candy (pinkish white)

diagram regarding cosmaws:

A once believed extinct species, these flying creatures will attack any player that hits it, biting back with its protocesis, it also uses it to hunt its main pray, the cosmic cod, which can be used to tame them.

While they will not protect their owner in a fight, they serve a different purpose to exploration, whenever their owner is about to fall to the void, the cosmaw will run for it and try to catch it so it doesn't fall into said void.

"Cosmic Cod are fish that can be found in the void between end islands. [...] They float through the ether of The End in decently-sized schools. If one fish in the school is attacked; the entire school of fish will attempt to teleport away as soon as possible. [...] Cosmic Cod can also be caught in an empty bucket." -Animal Dictionary

diagram regarding code status and behavior:

book found in drawer:

more code writing:

010 010 00 0100 0101 01001100 1010 00 00 which translates to "HELP"

lab reports:

[REPORT] Given the recent events at the laboratory, including the intrusion, code breaches, injuries, fatalities among our workers, and the peculiar attack by unfamiliar individuals, we have made the decision to relocate. The place isn't the secured area it used to be, we have reasons to think that several factions with different goals have found its location, therefore we need to find a new place to pursue our researches We have to protect our informations and hide our goals, we cannot let anyone see our research. All the content of our research is now way less valuable since it has been seen and might also have been copied. The next laboratory needs to have a way more secured system, cameras, and lockdown system.

[REPORT] All entities have been transported or terminated, the documents should follow.

[REPORT] It seems like the one eyed creature has been correctly relocated.

misc. clipboards:

CLIPBOARD 1: 1: Heyy, are u having a good day?? 2: No. 1: Oh. sorry about that, what's going on?? 2: Work. 1: O.o

CLIPBOARD 2: • Terminate the subject.

CLIPBOARD 3: • Check for vitals • Check for updates • Check for infection • Check for development

CLIPBOARD 4: • No report has been conclusive yet.

CLIPBOARD 5: • Reports still have to be finalized. • Night shift has to be adjusted as the code changed it's rhythm yet again.

CLIPBOARD 6: • Has been calm over the last fourteen hours. • The current frequency can't be read, we need to order new equipment.

[soscarlett1twas]

Dulce et Decorum est

↳ Xanthus serves in World War I. ↳ 2.4k words / also available on ao3! ↳ This fic is far from accurate to the actual Ypres Salient. I wanted to explore Xanthus' mentality as he canonically served in WWI. So, while I did some research, most of this fic is inspired by wartime poetry, particularly 'In Flanders Field' by John McCrae and both 'Dulce et Decorum est' and ‘Exposure’ by Wilfred Owen. Also! I discovered this painting while writing that's basically the exact setting of the fic. ↳ Content warning for blood, disease, guns, and (specifically trench) warfare.

It was hard to believe that, even in the midst of war, silence could envelope the world. Thick layers of it painted the Ypres Salient, as disturbing as the starless midnight it shared the hour with. Not the skuttle of a rat, not grass in a breeze. Death, it seemed, had a way of silencing. 

For all intents and purposes, it was all quiet on the Western front. 

Xanthus didn’t trust it one bit. 

How could he trust the very thing he cheated? His eyes drifted across no-man’s land, the scorched earth left by the Germans, with a tremble he hadn’t felt since his first time serving in the British army. Fog obscured the skyline. Corpses of trees barely stood, crooked and black. For as far as he could see, there was no green. Just the torn-up dirt and puddles of not-quite water. 

Xanthus’ grip tightened on the rifle. His nails were bitten to the quick. 

His gaze never left the scene. Even from the shallow view allotted to him by the firestep, shadows and whispers danced, him a beat behind their rhythm. They would disappear as soon as he glanced at them, then reappear in the peripheral gloom. Still, he chased them, eyes darting from ghost to ghost.  

War, it seemed, had a way of invoking paranoia. 

Xanthus’ trench was along the front lines, and he, given the honor of being on nightwatch during the tense time. Just two years ago, Ypres had been fought for again, and the Entente had lost. Badly. The Germans overran the old British and French trenches which had cleaved into their conquered territory, the Allies calling upon their own for assistance. Canadians, Indians, Algerians, and Moroccans now fought for a war forced upon them, the same way Belgians had to step up and defend Ypres as the Germans marched ever-forward. 

New allies were not the only introductions during the second fight for Ypres. Chlorine gas had swept through the battle and choked out countless men. 

Apparently, that wasn’t enough. 

Xanthus’ gaze flitted back down to the ground. Glass pools replicated the hell above. Swirled in them, the only color was a murky red from the slaughter of soldiers. It was an easy trick. But below, sunk to the bottom of the mixture, was a colorless poison. They had all thought it to be the same as the chlorine; when the smell was faint of mustard and men didn’t immediately drop, they even spat about how the Germans were growing weak.

It took a few hours for the effects to set in. 

Xanthus darted his sights back up to the wasteland. He had known better than to trust hope – the Americans had joined the war not long ago, and the news managed to enhearten some, but not Xanthus. This was penance for that longing for a better future. 

Even still. Xanthus Claiborne: A murderer, an unnatural; and Lawrence Claiborne, the soldier. All his duplicities should have shielded him from this horror. All it managed was to kill his dreams – war was still carnage, and for as much as he could pretend he was distanced from it, bloodbaths would still reflect his face when he bore down on murdered men.  

When the men in his regiment blistered and screamed and died, Xanthus knew that this was a new evil. 

The rifle shook in his hands. Pointed out into the graveyard of a clearing, Xanthus’ memories reminded him of just how futile the gun was. Not when the gas wiped them out. Not when it still lingered.

Xanthus’ teeth bit into his bottom lip, for a moment forgetting his fangs. 

Xanthus had survived the chlorine’s initial deployment, back in 1915. His healing worked wonders in keeping him alive, if incapacitated. The same happened with the new mustard gas. He hid the blistering well enough so as to not alert suspicions, and they dissipated within the day. Most everyone else had dropped like bullet shells. 

But this gas remained. Not just in the soldier’s bodies – it polluted all water and sunk into the dirt. The other faded, but this time, standing in the dug-out trench, the smell and chemicals never wafted away.

Even with each hollow breath he took, Xanthus could smell, could taste, the abomination. And even with his miraculous healing, it was a cancer. His eyes burned. Blisters he thought were gone popped up across his body in changing places. A cough clawed up his throat (he feared his lungs were regularly filling with fluid, then draining, then refilling – a vicious cycle which murdered the rest). 

He was nothing more than an animated corpse, and for the first time in these long centuries, he felt like it.

Xanthus’ rifle loosened in his hands. He scrunched his eyes and drew one hand up to massage his temples. Memories of medical bays fueled his mind. “The lucky one,” they all said. They weren’t all from the Great War. 

For a few more minutes, he stood, gun propped on the parapet. But marionettes could only dance around him for so long. A trickle of sweat ran from his forehead to jowl. 

He knew they were not coming. The silence echoed back. He did not trust it. 

When he jerked to the side, dangerously slinging the gun as well, he collapsed back into the trench.

A sight of mud turned to gray. The small enclave he used for nightwatch was nothing more than piled stones, but a respite nonetheless. 

Xanthus sat for a few moments, heaving. When his gun dropped and rattled to the floor, he grunted, and slammed his knuckles into the bricks. Hot pain instantly rushed from his shaking hands and he watched, in more agony than the impact, as the wounds healed over. Surfaced blood streaked, but dried in mere seconds. 

His breath was ragged. He shoved his fist into the stone, over and over again. 

This war was an assault on all senses, Xanthus thought as he brutalized himself. Sure, the smell and the taste and the sight, but by God, it was the hearing that came first. How ironic that now it was peaceful, now there was quietude, after the dread took its strongest. 

Where was it when Xanthus stood, more attuned than anyone, to the rattle of gunfire and men screaming? Rushing across no-man’s land left him able to hear out to the German trenches and everything between. He simply had to suffer it. And where was it when he laid at night, a being without need of sleep, but desperate for it so he could drown out the tanks and the roaring aviation? When he heard the few friends he made hearts stop pumping? 

Where was it when Xanthus turned his rifle on an ear, and shot the organ clean off? 

And where was it when it, after he blamed it on battle, regrew in four months?

Xanthus’ thrusts into the wall slowed, his hand going limp and running down the bricks, until it rested beside him. 

It didn’t matter. He could not get hurt, not in a meaningful way. He could already feel the wounds closing, the battery insignificant. 

He threw his head against the stone wall carelessly. 

The flesh stitched itself back together in the passing minutes. Meanwhile, Xanthus fueled his disquiet with memory. 

Lawrence had known war. But it was never this, never all-encompassing; there was, after all, a world beyond England and Scotland during the Second Bishop’s War. Xanthus, it seemed, did not – or at least, not the stratagem of modern warfare. He had followed the stepping stones, ignorant until they dropped, himself caught in the freefall. 

A cough ground up his throat, and bile rose with it. 

He had witnessed humanity’s descent – ascent? – into this madness. Hell, he was older than the country his fellow soldiers lauded as their savior. And yet he was here, with them. Suffering, dying in the great quiet, knived by the mental games their very species played. 

Because the gas was a game. Its purpose was the tricks, deployed with shells that broke into a giggling hiss. 

War could not kill Xanthus. But it could do everything else.

When his fist curled, the nails bent into his palm. Briefly, he panicked without the familiar weight of a gun. He snatched it off the ground and brought it to his chest.

He had never expected to truly be hurt, to be affected. But in their efforts to decimate each other, they managed to even wound immortality. A vampire reduced to human fears, because of humans, without the possible human release. 

In some small way, Xanthus felt human. Artificially – their misery, their desires, fitting for a finite life. He knew it was a false mirage. But still, he reached for his gun in comfort, as if his teeth weren’t markers of a much more vicious retribution. 

He hated it. 

He fucking hated it. 

Finally, he and his kind were welcomed back into ‘personhood’ – not because they were deemed more acceptable or humanity grew collective empathy, but because even humans stooped to their level: fodder. 

The vast silence was cut with bitter laughter. 

Subconsciously, Xanthus curled into himself as the laughter turned to coughing. He forced himself to swallow down the mucus. The rifle sat between his legs, pointed upwards, with his hands clenched to it. 

As his fit died down, he rested his forehead on the warm metal. 

And the silence was back, as deafening as ever. 

Except for the heartbeat. 

Xanthus didn’t move his head, but slit an eye open to watch the opposing side of the trench. The beat was coming from inside it – not an enemy – but there was no due for a guard switch. 

A man stumbled around the corner. His pulse was faint, barely a whisper – more powerful was the sound of liquid sloshing in his lungs. Sucker-like sores grew along his arms and chest. His wool coat was unbuttoned and rolled up to the elbows, and he wore no hat. 

He paid Xanthus no mind as he crept forward, walking like it was his first day out of the womb. With too hard of a sway, he collapsed against the wall opposite of Xanthus and sunk to the floor. His eyes remained, though bleary, attached to the sky. 

Closer, the rush of blood echoed. Xanthus’ tongue flicked across a fang. 

It had been so long. He’d staved off desiccating with enemy soldiers or, when in a ward, blood saved for transfusions. He hadn’t properly feeded since his conscription. As if answering his thoughts, the hunger struck, a well in his stomach. 

The man’s chest heaved, face still upwards. 

He would die anyway. 

Xanthus shifted off the firestep slowly so as to not start him. His movements drawled with a predator’s muscle-memory, though more ridge with the discipline of a soldier. 

He drew to the man. It was only when he towered over him, rubies starch in the darkness, that the man looked at him. 

“Hello,” he muttered. It would’ve been unintelligible to anyone else. 

What happened next was methodical. The vampire slid down to his level and applied weight to the others hands, constricting him. His knee buckled on the other’s leg. He leaned forward, and with a swift motion, released his arms (only now did he drop the gun), hands jerking to maneuver his neck as he bared fangs. They sank into the skin with ease. 

It was bitter, he instantly noticed. The blood pumped lazily, carrying with it the poison which seeped into his skin. Despite his own cyclical conditions, Xanthus pressed on, refusing to let his only meal waste away. 

Naturally, the man resisted. He was weak. His burned arms tried to push the vampire’s away, off his neck, though managed nary a scratch. His legs bobbed. His neck strained. Still, it was futile to Xanthus. 

The man continued to mutter to himself. Xanthus pressed on. 

Even as the blood replenished him, it was sickening – he was starved and drank like it, but it was a drunken haze brought on by spoiled wine. Xanthus doubted he’d ever willingly eat mustard again. 

Just as he was about to break for air, the man’s fingers threaded into Xanthus’ hair. For some odd reason, it eased him out of the spur, as his fangs gently retracted. Both of their breaths heaved off-sync. Xanthus was still so close, the heat he expelled onto the man ricocheted back to him. 

The vampire tilted his head slightly, glancing up through mangey threads of hair. Playing on the man’s face, in the depths of night, was the hint of a smile.

His lips still moved, though silently now; Xanthus still recognized their shape. A common soldier’s prayer, said by those dying or over the beds of those who were. 

He didn’t understand it, not until the man looked down at him. With a bleeding neck and a shattered voice, he made a sound below silence, the illusion of words more than anything – “Thank you, sweet angel.”

His fingers stayed soft in his hair. 

“You have come to save me. I am welcomed into His kingdom.” A wiry grin now broke across his face, peeling the skin taut. He was missing a front tooth.

He thought Xanthus was saving him. That he was an angel, ready to take him to Heaven. To his God. Away from hell on earth. 

For a heartbeat, Xanthus could not move. He suddenly felt carved out, nothing but bones and skin. 

There were memories of another dying soldier-boy, the wound-up toy which had marched itself right into the tinderbox. For glory. For God. 

And he remembered his death. Another soul believing they were being saved, only to be taken advantage of by a vampire. 

And it was that thought which frightened him the most. 

If you could believe it, the soldier’s heartbeat slowed even more. Yet in his eyes, the dullness now shone without dust – not reflecting the monotonous shattering of a psyche, but heavy with the need of sleep. He was so close to it. 

Xanthus could become Audric. To ‘save’ as many as he could from this war, only to force them into a future more brutal than anyone could dream. 

So instead, Xanthus gave him what he wanted – what they both wanted. He could not tell which side of him it belonged to, if there was anything truly mortal or supernatural about mercy. 

A soft lullaby drifted from his lips, a soothing command. And the man closed his eyes and mouth, relaxing into Xanthus, like a child in his mothers arms.

The blood stayed warm, even as a body turned to a corpse. And Xanthus, who could do nothing but remain, drank. 

[ezekiel-krishna]

What kind of person are you going to cross path with this year?

A stranger I shall meet, a soul unseen before, Their presence will ignite a spark within my core. Our paths have crossed with fate's design, A chance encounter that we cannot define. - The Poet

PICK a card 🀧

🟡 Card 1

⊹ Ah, the Hierophant! This card embodies tradition, structure, and the quest for guidance from established systems or institutions. It signifies a possible encounter with someone who exudes wisdom, authority, and a profound connection to spiritual or philosophical beliefs. You may come across an individual who possesses immense knowledge or holds a position of influence within their community. This person could be a spiritual mentor, a guide, or someone who deeply values and upholds tradition in their approach to life.

⊹ This encounter holds the potential for you to gain valuable insights, receive guidance, or even establish a mentor-mentee relationship. It may be an opportune time for you to explore your own beliefs and delve deeper into your spiritual or philosophical journey and personal evolution.

🟡 Card 2

⊹ The Lovers card! What an intriguing revelation as we embark on this quest to discover the next person who will cross your path. This card is a symbol of partnership, harmonious connections, and the incredible potential for profound, genuine love. It signifies that an important encounter is on the horizon, one that holds the promise of a meaningful relationship or connection.

⊹ In the context of your inquiry, The Lovers card beckons you to embrace the possibilities of love and companionship. It suggests that a significant meeting with someone who deeply resonates with your soul is likely to occur soon. This person could be a potential romantic partner, a kindred spirit, or even a close friend who will inspire and uplift you.

⊹ Drawing The Lovers card also calls for introspection regarding your own beliefs, values, and desires in relationships. Are you truly prepared to welcome love and meaningful connections into your life? Consider this as an invitation to align yourself with your highest intentions and to remain receptive to the opportunities that come your way. By embracing the energy of The Lovers, you are setting the stage for a transformative encounter, where both individuals have the potential to grow and evolve together. Trust in the universal flow, for it brings people into our lives for a purpose, even if their significance is not immediately clear.

⊹ As you navigate this journey, remember to stay true to yourself and honor your own needs and boundaries. Allow this encounter to unfold naturally, and bear in mind that every connection we forge serves as a mirror, reflecting back the aspects of ourselves that are ready to be witnessed and embraced. May this meeting be a beautiful symphony of souls as you cross paths with someone who has the potential to enrich your life in extraordinary ways. Trust in the journey and remain open to the enchantment that the universe has in store for you.

Blessings on this path of connection and discovery.

🟡 Card 3

⊹ Behold the presence of the Temperance card! In the realm of Tarot, this card symbolizes balance, harmony, and moderation. It signifies the integration of opposites and finding a middle ground in all aspects of life. When this card appears, it suggests that the next person you encounter will embody these qualities of balance and moderation.

⊹ Prepare yourself, for the weaving of a captivating narrative that brings these insights together. The Temperance card reminds us of the significance of balance and harmony in our connections and interactions. It indicates that the individual you are about to cross paths with will bring a sense of serenity and equilibrium into your life. They will act as a bridge, harmonizing different aspects of your existence and helping you find a perfect blend between your creative pursuits and other areas of your life.

⊹ Their presence will inspire you to embrace a balanced approach to self-expression, allowing your creativity to flow freely while staying grounded in practicality. Together, you and this person have the potential to transform each other's lives. You will support one another in finding balance and harmony within yourselves, navigating the highs and lows of life, and remaining aligned with your true essence.

⊹ This person will offer valuable insights, shedding light on new paths and possibilities for your personal growth and self-discovery. As you cross paths with them, be open to the lessons they bring and the opportunities for growth that arise. Embrace the qualities of balance, moderation, and harmony represented by the Temperance card, and trust that this connection will guide you towards a more fulfilling and harmonious path.

Remember, this is a General Guidance and Insights.

For Paid Personalized Analysis & Reviews ➤ Check Here

Masterlist ➤ Check Here

[silvermoon424]

Twisted Tropes: An Examination of How Magical Girl Tropes are Subverted in Puella Magi Madoka Magica

(this is a long one, clocking in at over 1600 words. Enjoy!)

Madoka Magica has often been called a “deconstruction” of the magical girl genre, and while many fans refute that claim, it’s clear that it at least offers a darker twist on many of the tropes beloved and well-known in the genre. These tropes include the transformation trinket, the cuddly mascot, the monster of the week, magical girls having a secret double life, magical girls themselves being child heroines, and even the concept of why magical girls fight in the first place.

One of the biggest examples of these tropes being twisted is the magical girl transformation trinket, which in this series are Soul Gems. In more conventional magical girl series, transformation items are pretty, flashy items that enable the girl to transform from her civilian form to her magical girl form- and to be frank, serve the double purpose of selling toys and merchandise in the real world.

In PMMM, Soul Gems are beautiful Faberge egg-like items that serve the same purpose. It turns out though, that their name is very literal; they are gems that serve as containers for the magical girl’s soul (or may even be her crystallized soul, it’s not really made clear). Soul Gems are formed when magical girls make a contract with Kyubey and are the source of their powers. Moreover, because her soul has been ripped out of a magical girl’s body, her body cannot function unless her Soul Gem is within a few hundred feet of what is now her soulless husk.

In more traditional magical girl shows, transformation trinkets sometimes get stolen, misplaced, etc with no ill effect for their users except for an inability to transform. In PMMM, this is a literal death sentence unless the Soul Gem can be recovered (as displayed in episode 6, when Madoka tosses away Sayaka’s Soul Gem in an attempt to prevent her and Kyoko from fighting). The consequences of this are actually explored in one of the routes of the Madoka Magica PSP game; Sayaka is separated from her Soul Gem in a Witch’s barrier, and it takes Kyoko days to find it. In that amount of time, her body began to literally rot.

The next concept I want to explore is that of the cuddly mascot. Magical girl mascots are a common feature in many shows, from the Moon Cats in Sailor Moon to Cerberus in Cardcaptor Sakura to the many, many mascots in the Precure franchise. In all of these series, the mascots act as friends and often mentors to their magical girl companions; in most series, they are also responsible for empowering/awakening their magical girls.

In PMMM, Kyubey initially seems to be much the same. He is a cute, cuddly creature who is responsible for creating and guiding magical girls. Pretty soon however, it becomes clear that Kyubey is a sinister figure. His contracts don’t seem very benevolent; they seem exploitative, taking advantage of girls when they’re at their lowest point. And unlike the Senshi in Sailor Moon or the Cures in Precure, it quickly becomes apparent that the magical girls in PMMM are dealing with much higher stakes- at least, when it comes to their own wellbeing.

PMMM almost seems to ask the question: what kind of creature would give superpowers to children and send them to fight monsters that could very easily kill them? Even Kyubey’s appearance is highly implied to be a carefully calculated façade meant to lure teenage girls into a false sense of security and make them feel drawn to him. For example, Kyubey uses this to his advantage when he plays up his helplessness to Madoka in episode 1 when he’s being hunted down by Homura. In reality, the Incubator’s true appearance- as seen in Rebellion- are implied to be mechanical structures with giant eyes in the middle; a very alien appearance suiting their alien origins and psychology.

Speaking of child heroines, PMMM also addresses the magical girl tropes of the child heroine and the double life. In most magical girl shows, being a teenaged (or even child/preteen) magical girl is portrayed as an exciting, glamorous, heroic position. The role of magical girl is often contrasted against the mundane, yet still charming and school and civilian life. Magical girls often work hard to maintain the secret of their alter egos from their (non-magical girl) friends and family, although in some series the secret does come to light. However, the girls are usually able to enjoy a healthy balance between their personas.

In PMMM, magical girls seem more like child soldiers than glamorous heroines. Being young girls and not hardened adults, many magical girls face severe psychological trauma from the life they’re thrust into- much life real-life child soldiers. Most magical girls made their contracts without truly getting to think about their wish or the consequences of being a magical girl for the rest of their lives. And because getting enough Grief Seeds is literally life-or-death, they must spend most of their free time patrolling for Witches.

We get a good look at the toll being a magical girl takes on one’s social life through Mami’s character; supplementary materials reveal that she was once a popular girl who had a lot of friends, but after she was forced to contract in the same accident that killed her parents, she slowly lost all her friends because she had no time to do anything else but train, hunt Witches, fight Witches, etc in her free time. In episode 3, when Madoka talks about how she wants to be a magical girl, Mami outright tells her that the life of a magical girl is a lonely one and Madoka will no longer have time for things like boys or hanging out with her friends after school. Even in Magia Record- an alternate timeline that offers a much more positive look at the PMMM-verse- most magical girls are only friends with each other.

Another major example of a trope being twisted is that of the “monster of the week.” Most magical girl series have the girls fight monsters, and in many of those series the monsters are created from human beings. Sailor Moon and the Precure franchise are two standout examples of this. For example, in the fifth season of the 90s anime adaptation of Sailor Moon, people who don’t have “true” Star Seeds will turn into monsters called Phages if their Star Seeds (ie, souls) are ripped out. A similar phenomenon happens in Heartcatch Precure, with the added bonus of the victim’s consciousness eternally reliving the same state of despair that made them vulnerable in the first place. In all of these series, however, the magical girls are able to heal the victims and restore them to their former selves. Sometimes, if the monster/victim is a loved one or someone else known to them, they can even do a “I know you’re in there somewhere” plea to help them to break free.

PMMM takes the true horror of this concept up to eleven. Moreover, the victims aren’t regular people- they’re the magical girls themselves, and this fate is inevitable. Every magical girl, if she doesn’t die in battle against a Witch, will become a Witch herself who spreads despair and kills innocent people until the day she is put out of her misery by another magical girl. And she will be in misery; the Rebellion movie shows that Witches relive the worst moments of their lives over and over again and are psychologically tortured. A lot of Witches also seem to be in ironic hells. For example, Charlotte can create any dessert she wants except for cheese or cheesecakes, which is her favorite food. Roberta is surrounded by lascivious men (her familiars) who annoy her. And of course, every Witch was once a magical girl who once spread hope and saved people and now does the opposite.

It’s also made abundantly clear that once the Witch transformation happens, it’s over. There’s no saving someone. The only person in canon who is able to actually get results is Madoka- aka an actual goddess with huge karmic potential- and it comes with caveats (in one, later timeline she brings Sayaka back from the dead after she became Oktavia, and in Rebellion she is able to reverse Homura’s transformation into Homulilly- although afterwards Homura still needs to be brought into the Law of Cycles like any other magical girl about to become a Witch). In episode 9, when Kyoko and Madoka try to reach out to Sayaka’s inner self when Kyoko fights Oktavia, it ends in Kyoko’s death because nothing of Sayaka remains.

In most magical girl shows, the monsters of the week are just ineffectual mooks who are fodder for the evil organization opposing the magical girls. But in PMMM, they are mirrors of the magical girls themselves, agents of chaos and despair who present a very real threat to the magical girl’s lives- not to mention the lives of any unfortunate people who stumble across them.

Finally, I want to examine the topic of why magical girls fight in the first place. In most series, there is a group of villains who pose a threat to humanity/the Earth/etc and magical girls must oppose them. There is a very real external threat being faced.

In PMMM however, the beings that empower/perpetuate magical girls and are ultimately the threat are one and the same. Because the tragedy of PMMM is that magical girls are fighting against a self-perpetuating cycle; magical girls form contracts, magical girls become Witches, more magical girls form contracts and fight the Witches, and on and on it goes. Magical girls are their own enemy, in a sense.

I’m sure there are lots of tropes I’m forgetting, but this essay is already over 1,600 words long, lol. I might make a part 2 at some point, so give me your ideas!

[isabelawritesthings]

Bi-Han and Sareena: An analysis and their future

I'm not good at analyzing characters or stories, but I didn't like what Netherealm did with these two over the years, so I decided to explore their relationship. Keep in mind that everything I'll say here is just my opinion, I ask that you respect my point of view.

PART ONE: THE DEMON AND HER "MESSIAH"

The first time we see Bi-Han and Sareena together is in Mortal Kombat Mythologies: Sub-Zero, also being the first Mortal Kombat game we saw Sareena. She is introduced as one of Quan Chi's demonic servants alongside Kia and Jataaka (in other words, they are slaves, but apparently, only Sareena wants to be free from Quan Chi's tyranny) while Bi-Han is on his journey to find Shinnok's amulet, the first interaction between them happens after Sareena and her sisters fight Bi-Han and lose. Bi-Han for some reason spares Sareena, I see this as an "act of pity", but calm down, I will explain starting with the story of Bi-Han.

Bi-Han has been seen as a villain for years thanks to his actions as Noob Saibot and the fact that he is a Lin Kuei, which was a clan of assassins and mercenaries, his current incarnation as a villain in Mortal Kombat 1 also doesn't help break this stereotype. But analyzing his character, he's not that bad. In the first timeline, he is the son of a Chinese man and an American woman, having a younger brother and a younger sister, being taken alongside his brother, Kuai Liang (or kidnapped alongside his brother, interpret it as you wish) by his father to China to serve in the Lin Kuei clan, abandoning the boys' mother and sister in America, So to begin with, he is not serving this mercenary clan because he wants to, but only because he has no choice, the Lin Kuei are also assassins, so for the safety of the clan, I imagine that anyone who tries to leave the clan ends up executed (I mean, If you watched Mortal Kombat: Legends, you know what happened to Kuai Liang and Smoke when they both tried to escape the cyber initiation, Kuai Liang escaped but Smoke was trapped and turned into a robot).

We also cannot forget that he was unfairly blamed for the Shirai Ryu massacre, even though he explained several times to Scorpion that it was Quan Chi, not him, who killed Hanzo's family, and what does he get in exchange for having only his word as proof of his innocence? Being killed by Scorpion and turned into a slave to Quan Chi, just as Sareena once was. Compared to real villains like Shao Kahn and Shang Tsung, Bi-Han doesn't seem to be as evil as the fandom thinks, he felt sorry for Sareena like any other human being with feelings would feel for an enslaved person (believe me, slavery happened here in my country in the past and to this day it is a sensitive subject even for non-black people) but getting back to the subject, Sareena doesn't want that life anymore and asks Bi-Han to take her to Earthrealm when he goes there, she doesn't even ask to live with him, just to help her get out of that literally hellish place, a bird wanting to be free from the cage.

This is the same arc as Ashrah in Mortal Kombat 1, a demon who has grown tired of the Netherealm and now wants a purpose in life, but before Bi-Han can say "yes" or "no", Shinnok attacks her and she falls into Bi-Han's arms, making us believe that she died (although it is later revealed that she survived, only losing her human form and being banished to the fifth plane of the Netherealm). A connection was created here, between a person and her "savior", she was defeated by that human, however, instead of running away to avoid being murdered, she simply asked him to help her get out of that place. After Sareena was trapped in the fifth plane for years, there was nothing Bi-Han could do for her, soon after he went to the tournament and everything we know happened.

PART TWO: DIFFERENT FATES

Sareena was trapped in the fifth plane for years, until she escaped through a portal created by Quan Chi and Scorpion, recovering her human form thanks to the energy generated by being in another realm. She meets Kuai Liang, who at this point is the new Sub-Zero and the new grandmaster of the Lin Kuei, who as a way of thanking her for the help that Sareena gave to Bi-Han in Mortal Kombat: Mythologies, grants her a place in the Lin Kuei, just as Ashrah went to the Wu Shi Academy in Mortal Kombat 1, the Lin Kuei became Sareena's new home.

In Armageddon, Kuai Liang wants to restore Noob Saibot and Smoke, who are fused, imagine that Sareena's wish is also to restore the one who helped her one day, Sareena helped Kuai Liang defend himself from Noob Saibot's attacks, ending up awakening her original demonic form. Kuai Liang does not recognize her and attacks her, abandoning her in the Netherealm, being found by Quan Chi later and manipulated into being his slave again, returning to the place she wanted so much to escape.

She was eventually freed from the spell that was mentally binding her by Taven, but like the rest of the characters, she was killed in the final fight at the pyramid. Her ending in Armageddon is "cute" to me, she ends up becoming a cryomancer, the connection she had with Bi-Han and Kuai Liang was so strong that it made her have the same superhuman abilities as them, a form of the gratitude she had for them.

Now speaking of Bi-Han, well, I imagine you already know what happened: He was transformed into a sort of ghost of darkness, having his mind manipulated by Quan Chi to become one of his evil agents. As mentioned, he somehow merges with Smoke while Kuai Liang tries to restore him. He also ends up dying in the pyramid by the way. And this is how their story ends :(

PART THREE: THEIR CURRENT SITUATION AND THEIR FUTURE

Sareena returns in Mortal Kombat X to help the Special Forces. In a fight against Kitana, things get interesting... Sareena claims that Bi-Han helped her, and she can do the same for Kitana. Kitana says that she got very close to Bi-Han (you can interpret this as Sareena becoming more human thanks to Bi-Han or Sareena actually fell in love with Bi-Han). In Mortal Kombat 11, at the end of Kabal, Sareena marries him and has two boys with him (don't ask, even I was confused). In a taunt round with Skarlet, Noob Saibot says that she reminds him of Sareena, showing that even after twenty-four years, he hasn't forgotten about her.

For me, it was always an implied romance, hidden feelings, I had hopes for the two of them when it was announced that Bi-Han and Sareena would be in Mortal Kombat 1 and would appear in the story mode, but Khaos Reigns destroyed everything! Bi-Han is transformed into Noob Saibot by Titan Havik, and sadly, him and Sektor (who is now a woman) are now a couple, probably since their teenage years, while Sareena is just a jobber in the story mode, but is later freed by Ashrah in her ending.

I believe there will be a Mortal Kombat 12 (after all, I've already lost hope for an Injustice 3, and we know which game makes more money between the two for Netherealm Studios) and while I and half the fandom agree that Mortal Kombat NEEDS a writers room, I still have hope for these two. Bi-Han apparently wants to continue as Noob Saibot, there's nothing stopping Quan Chi for having ambitions for him, and since Sareena is an enemy of her former master, they might meet again.

I like to imagine that Sareena would make him be "good", making him realize that he can be much more than the grandmaster of the Lin Kuei with fascist ideas, it doesn't even need to be a romance, just a friendship! But unfortunately Netherealm Studios doesn't listen to the fans (apart from the insufferable Mileena fanboys in MK11) so any chance they have of getting to know each other is minimal, even if they are as enemies since Sareena wants to train with the Shirai Ryu.

[doumadono]

Douma & s/o practicing Tessenjutsu - headcanons

Requested by: @grossograsso ♥

MASTERLIST

Douma, being skilled in combat and knowledgeable about various forms of martial arts, takes a keen interest in your desire to learn tessenjutsu, the art of fighting with a tessen (iron fan). He sees it as an opportunity to bond further and share a common interest

Douma's approach to training you is patient and supportive. He understands the importance of starting from the basics and gradually progressing. He helps you master the fundamental techniques, offering guidance and gentle corrections along the way. "Now, focus on your footwork. Keep your stance stable, and remember to pivot your hips for more power. Ready? Begin!"

There are times when you become frustrated with a difficult technique, feeling like you're not making any progress. Sensing your discouragement, Douma surprises you with a small gift — a beautifully designed tessen that he personally crafted. It serves as a reminder of his belief in your abilities and reignites your determination to improve

As you train together, Douma's eyes sparkle with admiration as he witnesses your growth and dedication. He encourages you, praising your progress and helping you refine your skills. Your training sessions become moments of shared passion and connection. "Impressive! Your movements are becoming more natural. Keep refining your technique, and soon you'll be a master of tessenjutsu!"

Despite your best efforts, accidents happen, and sometimes wounds are inevitable. When you accidentally cut yourself with the tessen, Douma's concern immediately takes over. He swiftly tends to you, gently cleaning and bandaging the wound with utmost care, his touch both gentle and reassuring. "Ah, Y/N, you need to be more focused, my little lotus. We don't want you to bleed out, yeah?"

To add a touch of humor to your training, Douma challenges you to a friendly tessenjutsu duel. Despite his formidable skills, he purposely hams up his defeat, pretending to be dramatically defeated by your swift strikes and exaggeratedly collapsing to the ground. You can't help but burst into laughter, momentarily forgetting the seriousness of your practice

In the serene setting of the garden within his temple, Douma and you train on the bridges that stretch above the large pond. The peaceful atmosphere, with vibrant koi carps swimming gracefully beneath them and lotus flowers adorning the water's surface, creates a peaceful backdrop for your practice

Beyond the physical aspect, Douma also helps you strengthen your mental resilience. He encourages you when you feel discouraged, reminding you of your progress and highlighting your strengths. His unwavering belief in your abilities serves as a powerful motivation

Douma's presence provides a sense of security during your training sessions. His watchful eyes never stray too far from you, ready to offer guidance or protection if needed. He creates an environment where you feel safe to explore your skills and push your limits

Training sessions often become moments of shared laughter and lightheartedness. Douma infuses your practice with playful banter and witty remarks, creating an atmosphere that fosters enjoyment and camaraderie

In this dynamic of trust, growth, and shared passion, Douma and you discover not only the art of tessenjutsu but also the depths of your love for each other, blossoming amidst the beauty of the garden they call your own. "I can't help but feel an immense sense of pride watching your development, seeing how far you've come. Your dedication and determination have truly paid off. Your strikes are precise, your footwork has improved significantly, and your overall control of the tessen is impressive. You've become a force to be reckoned with."

[mrspark7777777]

i love how all the km blogs have been avoiding the behind the scenes "we all live alone" question like a parasite or smthing, bc none of you are are actually confident about anything, you just dont wanna leave your fantansies or open your mind a little to other options/facts/opinions. that is not called being insecure but a person who looks at all angles. you all just dont have anything to support your thoughts so just laugh and say okay its your opinion, i dont share it or ask someone else, or some other way of diverting the question labelling all as insecure. guess everything always works out for you or you usually get what you want, so you dont need to even look at other options or think from a broader perspective. also even if some people are insecure whats it to you, to answer each of thier questions. i was always firm in my belief that though they have some special friendship they arent dating bc of so many past inconsistencies, but i have always seen km blogs find the wierdest and farthest explanations for some things to suit thier purposes. bc come on a person you are intrested in or care about as much as you all think they do or jk does, and doesnt even know about all teh content or doesnt even know that jm's face music show performances ended, srsly?! my best friends boyfriend who studies at diff university, still knows more about her even when tehy are both extremely extremely busy. Even if Jm ever says he doesn't like men or he likes women, you all will still find a hidden meaning to it.like srsly someone had to admit it that majority of the km blogs dont have any idea or reasoning behidn ehat was said to suit thier purpose and will still cling to it, by diverting the other opinions as insceure jikookers, or that we have a diff opinion, but i have not even heard that so called diff opinion. bc you all dont have one

Jimin was basically living with pdogg when creating FACE. Which clearly means he was avoiding any distractions. His boyfriend looks like this ffs.

Can we really blame the dude????

We are talking about a guy who was begging to go to Jimin's while he was half naked in bed

Surely this explains why Jimin needed to stay away, no?

JK was going through Jimin withdrawals during FACE era. Like hard. So no, I personally wasn't surprised he didn't know when Jimin's promotions ended. Not if Jimin was keeping him in the dark.

As for Jimin saying we all live alone, why is this a big deal? He does live alone. Jikook haven't cohabited since 2020? When did they stop sharing cars? That's when they stopped exclusively living in the same house. So, Jimin lives alone, wbk. They completely laid low last year and kept any time they were spending together a secret. We now know it was coz they had applied to serve together but again, idk what u want us to say here when even we agree Jimin lives alone???

Lets see, what else do you have an issue with? Inconsistencies? Nah, bro. Jikook have NEVER been inconsistent. Ever. Its the one thing they've got going. Its the biggest reason why we believe they're together. Consistency. So I've no clue what you're on about there

If Jimin ever says he has a girlfriend, I believe I speak for many Jkkrs when I say we will accept and support that. However, we shall not be blindsided, we will have picked up on the Jikook break up by then. So, this won't be happening any time soon 🤷🏽‍♀️

And yes, anon, of course we always get what we want. And we shall continue to get what we want. We don't predict, we just talk about what we expect Jikook to do or to have done because they are a couple. When those things come to fruition, then yeah, we end up getting what we wanted because of course we do. Couples are predictable. Jikook are a couple and so they do couple things. That's why is seems like we are always right.

We don't explore other options because we didn't come to the decision to support Jikook as a couple lightly. I personally looked and studied all of Jimin ships before concluding him and JK were it. So no, there is no more exploring. We believe what we believe and are quite comfortable with our decision. If you get frustrated that we refuse to be shaken, thats on you.

I think I have addressed all your concerns. Thanks for stopping by

[thesensteawitch]

A Glimpse Of 2024🌻

Pick A Pile Reading

(Left to Right- Pile 1, Pile 2, Pile 3)

Hello, Senstea Souls!

After a long time I am back with another collective reading.

For more details and insights book your year ahead reading only at $22. Below I'm sharing the spread:

🌻Book A Reading|Rate Card🌻

Pile 1

Hello, my dear pile 1. This year asks you to stay open to receiving. Nothing can come between you and your manifestation except for your stubborn thoughts. Some of you may feel that there's some reluctance in financial flow. But that reluctance is being created because of your lack and doubtful mindset. For some of you, I see a romantic proposal coming your way. Your guides are asking you to meditate and calm your mind when it comes to the matter of your career. You may be too concerned about them because it was a bumpy road last year. The card says, “Whatever I can imagine, the universe can deliver.” This year asks you to explore your creative potential. Don't stay stuck on the past heartbreaks and disappointments. Staying stuck in the past and unable to let go is blocking your wishes to come true. Open your heart and lay the foundation to receive blessings in your life. The relationships that worked out last year may not work out this year. But the universe is going to bring a new connection to your door.

Book a personalized year ahead reading at $22.

Pile 2

Hello, my dear pile 2. The first thing that I see for you is that you'll be moving away from a relationship that didn't serve you no matter how hard you tried and you will be finding a stable relationship that will make you beyond happy. Some important decisions will be needed to make this year, especially in terms of friendship and relationships. You will be going in hermit mode. You will asked to make quick decisions. You'll soon learn how to manifest things in your life. Listen to Invisible String by Taylor Swift. This song has something to tell you. This year will demand you to seek the truth and do something about it. Let things go and trust the universe. You need to stay in alignment with the energy of what you want. The card says, “My greatest gift to give is my happiness.” Bring a smile to someone's face. It will brighten your day too. The more you stay happy the better you manifest this year. Solo time is CRUCIAL for you this year. Spend time alone and find ways to stay happy in your own company. Something will change within you that will bring you in alignment with the frequency of the divine. I also hear, “Because love comes slow and it goes so fast.” Don't be afraid to say the right thing even if it means that no one will stand by your side. Be authentic.

Book a personalized year ahead reading at $22.

Pile 3

Hello, my dear pile 3. This year is going to bring you many lessons when it comes to making a choice. There will be confusion when it comes to understanding your own emotions. You may struggle with finding the truth of your feelings. But eventually, you'll triumph over the confusion and will see the truth. All you need to do is be willing to go deep within your soul and past hurts to find the answers. Observe your patterns and you will find a way out. You'll learn to be emotionally intelligent. If you have been doubting yourself and were confused about which dream to pursue then know that soon you'll find clarity if you just do one right thing every day to get yourself out of this mental trap. You'll be divinely guided. Even if you take a wrong turn and listen to the wrong advice sent to you through your skeptical thoughts, then know that you'll be put back on track by the divine. Even the wrong train will take you to the right destination. You won't fail. This year your actions will give you results. And you WILL SUCCEED. The card says, “To receive what I want, I must not push against unwanted.” To truly understand what you desire you must understand what you don't understand too. There will be a purpose behind every choice that you face. Keep creating and keep doing what you do.

Book a personalized year ahead reading at $22.

[yourpenpaldee]

·˚ ༘₊· ͟͟͞͞꒰➳ A BRIEF WIPS OVERVIEW.

Hello! I am not good with deadlines, especially when I set them myself. This post was supposed to be up three days ago, but it’s finally here! I’m very excited to share these projects as they were all created from different periods of my life, going back four years at the most.

These will be very short intros, but each WIP mentioned here will have a proper, detailed post when it’s time. The projects also aren’t listed in sequential order of when I’ll post about them with the exception of the first WIP.

A heads-up, most of these are romance since I used to write only romance. It was only about two years ago since I decided to finally branch out, and those stories will be coming soon! For now, I still have to figure out how to write characters that have a way higher IQ than I do…

On we go to the WIPs!

WHEN ART TALKS

— currently undergoing the first draft. — first person — a college romance where a reserved poet who is afraid of public perception connects with an outspoken musician due to their preference on using words as their art medium. — contains late night walk convos, cigarette smoking, passionate rambles, and microwaved meals. — “‘Why do we care about them when it’s our story to tell? We live our truth, we speak our truth, and we have to trust that it’s good enough because it’s all we got. The message will be received by those who are meant to hear it.’”

BLIND SECOND CHANCES

— currently undergoing the first draft. — dual first person — an adult romance in which ex-friends turned (unofficial) ex-lovers from high school decide to explore the old feelings that resurface when crossing paths eight years later. — lots of reminiscing, betrayal, weekly wine nights, and fancy dates. — “‘You’re holding onto a love from a situation where we didn’t even know our place in the world yet. We spent nearly eight years growing into the people we are now, so you need to be prepared for our dynamic to look and feel different because we aren’t the same kids we once were.’”

TO NEW BEGINNINGS

— brainstorming complete, drafting to begin soon. — third person, still deciding on the type — an adult romance story of a woman who decides it’s time to start over on a blank canvas, and meets a booked and busy workaholic along the way. — roller skating, painting, solo adventures, and plant shopping. — “‘It’s scary to deviate from your current life and start anew when your life no longer serves you or your purpose. But I’m not equipped for misery, so I’ll be damned trying to save a life that lost the chance of saving forever ago.’”

UNTITLED ZOMBIE APOCALYPSE

— currently a 3am one-liner, brainstorming begins soon — pov to be determined, leaning towards third person limited. — an apocalyptic fiction where a teenage girl fights everyday to survive in an ongoing zombie apocalypse with hopes of finding her younger sister. — found family, zombie slaying, survival vs. morality, and, uh… death. — “She looked at every colorless home she walked by and wondered what stories could be told. What every stored memory that slipped through the cracks consisted of and the emotions they’d provoke. If the lives that once occupied these spaces were unfortunately fortunate enough to make it out like she did. If they constantly watched the memories flash before their eyes as they realized those would be the last batch of joyful, painless memories; how remembering became torturous and insufferable, but is all they have to remind them of their own humanity.”

UNTITLED TWISTED BONNIE & CLYDE

— currently a 3am one-liner, brainstorming begins soon — first person peripheral or third person limited — a dark and twisted romance where two toxic lovers are at the beginning of an inevitable end and play fire with fire the entire way through. — manipulation, heists, lies, and expensive jewelry. — “The venom drips off of every word she says. She watches every last drop seep into my skin and become one with the blood that runs through my veins. How it attempts to shut down my body in hopes that I’ll beg for mercy in my final moments of weakness. That I’ll surrender my life into her hands as those soulless and apathetic eyes beam with some sick and twisted excitement. But I am sick and twisted too. We are two bodies wrapped in the same snake skin, and a snake cannot get poisoned by its own venom.”

PAST LIFE LOVER

— redoing the brainstorm process — first person or objective third person (quote will be in third person) — a soulmate, young adult romance in which a girl who no longer believes in love suddenly gets pulled in by the new barista at her favorite hangout spot. — love at first sight, breakfast deliveries, denial, and baking. lots of baking. — “Then there it was. The locking of the eyes where the inability to look away grows more and more intense with each passing second. They didn’t even know each other, but something in their eyes told them that there was a home waiting for them within each other’s souls.”

ANGEL AND KEN*

— currently on the backburner, brainstorming resumes once past life lover is complete. — prequel to past life lover. — *very much a temporary title — first person or objective third person — a 50’s historical romance where a pessimistic single mother is convinced to see the greener side of the grass by a jazz musician who looks at life through a rose-colored lens. — jazz clubs, slow dancing, tea parties, and red corvettes — “‘Why shut yourself out from the world when there are people like me that have waited for you to waltz right into their life? I know, the modern day world is frightening and filled with so much hatred that it’s hard to find happiness through it all. But people find a purpose to wake up every morning because of that one person that casts the brightest light. You’re my sun in a world full of darkness, and I hope to be the moon that reflects your light when you’re no longer visible in the sky.’”

I know I keep saying it, but I truly can’t wait to properly share these projects. I just hope everyone will enjoy reading it all and find comfort within these characters :)

I will post the the detailed summary for When Art Talks either on Monday or Tuesday (please yell at me if i don’t follow through omg), and the character intros should follow closely behind!

divider creds to strangergraphics ♡